the virtues and flaws of Paul Schrader's "building a film canon" article in Sept-Oct Film Comment

Gran Torino is a classic?

maybe this guy can put together the Kill Your Idols of cinema!

can't wait to find out what the cinematic equivalent of Paul McCartney's Ram is

The Science of Sleep.

Good thread revives all around today, Morbs. I was just thinking about starting that "Make your own S&S '12 ballots" list thread this afternoon.

if he wanted to take down an eastwood movie he should have gone with unforgiven

or, given its surprisingly unimpeachable status among cinephiles, Bridges of Madison County

is that unimpeachable? i always thought it was on the lesser end of his critical adorations. could be mistaking Anthony Lane with general consensus.

MZS right about Gran Torino. Unforgiven is great fuiud.

Unforgiven realy did not break new ground, even Clintwise, as was claimed.

I had Madison Co on for the first 15 mins on TCM last week and myGgod, they hadnt even gotten to Clint and Meryl yet. Never seen, but I will skip the first reel if I ever do.

Not necessarily about breaking new ground though is it.

Madison County is pretty tedious.

Streep and Eastwood are excellent together; it's still one of her best.

just wanted to pop in and say I caught Blue Collar on cable last night, had seen it before, but damn that is a good movie.

I've only seen it once, but thought it was good--best after Affliction for me, being a director I don't usually care for.

i totally want to build a film cannon, to shoot film critics with

I was talking about Light of Day with a friend this morning. Schrader misjudges (typically) how good Joan Jett is.

whoah WTF never even heard of that before

you don't remember the Jett song? It's a Springsteen number – and great performance.

Hardcore is still probably my favorite Schrader movie.

Mishima's pretty good too, IIRC, but it's been years since I've seen it so I mostly remember the score now.

I'm replying to history mayne upthread:

I DO think that books are a medium. You said

celluloid is not a medium. that's like saying literature is paper or some shit.

but I think that literature was changed by paper. Actually, that's not even a remotely controversial thing to say - it's more of a truism than anything - so it feels weird disagreeing. I agree that "literature" is more than books, but if you said, "Books are dead," then it would be unfair to reply, "But look at all of the good writing happening on the Internet," because the nature of the literature would be different. I have never and will never read a novel on the internet, for instance. I admit that there is a remote possibility I would do it on an ebook. If I were arguing with you back in 2006 or whenever, I would think the celluloid to non-celluloid shift would be something like the book to ebook shift. The celluloid shift is probably less severe, so point taken, but I sympathize with morbz's position because I'm most drawn to movies made before 1980.

I think that in 2009 or 2011 that Leni Reifenstahl hiccup would have lasted a few hundred posts longer.

Meanwhile, Ellis, Pope and Schrader battled over the film’s final cut. Pope screened a rough cut of The Canyons for Steven Soderbergh. Intrigued, Soderbergh offered to do an edit of the movie if he was given the footage for 72 hours.

Schrader said no. […] "The idea of 72 hours is a joke,” Schrader said. “It would take him 72 hours to look at all the footage. And you know what Soderbergh would do if another director offered to cut his film?”

I said I didn’t. Schrader leaned back in his chair and gave me two middle fingers.

“That’s what Soderbergh would do.”

Premiere of The Canyons at Lincoln Center!

http://www.filmlinc.com/films/series/an-evening-with-paul-schrader-the-canyons

Film Comment really doubling down on this in the next issue.

gtfo w/ 180 minutes !

shouldve def let sodes edit

I think that's the time of the event, including the Q&A with Schrader.

well it better be

now listed at 100 mins.

aaaand I forgot the public sale started at midnight, and the tix are gone.

Checked back to see what I wrote about Auto Focus at the time, and it did improve some. What seemed like a very limiting flatness then was still there, but shrunk down, it wasn't so bothersome. One of the better Schrader films, I'd say. Similar to Star 80 in a lot of ways.

I just saw Mishima yesterday, and...WOW. Kind of mad that the most intriguing of the stories adapted (Kyoko's House) is one of the handful of Mishima novels that's never been released or translated in the west.

I saw Blue Collar once before, about 10 or 15 years ago, and don't really remember how I felt. It seemed very strong this time--I'd say Schrader's best film after Affliction. Pryor, Keitel, and Kotto are so good, the essential blandness that drags down most of Schrader's films for me was never an issue.

Pryor hisses invective--at the union steward during the meeting, at the IRS guy--as well as anyone I can remember. Kael singles out Kotto, and he really is great; one of those performances that feels completely natural, without a trace of acting. And Keitel does one of his best jobs ever of laying back and letting those around him be the focus of attention.

Really liked seeing a couple of Scorsese bit players: George "What's a mook?" Memmoli, and Harry Northup (Doughboy) from Taxi Driver.

I'm sympathetic, but at the same time wincing at the thought of a Nicholas Cage thriller:

http://deadline.com/2014/10/paul-schrader-dying-of-the-light-nicolas-cage-protest-853521/

As for the state of cinema itself, Schrader has long put forth the position that the moviegoing experience was we know it is on it's way out the door. "...the 20th-century concept of a projected image in a dark room in front of a paying audience. If you’re wedded to that concept, you’re in trouble, because that concept is dead," he states. Pointing toward both longer form storytelling on TV and shorter form moviemaking on the internet, Schrader says the definition of a "movie" is up for grabs, and the three-act, two-hour movie is becoming stale. And so, when it comes to the push lately for 35mm projection and saving analog formats, you better bring that nostalgia somewhere else.

"It’s all revanchist claptrap. The goal of art is not to tell people what tools they want to use, but to use whatever tools are around. The tools are always changing and the artists need to change with the tools. We didn’t have movies 100 years ago, and we did quite fine without them, and now they’re going to become something else again," Schrader says.

http://blogs.indiewire.com/theplaylist/paul-schrader-talks-bad-people-behind-dying-of-the-light-says-push-for-35mm-projection-is-claptrap-20141121

Damn, there's no region 2 of Mishima. A lot of high quality picture dvds look pretty bad on my multi-region player and I'm reluctant to shell out for another multi-region player, especially with bluray possibly pushing dvds out the way.

The Criterion Mishima is gorgeous on pretty much every level (transfer, artwork, packaging...)

Somebody posted it on YouTube but I'm going to resist it.

Wish Eureka would pick it up but they don't tend to do as many newer films as Criterion.

as noted elsewhere, his tormented clergyman movie is getting him his best press in eons

https://www.criterion.com/current/posts/4875-the-daily-venice-toronto-2017-schrader-s-first-reformed

^it's one of his best, indeed.

also has a revised edition of his transcendental film book out next year

Dog Eat Dog never really topped the insane opening sequence, but the cartoonish gruesomeness of the film on the whole was hmmm memorable.

The point is not to *get* the canonical movie, but use it as a tool to learn a different style or perspective or world (KANE got its position because it’s an extremely teachable movie in terms of narrative / aesthetic strategies)

— Peter Labuza (@labuzamovies) March 20, 2018

^^ a point often missed by conservatives bemoaning what lib English faculty are doing.

Girish Shambu on the male canon and auteurism

https://filmquarterly.org/2018/09/21/times-up-for-the-male-canon/

gee i wonder why pic.twitter.com/nQstniXRHM

— paul schrader's facebook posts (@paul_posts) August 4, 2021

gee i wonder why pic.twitter.com/nQstniXRHM

— paul schrader's facebook posts (@paul_posts) August 4, 2021

https://www.youtube.com/watch?v=JvGktPaDAPM

https://www.youtube.com/watch?v=6psa1ptpGTc

https://www.youtube.com/watch?v=9PJhhwtBt70

The possibly 9/11-anniversary-timed (hard to say with release schedules right now) The Card Counter is supposed to be cathartic, I suppose, but I found it to be more and more of an ordeal as it went along. The truly dreadful soundtrack played a part in that. I thought I was headed out to see a good poker film.

You do what you must. But I was impressed that Schrader got such a wide opening for a film exploring the impact and legacy of Abu Ghraib. Has this, or other episodes of the War on Terror, been treated in such detail before?

Also, I hope that the desk jockeys who defended "enhanced interrogation" will be questioned again. But somehow I suspect once again they'll not experience material or professional discomfort.

Just saw it, unsure if I “get” it. The first movie in a while (in a theater, anyway) where I feel like I missed something.

https://www.facebook.com/1631212662/posts/10223350640467517/?d=n