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Starship Troopers (1997) - A new kind of enemy. A new kind of war.
Paul Verhoeven’s gonzo satire was destined, even designed, to be misunderstood. An action spectacle with the heart of a Grade-Z creature feature, the movie was derided as “90210 in space,” missing the fact that Verhoeven deliberately cast blandly good-looking actors as fodder for the movie’s militaristic mill. Stealing shots from Triumph Of The Will, the story of a society abandoning individual rights, and even identities, in response to an alien invasion, Starship Troopers is a wicked, acidic comment on how easily people can be convinced to trade freedom for security. That it also functions for the unaware as a full-throated Fascist recruiting ad is part of its brilliance. Verhoeven admits and even indulges its appeal before turning it inside out. (Avclub.com)
Seventh Code (Kurosawa, 2013)
Suggesting both a Rivette film and a half-remake of THE SEVENTH VICTIM (ironically I have not seen DUELLE yet…), SEVENTH CODE is a free and associative sketch on courage (and more).
An unusual short subject piece - “minor,” so to speak - running at barely 60 minutes and doubling as stunt promo for a Japanese pop singer… Loved it, essentially, but really need to see the seemingly epic, hugely divisive REAL.
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The silent and solitary but pestilential scientist surrounded by his destructive (and destructible) tools.
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The gladiatorial Spaniard is with his sought-for iron and armor.
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Hooper already tests out his interest in the world of objects as a parallel plane existing alongside ours, objects functioning as furtive, sneakingly poignant, perhaps more permanent stand-ins for humans’ already shaky and self-undermining ontological existences.
A rose and chalice is made to be what remains of the (apparently - and arbitrarily - Russkie) aristocrat into the finer things.
The Heisters (1963)
The Heisters is so very good.
Text reblogged from B Michael Tumblr with 14 notes
….because a lot of music ignores the American intellectual tradition of Bernstein, Ives, and even Kottke. It’s funny that I got onto today’s JoNew jag because of a CO askfm question about Kottke and Fahey. To me, there’s a tradition of nebbish whiteness intellectualizing a less well formed (read: savage?) landscape and exercising a poetic/romantic/religious vision in order to create a more orderly and perfect heaven or community that Newsom’s vision continues. It’s a really lavish and generous idea that’s often blotted out in nihilism, which is a a natural reaction to generosity if you think about it. The idea of a self-fashioned utopian society is such an enduring one that it’s even still and just now an au courant millennial thing. I find it odd that JoNew’s music isn’t more popular except that it’s not exactly pandering or feel-good enough (except for the above, a song literally called “Good Intentions Paving Company” come on think about it). You hear only some of the signifiers (a rusticated footstomp melody and weird instrumentation straying into such far territory as a the middlebrow Paramore song of the summer) without the seeming Idea underlying. You get the same romantic, we’re young and we’re doomed so let’s live life to the fullest type of thing without the intellection of eternity. That’s the real lesson of nature and season: recurrence lasting longer than humanity. I guess the setting: we’ll never live to enjoy the benefits of Social Security, the National Climate Assessment says we’re fucked, etc. But this isn’t new! Traditionally, transcendent thought would increase in times like this, but where is it? Has it been syphoned off into the techno-futuristic point of view? Or an all consuming apathy. I cannot be the only person who desires to stare wideeyed into the abyss.
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