Lord Bullingdon: Don’t you think he fits my shoes very well Your Ladyship? Dear child, what a pity it is I am not dead, for your sake. The Lyndons would then have a worthy representative and enjoy all the benefits of the illustrious blood of the Barrys of Barryville. Would they not… Mr. Redmond Barry?
Lady Lyndon: From the way I love this child my lord, you ought to know how I would have loved his elder brother had he proved worthy of any mother’s affection.
Lord Bullingdon: Madam! I have born as long as mortal could endure the ill-treatment of the insolent Irish upstart whom you’ve taken into your bed. It is not only the lowness of his birth and the general brutality of his manners which disgusts me, but the shameful nature of his conduct towards Your Ladyship. His brutal and un-gentleman-like behavior, his open infidelity, his shameless robberies and swindling of my property, and yours. And as I cannot personally chastise this low-bred ruffian, and as I cannot bear to witness his treatment of you and loathe his horrible society as if it were the plague; I have decided to leave my home and never return, at least during his detested life or during my own.
Often cited as one of the films that started the “Paramount Renaissance” in the 1970s, Love Story was nothing short of a phenomenon when it was released. Erich Segal, who wrote the screenplay, was asked by Paramount to write a novelization of the film in to create pre-publicity; it became a best seller. I have a sort of love/hate relationship with this film. Mostly this is because I think it is really poorly written. I hate the characters. I don’t think they are really developed at all. But, I love the art direction and the cinematography and most of the performances. As I was watching it, I felt like it was this perfectly crafted film wasted on a mediocre screenplay and that just feels like a shame to me. Love Story was nominated for seven Academy Awards, winning one: Best Original Score (won), Best Original Screenplay, Best Supporting Actor John Marley, Best Actor Ryan O’Neal, Best Actress in a Leading Role Ali MacGraw, Best Director and Best Picture. The other films nominated for Best Picture that year were: Airport, Five Easy Pieces, MASH and winner Patton.
Judy: I believe you dropped something.
Howard: What do you think you are doing?
Judy: I think I’m taking a bath, aren’t I?
Howard: If you’re not out of here in two minutes, I’m calling the police.
Judy: Who do you think they’ll arrest? The girl in the tub or the guy with his pants down?
Howard: I am not joking now. I do not like to act rashly, but you are the last straw that breaks my camel’s back, you are the plague, you bring havoc and chaos to everyone, but why to me? Why me? Why?
Judy: Because you look cute in your pyjamas, Steve.
Howard: GET OUT!
Judy: Right now?
[Judy starts to get out the bath]
Howard: No! Wait a minute!
Oliver Barrett IV: Hey, what makes you so sure I went to prep school?
Jennifer Cavalieri: You look stupid and rich.
Oliver Barrett IV: Actually, I’m smart and poor.
Jennifer Cavalieri: *I’m* smart and poor.
Oliver Barrett IV: What makes you so smart?
Jennifer Cavalieri: I wouldn’t go out for coffee with you.
Oliver Barrett IV: Yeah, well I wouldn’t ask you.
Jennifer Cavalieri: Well that’s what makes you stupid.
Last year I watched 517 new-to-me films and I thought that number was ridiculously large. Well, this year not only did I reach that number, I surpassed it with an additional 600 new-to-me films, bringing my grand total to 1,117 new-to-me films for 2011. Don’t believe me? There’s a list after the cut of every film, broken down by month so you can see just exactly what films I watched. I don’t know how to explain how I watched so many films. I will say, it all started with a bet from CybelDP on Twitter. The rest, as they say, is history.
Some life information: for the first half of the year I worked as a substitute teacher (which meant only 1 to 2 days of work a week) and lived in the back of my parents’ house and watched Turner Classic Movies non-stop. From the end of May on I moved to San Francisco, where I now go to the Academy of Art University working towards an MFA in film editing. Yet, somehow amongst all that I managed to watch A LOT OF FRICKIN’ MOVIES. I also watched a lot of movies in theaters (thank you very much Castro Theatre) for the first time that were films I’d already seen. If you take a look at each of my monthly wrap-ups, I talk about what films those were.
Last year in my end of the year post I wrote about how many films with certain stars that I’d seen and stuff like that. The sheer volume of films I saw this year makes that task pretty difficult. I will say, I saw a lot of films featuring the following and if you want to try to look through my list and figure out exact numbers, be my guest: Orson Welles, Buster Keaton, James Cagney, Lew Ayres, Joseph Cotten, Joel McCrea, Glenn Ford, Henry Fonda, Ray Milland, Robert Taylor, Ryan O’Neal, Joan Blondell, Joan Crawford, Bette Davis and Jean Harlow. There are probably others whose filmographies I put giant dents in this year, but those are the ones that really stuck out. Speaking of filmographies, I also finished a handful of director filmographies this year: Woody Allen, Jim Jarmusch and Martin Scorsese. I also came close to finishing off Orson Welles, Stanley Kubrick and Elia Kazan and watched a bunch of films by Robert Altman, Peter Bogdanovich, Fritz Lang and John Ford. I also discovered a love for Westerns that I never knew I had (well, other than Clint Eastwood westerns, which I always loved). Oh, and I’ve only got 76 Best Picture nominated films left to see. That’s out of 487 films total, so I think I’m doing pretty well there.
One last thing before I reveal the list and my favorite new-to-me film of the year: in this past year I have felt more intellectually stimulated than I have ever felt before. Everyday I watched films and every film that I watched I gathered new information and my brain felt so alive and so active; it’s an amazing feeling for sure. I would go to bed thinking about the films I’d watched that day and the actors and directors and screenwriters that I learned about. I would think about Cedric Gibbons and Douglas Shearer and the amazing jobs they did at MGM and Irving Thalberg’s genius and how I wish I could be as prolific as Woody Allen. Then I would wake up the next day and start all over again and the more I watched the more everything fit together, the more I got from every film because I could see how it fit within the framework of cinema’s history. It was an amazing year of discovery and reflection and I wouldn’t trade it for anything in the world.
And, now, without further ado, the list. Ps. there’s more writing after the list, so please keep reading! Also, for some reason WordPress can’t handle a bulleted list that has four digits, so it cuts off the numbers towards the end of the list. But I think you can still figure out what’s what.
Read the rest of this entry
So I managed to watch a little bit less new-to-me films in August than I did in July. That’s okay, though, because I saw so many great films at the Castro theatre (I’m quite the regular there now). I saw The Big Sleep, Key Largo, Moulin Rouge!, Meek’s Cutoff (new-to-me), Limbo (new-to-me), Bad Education, Law of Desire (new-to-me), Talk To Her, All About My Mother, The Flower of My Secret (new-to-me), Women on the Verge of a Nervous Breakdown (new-to-me), 2001: A Space Odyssey, 2010: The Year We Make Contact (new-to-me), Double Indemnity, The Postman Always Rings Twice, Days of Heaven, Badlands, The Philadelphia Story and Holiday. All of those were double features except Moulin Rouge! and all of them were well worth the admission price. I’ve said it before, I’ll say it again: nothing beats seeing a great film on the big screen. I’m just glad all these great films were showing in the month between the summer semester and the fall semester so I had time to see them. I also read a handful of screenplays (hey, I’m studying to get an MFA in screenwriting, I better be reading screenplays!) So far I’ve read L.A. Confidential, The Piano, Good Will Hunting, American Beauty, The Hurt Locker, Inglourious Basterds, The English Patient, The Last Detail and Chinatown. It sure is interesting to see how a story starts out on the page and winds up the same, but different, on the big screen. As for my new-to-me list, most of the films I saw I loved (this was another month were it was hard to come up with just five featured films), but I also saw a few I really hated. Today is the first day of the fall semester and I’m taking three classes, so I have no idea what my free time is going to be like or how many new-to-me films I’ll manage to watch. Gonna shoot for at least one new-to-me a day though. As always, the full list of my August new-to-me films is after the cut.
Moses Pray: You don’t have to worry. I ain’t about to leave some poor little child stranded in the middle of nowhere. I got scruples too, you know. You know what that is? Scruples?
Addie Loggins: No, I don’t know what it is, but if you got ’em, it’s a sure bet they belong to somebody else!