Matt writes: For our 400th edition of The Ebert Club newsletter, we are providing you with a direct pathway to our complete coverage of the 2021 Sundance Film Festival. Our exclusive reviews of the numerous enticing titles that premiered virtually this year are penned by Brian Tallerico, Nick Allen, Robert Daniels, Kristy Puchko, Carlos Aguilar and Odie Henderson.
A tribute to the Oscar nominated character actor, Danny Aiello.
Reviews from the Fantasia Film Festival of the beguiling hitman story Bruce McDonald's Dreamland, and a special presentation of a rare horror sequel.
A critic spends an entire year watching Woody Allen films and reports on the experience.
Separating the artist from the art isn't as easy as it sounds.
Woody Allen on "Cafe Society"; Andrew McCarthy on directing TV; Movies about women impossible to finance; Terry Eagleton on Christianity and communism; Anna Karina on Godard.
An FFC essay on Woody Allen's "Another Woman."
A chronological commentary celebrating the performances of Gena Rowlands.
Lessons learned from "Rosemary's Baby"; What's missing from "Straight Outta Compton"; Keith Gordon on "The Singing Detective"; Rose McGowan's feminist revolution; Memories of Musso & Frank.
NBC’s remake of "Rosemary’s Baby" and Showtime’s new weekly adventure series "Penny Dreadful." One is awful and it’s not the one with a synonym for the word in its title.
R.I.P., Phillip Seymour Hoffman and Eduardo Coutinho; the Allen-Farrow thing, catalogued and linked; Kristin Scott Thomas' ambivalence; Chuck Jones, honored.
Sheila writes: I love this gallery of the first issues of now-famous magazines. Here is the first issue of People, which debuted on March 4, 1974, with a lovely image of Mia Farrow in full Daisy-Buchanan-mode on the cover. But you can check out more here.
This excerpt from James Greenberg's "Roman Polanski: A Retrospective" looks at Polanski's breakthrough American film "Rosemary's Baby."
You may find it disturbing to see audiences laughing while watching "The Exorcist"(1973), but you will probably not see any problem in having some laugh with "Rosemary’s Baby" (1968). It goes without saying that they are two of the most chilling modern horror films, but, while the former unsettles us with its utmost solemnness parodied many times since it came out, the latter has a spooky sense of humor immune to parodies. How can you make an effective parody to undermine a horror film if it already has a devilish tongue slyly placed on its dark cheek?
Marie writes: Not everything is what is seems...(Click images to enlarge.)
Marie writes: Behold a truly inspired idea...Age 8: Eileen's pink creature It started with a simple idea: to make a recognizable comfort toy for her 4 year-old son Dani, based on one of his drawing. His school had asked the children to bring in a toy from home; an emergency measure in the event of a tantrum or crying fit. Fearing he might lose his favorite, Wendy Tsao decided to make Dani a new one. Using a drawing he often made as her guide, she improvised a plush toy snowman. Five years later, Wendy Tsao has her own thriving home-based craft business - Child's Own Studio - in which she transforms the imaginative drawings of children into plush and cloth dolls; each one handcrafted and one-of-a-kind. She receives requests from parents all over the world; there's 500 people on waiting list. Note: kudos to club member Sandy Kahn for submitting the piece.
Marie writes: Okay, this is just plain cool. This is clearly someone using their brain, in combination with "what the hell, let's just go ahead and try it..."
Dr Julius Neubronner's Miniature Pigeon CameraIn 1903, Dr Julius Neubronner patented a miniature pigeon camera activated by a timing mechanism. The invention brought him international notability after he presented it at international expositions in Dresden, Frankfurt and Paris in 1909-1911. Spectators in Dresden could watch the arrival of the camera-equipped carrier pigeons, whereupon the photos were immediately developed and turned into postcards which could be purchased. (click images to enlarge.) - from The Public Domain Review. Visit the site to see even more photos.
"Woody Allen: A Documentary" airs on PBS stations in two parts, at 9 p. m. Sunday and Monday, Nov. 20 and 21. Check local listings for airtimes. Also available via PBS On Demand.
by Odie Henderson
I took this gig as a challenge. It's not that I hate Woody Allen; I just don't adore him as much as you would like. Plus, I live in the Bizarro World when it comes to his films, enjoying the ones most people hate and vice-versa. For example, I hated "Match Point," disliked "Annie Hall," and could never commit to "Manhattan" despite its astonishing, heartbreaking cinematography. Conversely, I loved "Deconstructing Harry," found "A Midsummer Night's Sex Comedy" amusing, and I may be the only sane person who liked "Hollywood Ending." These confessions may disturb die-hard fans, but before you vow never to read anything of mine again, you should watch American Masters' "Woody Allen: A Documentary." There you'll discover that Woody Allen dislikes most of his movies, even going so far as to offer to make a different movie for free if United Artists used "Manhattan" for kindling. Compared to that, my "meh" reaction to the gorgeous-looking film is a ringing endorsement. We now know who should be getting your hate mail, don't we?
Not that Allen would care. Robert B. Weide's exceptional documentary makes clear that critical opinion is the farthest thing from its subject's mind. The prolific writer-director has been too busy cranking out a film a year for the past four decades to worry about what anyone thinks of them. You'd have to go back to the studio system's heyday for that kind of output, work that produced eleven solo and three collaborative Oscar nominations for writing. That's two more than my beloved Billy Wilder, who coincidentally never got a solo writing nomination. Add to those fourteen writing nods his six directing nominations, sole acting nod and the resulting three wins, and you have one of the most honored filmmakers in Hollywood history. He can expect a 22nd nomination for "Midnight In Paris," which I cop to liking but not with the slobbering praise afforded it by most critics. (It's like a cross between Cliffs Notes, "The Purple Rose of Cairo" and a Tea Party rally, with all that "it's so much better in the past" nonsense.) The fact that awards mortify Allen makes these numerous acknowledgements the kind of ironic, funny joke one would find in, well, a Woody Allen movie.
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Roger Ebert / April 23, 1995
For the centennial of cinema, 100 great moments from the movies:
Clark Gable in "Gone With the Wind":
"Frankly, my dear, I don't give a damn."
Buster Keaton standing perfectly still while the wall of a house falls over upon him; he is saved by being exactly placed for an open window.
Charlie Chaplin being recognized by the little blind girl in "City Lights."
The computer Hal 9000 reading lips, in "2001: a Space Odyssey."
The singing of "La Marseillaise" in "Casablanca."
Snow White kissing Dopey Bashful on the head.
John Wayne putting the reins in his mouth in "True Grit" and galloping across the mountain meadow, weapons in both hands.
Jimmy Stewart in "Vertigo," approaching Kim Novak across the room, realizing she embodies all of his obsessions - better than he knows.
The early film experiment proving that horses do sometimes have all four hoofs off the ground.
Gene Kelly singin' in the rain.
Samuel L. Jackson and John Travolta discuss what they call Quarter Pounders in France, in "Pulp Fiction."
The Man in the Moon getting a cannon shell in his eye, in the Melies film "A Voyage to the Moon."
Pauline in peril, tied to the railroad tracks.
A boy running joyously to greet his returning father, in "Sounder."
Harold Lloyd hanging from a clock face in "Safety Last."
Orson Welles smiling enigmatically in the doorway in "The Third Man."
An angel looking down sadly over Berlin, in Wim Wenders' "Wings of Desire."
The Zapruder film of the Kennedy assassination: Over and over again, a moment frozen in time.
A homesick North African, sadly telling a hooker that what he really wants is not sex but couscous, in Rainer Werner Fassbinder's "Fear Eats the Soul: Ali."
Wile E. Coyote, suspended in air.
Zero Mostel throwing a cup of cold coffee at the hysterical Gene Wilder in Mel Brooks' "The Producers," and Wilder screaming: "I'm still hysterical! Plus, now I'm wet!"
An old man all alone in his home, faced with the death of his wife and the indifference of his children, in Yasujiro Ozu's "Tokyo Story."
"Smoking." Robert Mitchum's response, holding up his cigarette, when Kirk Douglas offers him a smoke in "Out of the Past."
Marcello Mastroianni and Anita Ekberg wading in the fountain in "La Dolce Vita."
The moment in Akira Kurosawa's "High and Low" when a millionaire discovers that it was not his son who was kidnapped, but his chauffeur's son - and then the eyes of the two fathers meet.
The distant sight of people appearing over the horizon at the end of "Schindler's List."
R2D2 and C3PO in "Star Wars."
E.T. and friend riding their bicycle across the face of the moon.
Marlon Brando's screaming "Stella!" in "A Streetcar Named Desire."
Hannibal Lecter smiling at Clarise in "The Silence of the Lambs."
"Wait a minute! Wait a minute! You ain't heard nothin' yet!" The first words heard in the first talkie, "The Jazz Singer," said by Al Jolson.
Jack Nicholson trying to order a chicken salad sandwich in "Five Easy Pieces."
"Nobody's perfect": Joe E. Brown's last line in "Some Like It Hot," explaining to Tony Curtis why he plans to marry Jack Lemmon even though he is a man.
"Rosebud."
The shooting party in Renoir's "Rules of the Game."
The haunted eyes of Antoine Doinel, Truffaut's autobiographical hero, in the freeze frame that ends "The 400 Blows."
Jean-Paul Belmondo flipping a cigarette into his mouth in Godard's "Breathless."
The casting of the great iron bell in Andrei Tarkovsky's "Andrei Rublev."
"What have you done to its eyes?" Dialogue by Mia Farrow in "Rosemary's Baby."
Moses parting the Red Sea in "The Ten Commandments."
An old man found dead in a child's swing, his mission completed, at the end of Kurosawa's "Ikiru."
The haunted eyes of the actress Maria Falconetti in Dreyer's "The Passion of Joan of Arc."
The children watching the train pass by in Ray's "Pather Panchali."
The baby carriage bouncing down the steps in Eisenstein's "Battleship Potemkin."
"Are you lookin' at me?" Robert De Niro in "Taxi Driver."
"My father made them an offer they couldn't refuse:" Al Pacino in "The Godfather."
The mysterious body in the photographs in Antonioni's "Blow-Up."
"One word, Benjamin: plastics." From "The Graduate."
A man dying in the desert in von Stroheim's "Greed."
Eva Marie Saint clinging to Cary Grant's hand on Mt. Rushmore in "North by Northwest."
Astaire and Rogers dancing.
"There ain't no sanity clause!" Chico to Groucho in "A Night at the Opera."
"They call me Mr. Tibbs." Sidney Poitier in Norman Jewison's "In the Heat of the Night."
The sadness of the separated lovers in Jean Vigo's "L'Atalante."
The vast expanse of desert, and then tiny figures appearing, in "Lawrence of Arabia."
Jack Nicholson on the back of the motorcycle, wearing a football helmet, in "Easy Rider."
The geometrical choreography of the Busby Berkeley girls.
The peacock spreading its tail feathers in the snow, in Fellini's "Amarcord."
Robert Mitchum in "Night of the Hunter," with "LOVE" tattooed on the knuckles of one hand, and "HATE" on the other.
Joan Baez singing "Joe Hill" in "Woodstock."
Robert De Niro's transformation from sleek boxer to paunchy nightclub owner in "Raging Bull."
Bette Davis: "Fasten your seat belts; it's gonna be a bumpy night!" in "All About Eve."
"That spider is as big as a Buick!" Woody Allen in "Annie Hall."
The chariot race in "Ben-Hur."
Barbara Harris singing "It Don't Worry Me" to calm a panicked crowd in Robert Altman's "Nashville."
The game of Russian roulette in "The Deer Hunter."
Chase scenes: "The French Connection," "Bullitt," "Raiders of the Lost Ark," "Diva."
The shadow of the bottle hidden in the light fixture, in "The Lost Weekend."
"I coulda been a contender." Brando in "On the Waterfront."
George C. Scott's speech about the enemy in "Patton:" "We're going to go through him like crap through a goose."
Rocky Balboa running up the steps and pumping his hand into the air, with all of Philadelphia at his feet.
Debra Winger saying goodbye to her children in "Terms of Endearment."
The montage of the kissing scenes in "Cinema Paradiso."
The dinner guests who find they somehow cannot leave, in Bunuel's "The Exterminating Angel."
A knight plays chess with Death, in Bergman's "The Seventh Seal."
The savage zeal of the Klansmen in Griffith's "The Birth of a Nation."
The problem of the door that won't stay closed, in Jacques Tati's "Mr. Hulot's Holiday."
"I'm still big! It's the pictures that got small!" Gloria Swanson in "Sunset Boulevard."
"We're a long way from Kansas!" Judy Garland in "The Wizard of Oz."
An overhead shot beginning with an entrance hall, and ending with a closeup of a key in Ingrid Bergman's hand, in Hitchcock's "Notorious."
"There ain't much meat on her, but what's there is choice." Spencer Tracy about Katharine Hepburn in "Pat and Mike."
The day's outing of the mental patients in "One Flew Over the Cuckoo's Nest."
"I always look well when I'm near death." Greta Garbo to Robert Taylor in "Camille."
"It took more than one night to change my name to Shanghai Lily." Marlene Dietrich in "Shanghai Express."
"I'm walkin' here!" Dustin Hoffman in "Midnight Cowboy."
W.C. Fields flinching as a prop man hurls handfuls of fake snow into his face in "The Fatal Glass of Beer."
"The next time you got nothin' to do, and lots of time to do it, come up and see me." Mae West in "My Little Chickadee."
"Top o' the world, Ma!" James Cagney in "White Heat."
Richard Burton exploding when Elizabeth Taylor reveals their "secret" in "Who's Afraid of Virginia Woolf?"
Henry Fonda getting his hair cut in "My Darling Clementine."
"Badges? We ain't got no badges. We don't need no badges. I don't have to show you any stinkin' badges!" Alfonso Bedoya to Humphrey Bogart in "The Treasure of the Sierra Madre."
"There's your dog. Your dog's dead. But there had to be something that made it move. Doesn't there?" Line from Errol Morris' "Gates of Heaven."
"Don't touch the suit!" Burt Lancaster in "Atlantic City."
Gena Rowlands arrives at John Cassavetes' house with a taxicab full of adopted animals, in "Love Streams."
"I want to live again. I want to live again. I want to live again. Please God, let me live again." Jimmy Stewart to the angel in "It's a Wonderful Life."
Burt Lancaster and Deborah Kerr embrace on the beach in "From Here to Eternity."
Mookie throws the trash can through the window of Sal's Pizzeria, in "Do the Right Thing."
"I love the smell of napalm in the morning," dialogue by Robert Duvall, in "Apocalypse Now."
"Nature, Mr. Allnut, is what we are put in this world to rise above." Katharine Hepburn to Humphrey Bogart in "The African Queen."
"Mother of mercy. Is this the end of Rico?" Edward G. Robinson in "Little Caesar."
☑ Click to expand. Comments are open.
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Snarking is cultural vandalism. I have arrived at this conclusion belatedly. I have been guilty of snarking, and of enjoying snarks. In the matter of snarking, I spake as a child, I understood as a child, I thought as a child. But it has grown entirely out of hand. It is time to put away childish things. I must restore my balance, view the world in a fair way, hope to inspire more appreciation than ridicule. No doubt there will always be a role for snarking, given the proper target and an appropriate venue, and I reserve the right to snark when it is deserved, as in certain movie reviews. But in general I must become more well-behaved. A snarker is one who snarks. The word is said to be a combination of snide and remark. There are slithering undertones of shark, bark, and stark. There is also, for me, an association with snipe. The practice involves holding someone up to ridicule not so much for anything they actually did, as for having the presumption to be who they are.
There's something about an Aqua Velva Man.
Don't worry; no spoilers here.
>> The blue Aqua Velva cocktail that Jake Gyllenhaal's character orders is named after a popular after-shave lotion of a similar color. The drink consists of vodka, gin, blue curaçao and Sprite or 7-Up. (Today you might even be able to get away with Sierra Mist.) Some variations also include rum and tequila. And, perhaps, a sprig of mint or an orange slice. Other recipes call for Baileys Irish Cream (for that foggy look, I guess). And still one other is made of tequila, blue curaçao, and fruit juices. It's not necessarily as frou-frou as it seems in the movie (with those fancy glasses, umbrellas, maraschino cherries and all): In WWII, US sailors were said to drink it for its alcohol content (which has since been reduced). A little soapy, perhaps (ingredients: Alcohol 40, water, glycerin, fragrance, menthol), but it went down smooth, evidently...
Aqua Velva
3/4 oz. vodka 3/4 oz. gin 1/4 oz. Sprite 1/2 oz blue curaçao 1/2 oz. Sprite
Shake vodka, gin, blue curaçao and Sprite with ice. Pour/strain into glass and top off with Sprite. Cocktail umbrella and fruit/mint garnish optional.
>> Paul Avery, the San Francisco Chronicle reporter played by Robert Downey Jr., married Margo St. James, founder of COYOTE (Call Off Your Old Tired Ethics), the sex-workers' rights organization. St. James ran for the San Francisco Board of Supervisors in 1996 and 1998.
>> Avery covered the Zodiac case for the SF Chronicle (which reprints one of the stories featured in the movie here), and Chronicle cartoonist Robert Graysmith (played by Gyllenhaal) wrote the book, "Zodiac," on which the movie was based. But Avery later co-wrote a book about another famous Bay Area case he covered, the Patricia Hearst kidnapping. Avery and Vin McLellan published "The Voices of Guns: The Definitive and Dramatic Story of the Twenty-two-month Career of the Symbionese Liberation Army, One of the Most Bizarre Chapters in the History of the American Left" (Putnam, 1977).
>> Recording sessions for the haunting Donovan song "The Hurdy Gurdy Man" (and the album of the same name), used to spine-tingling effect in the movie, included John Paul Jones and Jimmy Page and/or John Bonham, who would go on to form Led Zeppelin. Donovan claimed George Harrison wrote part of a lyric for "Hurdy Gurdy Man" when they were in Rishikesh, India, with Maharishi Mahesh Yogi -- along with the other Beatles, Jane Asher, Mia Farrow, Beach Boy Mike Love and others. (Another Donovan song, "Wear Your Love Like Heaven" from 1967, was featured in TV commercials for Love's Baby Soft cosmetics, targeted at teen and pre-teen girls, in 1968.)
>> According to Donovan's autobiography, "The Hurdy Gurdy Man," the verse George Harrison wrote was cut from the "Hurdy Gurdy Man" single (to keep it short for DJs), but was used by Donovan on a 1990 live album. The verse (which would have worked perfectly in the movie):
When the truth gets buried deep Beneath a thousand years asleep Time demands a turnaround And once again the truth is found
>> Construction on San Francisco's famous pyramidal Transamerica building began in 1969 and was finished in 1972. It is still the city's tallest skyscraper.
>> Although crude fax technology existed in the late 19th century, and a modified form was used by the Associated Press to transmit what were identified as "AP Wirephotos" beginning in 1934, the modern fax machine did not come into general use until the mid-1970s. By the mid-1980s, falling electronics prices and improved phone technology made the fax a ubiquitous office tool.
>> The opening song in "Zodiac" is "Easy to be Hard" (from "The American Tribal Love/Rock Musical," "Hair") performed by Three Dog Night -- one of the best-selling bands of the late 1960s and early 1970s, whose hit singles included "One" (written by Harry Nilsson; recorded by Aimee Mann for the soundtrack of Paul Thomas Anderson's "Magnolia"), "Mama Told Me Not to Come" (written by Randy Newman; also used in PTA's "Boogie Nights"), "Eli's Coming" (written by Laura Nyro) and "Joy to the World" (written by Hoyt Axton -- the guy who buys the gremlin in Joe Dante's "Gremlins"). The Three Dog Night version of "Shambala" (1973) was featured in a recent episode of the TV show "Lost," in which an eight-track cassette of the song is found in a crashed VW bus. TDN's version of "Shambala" was also used on the soundtrack of Rob Zombie's "The Devil's Rejects."
"I am your host! Und sagen..."
Here they are, eleven of the most famous opening shots in movie history, plus a bonus that I threw in just because I like it. Prepare to smack your head and say, "D'oh! I knew that!" But don't give up -- keep sending in your nominations for great opening shots, along with your explanations for why they set up the movie so well, to: jim AT scannersblog dot com.
Congrats to Daniel Dietzel, who got all ten right, but did not hazard a guess about the two bonus shots -- and to Jeremy Matthews, who got nine out of the top 10, but also correctly identified both the bonus/tiebreakers!
And come back Sunday for the answers to the original Opening Shots Pop Quiz.
Now, the answers to the Opening Shots Quiz 2: 10 Easy Pieces (+2):
Great Movies
