Monday, January 25, 2010

Monday Morning Mumbles

First, the next Toerifc discussion will be a little earlier in the month than usual for the February selection because we want to get it in before the Film Preservation blogathon which begins on February 14th, hosted by Ferdy on Films and The Self-Styled Siren. After two months off Toerifc will return on Wednesday, February 10th at the usual time of 10 a.m E.S.T. with a discussion on Sam Fuller's White Dog (1982), hosted by Joseph Campanella at Cinema Fist. I'll have up promotional sidebar banners in a day or two. I look forward to seeing the movie and seeing you there for the discussion.

Second, some of you may have noticed the Cinema Styles Screening Room banner to the left in the sidebar. This is something I've been doing for a couple of months now and just started to advertise it. Basically, the software I have now makes it so easy to record and edit clips from movies that I find myself doing it whenever I watch them on my computer. If an ending is a favorite or a scene catches my eye I'll edit it and put it up, if only to return later to watch it again. And now you can too. As Cinema Styles pares down to reviews, essays and video posts (like The Land Before CGI and Opening Credits I Love), I'm putting up stills and video clips at Unexplained Cinema and Cinema Styles Screening Room (and the joke posts are now almost entirely reserved for Facebook). I hope you'll enjoy visiting them when you can.

Third, I watched The 400 Blows again the other day (and put up a post on it at Unexplained Cinema and a clip at The Screening Room) and was reminded how beautiful it is. It had been years since I'd seen it last and I think perhaps I'd forgotten too much about it. But mainly what struck me was the realization that I love, absolutely love, long takes. Not enough directors do it anymore. And I'm not necessarily talking about masterful long takes of complex scenes done without a single cut like the dynamite planting scene in Touch of Evil, although I love that too, but shots of someone going to a destination and the director having the patience, and guts, to simply show it in real time rather than cut it down to speed things up. There's something hypnotic about watching the banal unfold. Watch the clip to see what I mean. And now I must watch Stolen Kisses again immediately and you can be sure when I do you'll see a post or two, or three, up on it soon after. Cheers!