Andy

Hmmm you don’t say!? Emmanuelle (1974) I wanted to see what the fuss was all about, and I’m probably one of maybe a dozen people on the planet who enjoyed the Director’s The Perils of Gwendoline. By any standards, this movie is freakin weird. I wrongly assumed the point of an erotic film is to turn on your audience with sensuality and somewhat tasteful softcore. I don’t think this has aged well at all. The character goes on a sexual journey that eventually leads to her being raped and in a threesome before she can shed her innocence and achieve some kind of bulkshit enlightenment. Yeccch. Kind of a downer, but I imagine with the right crowd, you could have a good laugh at it, especially the scene of the nude dancer smoking a cigarette with her lady parts. You can’t make this shit up. Oh well. It is photographed really well. 5/10

I have the vintage 1985 Temple of Doom calendar. Every month is Ford. No other characters. He really did look his best in that film. Women love him, men want to be him.

Oh WOW I love this. I may have the shell out. its Heartbeeps that does it. And Wild Bill Kelso. Indy looks like he’s really trying his best. Bruce the Shark is eating our Maestro!

The action in these scenes… it is filmed like a Musical. The staging, framing, camerawork, timing. It’s all so precise, and theatrical. Like a dance, really. Where every move leads to the next so logically. So masterfully blocked out and edited. This shot is absolutely stunning. The timing of the tripwire that gets the first guard, but not the subsequent ones. Jones enters the shot to handle them. But then Willie follows to dominate getting the keys. This is cinematic brilliance. This could easily have lyrics. Look at the choreography telling the story here. So many wonderful cause and effect sequences. It plays almost like a Rube Goldberg machine set to music. As I said, it feels like a musical, which is kinda cool since the film starts with Anything Goes!

That Blood of Kali probably tasted offensive.

Contrary to popular belief, Corman did make great movies! His Poe adaptations as director were terrific juicy gothic potboilers. Although low budget, it’s all there on the screen, in lurid colorful macabre beauty. Crimson Peak wishes it were so pure. Asa producer, yeah that’s where his reputation stems from. But the notion that he was incapable or a hack is a fallacy. He also had one of the most robust, soothing voices and was more articulate than his reputation would suggest. I could meditate to his audio commentaries. He also gave us B Movie actress Candice Rialson. Meowww. Rest in Peace to one cool cat.

Susan Backlinie who played Chrissie in Jaws, gone at 77. I met her at a convention and she was sweet as can be.

The finale of this movie is just balls. From the moment Shorty wakes Jones out of the Black Sleep, it just sizzles to the very end. That the final climax takes place in the bright sunlight somehow accelerates the adrenaline. I can’t explain why. Maybe because they’re so close to escaping with their lives. The Sword Trick scene… yes it’s funny. But the way Indy takes them out, dueling with the Thuggee’s own arm while in a headlock to Williams’ exotic swashbuckling cue…AND THEN… that bullwhip crack to disarm the other guard. I get chills. Chills every time! Dont even get me started with the Rope Bridge. I’ve seen Temple of Doom a zillion times, and that percussion while ICONIC Jones with the sword threatens to cut the bridge as Shorty and Willie wrap the ropes… it has me eating out of its hands. And finally If this doesn’t make you smile, you’re dead. And then the music when they return to the village. And “I understand it’s power.” It’s just the best.

I haven’t seen GOT, so the theme out of context was not my cup o tea.

I… had never heard the Game of Thrones theme before @Edmilson posted it today.

I am woefully unfamiliar with these. What’s the best way to hear them? YouTube? Boot?

Depends on who you ask. This message board would say Powell has achieved iconic level with HTTYD.

There will have to be a gateway to keep bringing in new fans. Right now, I guess that’s Zimmer. But who can say in 50 years if there will be a film or type of scoring to hook new listeners to want to explore stuff from before their birth. I guess I interpreted @JTN’s question to refer to “people” as in your coworkers and average Joe. But I may have misunderstood if he meant film score fans. But even then, I stand by some of my comments.

What would really be interesting to know in 50 years: Will cinema still be a thing? Will film scoring still be a thing? if so, what kind of scoring will follow the Zimmer style domination? Will there still be film score fans? If so, how far back will they mine the archives? Will anyone listen to Golden or Silver Age scores? We are a dying breed, and so is entertainment built to last. The hang time of most media is quite brief, with little staying power in the midst of the vast volumes of content. It’s all so fleeting. Nobody can even recall more than 3 or 4 iconic themes from the last 25 years, and that’s among film and film music fans. Unless another lightning bolt comes along to zap things into a new retro cool, everyone but Williams will be sort of like Lalo Schifrin… the name is familiar, maybe people can name one score, but they mostly associate him with a dated sound indicative of the time period. “Hans Zimmer? Oh yeah he’s the guy that had that dated sound from the early century.” ”Alan Silvestri? Oh, right that guy who did the Ant-Man music” “Jerry Goldsmith? Did he do James Bond?”

Assuming there’s still music in 2075?