tag:blogger.com,1999:blog-1151029499651504216.post2498598879537434446..comments2023-10-23T12:19:21.991-07:00Comments on The Rail of Tomorrow: J. Edgar (dir. Clint Eastwood)Scott Nyehttp://www.blogger.com/profile/03972055870633945280noreply@blogger.comBlogger7125tag:blogger.com,1999:blog-1151029499651504216.post-86481834458983697372014-11-08T09:45:17.659-08:002014-11-08T09:45:17.659-08:00A money improve unit of live getting to be a fille...A money improve unit of live getting to be a filled with money obtained against your obtaining cutoff. you may reckon a money improve throughout <a href="http://www.aaa1autotitleloans.com/chicago/" rel="nofollow">payday loans chicago</a> that. to begin out with, by utilizing you’re PIN at associate ATM. Then again, you may utilize a comfort watch that your FICO assessment cards provider sent to you. 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Interest on a money enhance begins accruing directly upon disbursement.Anonymousnoreply@blogger.comtag:blogger.com,1999:blog-1151029499651504216.post-30001161437312703962011-12-05T21:21:52.434-08:002011-12-05T21:21:52.434-08:00Andrea - Your concerns are very much my own. Paul ...Andrea - Your concerns are very much my own. Paul Greengrass was actually developing a warts-and-all portrait of King that I was very keen on seeing (beyond my standard level of interest in whatever the next Paul Greengrass film is), but the family pressured the studio into halting development. Word on the street is an independent might throw some money behind it, so there's hope yet.<br /><br />Has there been a definitive portrait of FDR yet? Doesn't seem like it. I'd love to see someone tackle that with the force that Stone brought to Nixon (what a wonderful film that is, by the way).Scott Nyehttps://www.blogger.com/profile/09760694438241951398noreply@blogger.comtag:blogger.com,1999:blog-1151029499651504216.post-35813637317854931332011-12-03T13:15:53.547-08:002011-12-03T13:15:53.547-08:00Movies about 'rightwing' figures made by ...Movies about 'rightwing' figures made by Hollywood are generally more interesting. Since Hollywood is liberal--and even Eastwood is more libertarian than conservative--, it feels free to probe into the dark/disturbing aspects of rightwing characters. NIXON by Stone is interesting for this reason. It is about the dynamics of power, its temptations and abuses. <br />Of course, it's not very interesting when 'rightwing' figures are simply vilified in a cops-and-robbers manner, but in the hands of a true artist, an exploration of darkness can enrich our understanding of the psychology of power. <br /><br />Hollywood writers/directors, being liberals, feel free to take their gloves off when handling themes about 'rightwingers'. <br /><br />But when Hollywood approaches icons of liberalism, it goes into myth-making mode hardly different from communist propaganda or fascist idol-worship. MLK, for example, had a dark side, but he's been made into a pure saint in TV movies. FDR ordered the dispossession and imprisonment of 120,000 Japanese-Americans(a crime that was many times worse than anything pulled off by Joseph McCarthy), but he's presented only as a bright savior of the world in movie after movie, as if liberals can never be corrupted by power.Andrea Ostrov Letaniahttps://www.blogger.com/profile/13478113002321077670noreply@blogger.comtag:blogger.com,1999:blog-1151029499651504216.post-61056213171500077332011-12-02T11:18:54.983-08:002011-12-02T11:18:54.983-08:00Sorry for the late reply! These weeks get away fro...Sorry for the late reply! These weeks get away from me fast.<br /><br />I can see your point about the score during the scene in question, but the scene as a whole is more than a little melodramatic, so given that context it feels...relatively restrained, I suppose. Nevertheless, the score was fairly unobtrusive throughout the film.<br /><br />But onto more pressing matters. When I say I found the film lively and electrifying, I didn't mean those terms in the say way one could apply them to <i>Milk</i>, because Gus Van Sant found the life of that film in portraying the time as it was (or might have been) lived. He brought documentary practices to bear on a fictional story, and to great effect (even if I think Black's screenplay in that case was fairly bland, I loved Van Sant's take on it).<br /><br /><i>J. Edgar</i> is pure theatre told in a way only cinema could manage, if that makes sense. Black's screenplay calls for the kind of dialogue no one would ever speak, and Eastwood guides his actors accordingly towards a theatrical mode of performance. Given that mode, which I think is a totally viable form. I loved the life DiCaprio brought to his role, and especially the supporting players - Zach Grenier's small touches of exhaustion in the graveyard confrontations were delightful.<br /><br />As for me finding silver linings, well, if that's the way you see it, then okay. I feel like I addressed some bigger, notable concerns (DiCaprio's performance, Eastwood's deft mix of past and present) on both macro and micro levels, but if you don't see things the same way, that's cool too.<br /><br />Thanks for taking the time to respond, much less read the whole damn thing.Scott Nyehttps://www.blogger.com/profile/09760694438241951398noreply@blogger.comtag:blogger.com,1999:blog-1151029499651504216.post-465848746581168332011-11-28T00:51:19.096-08:002011-11-28T00:51:19.096-08:00Enjoyed your dissection of the film's themes, ...Enjoyed your dissection of the film's themes, agree it was a great script, and think your observations - save for one - have merit. The assertion I disagree with is that Eastwood's score was restrained. I think Eastwood's score was tacky and histrionic, most offensively and embarassingly during Clyde's elderly confrontation with Edgar (you have a screencap from the scene). Those piano notes make me wince.<br /><br />But that's not even a big deal - my main gripe is that I saw the movie and read your review and still fail to see how the film is meaningful to the advancement if the art of cinema. Its lifelessness was a major beef with me - not one moment in the film felt truly alive or like the characters were really being and existing. The also-theatrical Hugo had moments of life, and the biopic Milk certainly did too.<br /><br />When you discusss the casting of Arnie Hammer you make a vague reference to the studio way, but, I dunno, I'd need a concrete example to know what you really mean. Seems like the studio way involved established character actors with knowable personalities and reputations; that and screen tests. What made Eastwood cast him, I wonder.<br /><br />I'd like to double-feature this one with Milk and see how I feel. I suspect it'd reinforce my feeling that the good things in J.. Edgar don't amount to a live, visceral film that leaps from the screen and spanks my eyes and strangles my insides. Quiet filmmakers - like Van Sant, Denis, Ming-liang, Sangsoo, and others - who exercise restraint I'm all about. They push at me from the edges, with minor, subtle movements. I accuse J. Edgar of lacking real and lasting grace and restraint, and you of finding the silver linings to a film that's a dud.Shawnhttps://www.blogger.com/profile/06121960844325552902noreply@blogger.com