"For the money, for the glory, and for the fun...mostly for the money. ": A Burt Reynolds Memorial Poll

I watched Hooper last night for the first time - definitely enjoyable, much more in the Smokey & the Bandit vein.

Although I gotta say: Hal Needham’s movies look like fkn local news, they are SO workmanlike it’s almost depressing sometimes. The stunt sequence at the end was so cool but it was shot in such a “fuckit whatever” way that you miss the scope. Everything’s either close up or too far away, lol. But I do love how much room he gives Reynolds & the other actors to just be natural. Lots of personality, even if there is minimal (read: zero) flair

saw Smokey And The Bandit for the first time at a $5 screening this week: at first I was taken aback at the sometimes "set and forget" staging of some of the turnaround chase scenes, but it's not like there's no dynamics in other moments (the sense of propulsion in the Bandit / Cledus CB scenes!), and I ended up figuring that Needham was giving the viewer a perspective of what an IRL viewer might be startled by in those moments.

yeah maybe he started out shooting stock film or something — it’s pretty funny once you start to notice it

Watched Sharky’s Machine tonight. Kinda fun, definitely skeezy (though to answer a question from upthread, it’s not nearly as ugly as 52 Pickup; the scene where Burt slaps Rachel Ward around aside, most of the implied depravity is offscreen), but a bit overlong. This is actually time that I’ve managed to not like Charles Durning in a movie, which is a pretty dubious accomplishment. Henry Silva’s sicko villain was interesting, and there are some nicely staged sequences: I especially liked the mid-movie evidence processing montage sequence for it’s efficiency; Burt finds a nice way to avoid an info dump.

*actually THE FIRST time

ha ha! wow

― Squeaky Fromage (VegemiteGrrl), Monday, September 10, 2018 1:25 PM (one week ago)

Film noir homage? Maybe Aldrich reused a shot from Kiss Me Deadly?

― Josefa, Monday, September 10, 2018 1:29 PM (one week ago)

saw Vertigo on 70mm yesterday: San Francisco outside Midge's apartment window is a B&W still by day, colour film by night.

Just found out (via the 80s All Over podcast) that Burt turned down Terms of Endearment to do Stroker Ace, home of this:

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

Jeezus.

it's a WFMU show of Burt-related movie music

http://wfmu.org/playlists/shows/81415

At Long Last Love is an "overlooked masterwork," says Richard Brody in this week's New Yorker. Hm.

director's cut showing in NYC along w/ Nickelodeon's

Of interest: https://www.indiewire.com/2013/06/at-long-last-the-definitive-version-of-at-long-last-love-131623/

Also fwiw that BluRay Bogs talks about is oop.

Automatic thread bump. This poll is closing tomorrow.

Automatic thread bump. This poll's results are now in.

I don't say this often but

Oh for fuck's sake

whut

rmde @ ilx

Found Fuzz in the library. (A Kino Lorber DVD--a couple of days after seeing Kino Lorber's The Image Book. Eclectic company.) It's not nearly as bad as you might fear...but after a promising start, not as good as you want it to be. MASH must have been the most influential film of the early '70s--you could probably list at least a couple of dozen attempts to duplicate all the stuff people liked about it. (The claustrophobic-movie-poster thread is a good place to find such films, including Fuzz.) Fuzz starts with Altman regulars Tom Skerritt and Bert Remsen; also, pre-American Graffiti Charles Martin Smith. Two really weird things: Raquel Welch is barely in it--10 minutes, maybe--and she and Reynolds have virtually no interaction at all, even though they're working out of the same precinct.

Odd trivia: the writer of White Lightning and its sequel Gator once spent two years in a French prison for attempting to smuggle guns to the IRA in Northern Ireland. William W. Norton, who also co-wrote Big Bad Mama.