HDTenEightyP/NetNews huggingface dataset:
From: GC.DJD@forsythe.stanford.edu (Sullivan)
Subject: Re: BARTON FINK: say what?  (SPOILERS)
Organization: Stanford University, California, USA
Distribution: usa
Date: Tue, 28 Jul 1992 23:43:01 GMT

In article <1992Jul27.174622.1@hmivax.humgen.upenn.edu>,
bole@hmivax.humgen.upenn.edu (Greg Bole) writes:
>In article <1992Jul27.192508.8083@dazixco.ingr.com>, doak@sunbug.ingr.com
>(Doak Heyser) writes:
>
>>    I got to see Barton Fink the other day and was left a little perplexed.
>
>Many people feel this way...and this question comes up fairly often.
>I've been involved in a number of interesting conversations on this film,
>and there seem to be many different ways to "read" it.
>
>First of all, I believe the story of the film is not to be taken literally.
>I also don't believe it's a "dream", or a "decent into hell", or a "bad drug
>trip" as I've heard offered before.  It is, simply put, an alegory.

I'm sure that this film has been beaten to death here, but I missed
the execution.

At first I thought it was horseshit.  Then a respected friend of
mine told me he liked the film a LOT.  He told me to think of the
film as being the script Fink writes for the Wallace Beery wrasslin
picture.  So I did, I cast the picture using the characters in
Barton Fink:

Barton as Wallace Beery hero wrestler
Charlie as helpless waif child hero protects   (or is this reversed?)
girlfriend as girlfriend
Movie Mogul as bad guy wrassler
an assortment of cliche characters (two tough guy cops, washed up
mentor, etc)

So here is how I make it:  Barton the hero wrassler(Beery character)
wrestles with Hollywood to produce a quality film with the voice of
the common man.  He has the alliance of a smart cookie girlfriend,
and a loving helpless child(charlie) and finally produces the script
of the ages.

Hollywood grabbed it up and produced it, and turned it into the
movie that confused, perplexed, and nauseated most of us.

Hollywood has the loving waif kill the girlfriend and become quite
unsympathetic, the script is owned by Hollywood, NO_ONE will see
it now(the comment the mogul made to Barton - "I own you").  The
hero is ultimately discredited as a fraud, an unsympathetic,
selfish, wierdo who lives out postcard scenes.

See how this movie looks now in that light?

Cowshit.

I asked my wife when a whitefaced clown was going to step out on
camera (the 'Why are foreign films so foreign Bud Lite commercial')
on the beach at the end.

Mike
Newsgroups: rec.arts.movies
From: boyajian@ruby.enet.dec.com (The Man from Another Place)
Subject: Re: REVIEW: LAST EXIT TO BROOKLYN
Organization: Digital Equipment Corporation
Date: Sat, 25 Jul 1992 09:34:01 GMT

In article <1992Jul24.141802.3483@cbnewsj.cb.att.com>, blj@mithrandir.cs.unh.edu (Brian L. Johnson) writes...

} LAST EXIT TO BROOKLYN is a very good, but very dramatic, film.

"...very good, but very dramatic..." ???
               ^^^
That makes it sound as if you think that "good" and "dramatic" are
normally incompatible traits.

} LAST EXIT TO BROOKLYN was very well written, although most of the
} major film critics seemed to think that the film was over dramatic
} and not worth seeing (Roger Ebert excluded), [...]

I wasn't as blown away by it as many people were, though I certainly
would say that it's worth seeing.

} Uli Edel, a first-time director (I think),

Nope. He did a highly-regarded but relatively obscure film called
CHRISTIANE F. back in 1981. He's also, from what I hear, directed quite
a bit for German television. He also, incidentally, directed an episode
of TWIN PEAKS (before anyone asks, it's the one where Windom Earle and
Thomas Eckhardt first make their appearances).

-- 

	"She's my radiation baby.
	 She's my teenage fallout girl."

--- jayembee (Jerry Boyajian, DEC, "The Mill", Maynard, MA)

    boyajian@ruby.enet.dec.com
From: gmclain@lonestar.utsa.edu (Glenn A. Mclain)
Newsgroups: rec.arts.movies
Subject: Video release of Greenway movies
Date: 22 Jul 92 20:59:32 GMT
Organization: University of Texas at San Antonio


  Anyone know if "Prospero's Books" is slated for video release in the next
  year?  Also, I heard that Greenway's "Drowning by the Numbers" was released
  to video.  Is this true?

  Glenn...........
Newsgroups: rec.arts.movies
From: wkm1@nestor.uucp (24102-messer)
Subject: Movie Musicals
Organization: Bellcore, Livingston, NJ
Date: Tue, 21 Jul 92 18:51:42 GMT


Other great movie musicals, IMHO:

Kiss Me Kate:  Cole Porter is great, as always, and it's fun to
watch a very young Bob Fosse show off his style.

A Funny Thing Happened on the Way to the Forum:  Ok, so it's
a bit dated, but there are some GREAT songs and silly situations,
i.e. "Everybody Ought to Have a Maid."

Seven Brides for Seven Brothers:  Songs you find yourself humming
along with, and the scenery ain't bad, either..

WKM

Newsgroups: rec.arts.movies
From: gmark@cbnewse.cb.att.com (gilbert.m.stewart)
Subject: Re: TERMINATOR II
Organization: AT&T
Date: Fri, 31 Jul 1992 15:22:50 GMT

In article <5654@vexpert.dbai.tuwien.ac.at>, mst@vexpert.dbai.tuwien.ac.at (Markus Stumptner) writes:
> From article <1992Jul24.221441.10776@cbnewse.cb.att.com>, by gmark@cbnewse.cb.att.com (gilbert.m.stewart):
> > Sort of like seeing a movie and suspending disbelief for some aspect
> > and then enjoying it anyway.
>  
> There's no such thing as complete suspension of disbelief, and any
> little pseudo-technical justification helps.

"Some aspect" need not imply "complete".  As to pseudo-technical justification,
I think the kind of reasoning that requires is very close to the same
kind of reasoning that allows people to eventually invent some of the
things we see in movies.  As well as being entertaining.

GMS
Newsgroups: rec.arts.movies
From: gmcoop@bnr.ca
Subject: RE: James Bond Trivia
Organization: Bell-Northern Research
Date: Fri, 24 Jul 1992 19:58:54 GMT

In article <1992Jul23.131857.1973@brandonu.ca>, pitzel@brandonu.ca writes:
|> Trivia question for all you James Bond buffs out there.  My husband and I are
|> having a disagreement about two Bond movies.  I say that the movie "Moonraker"
|> came out cira 1978 (approximately), and before the movie "Never Say Never
|> Again" cira 1985 (approximately) with Sean Connery.  He says that NSNA came out
|> in the 1960-1970's, BEFORE "Moonraker".  We have twenty dollars riding on this,
|> and any documented proof of either theory (ie. actual movie book listing), can
|> be sent to me via e-mail.
|> 
|> Thanks alot!
|> 
|> Diane Pitzel
|> Brandon University
|> 
|> 
I don't have any "documented" proof, however, I am quite certain NSNA came out
well after "Moonraker".  If you watch NSNA you can tell from the quality that it
most definitely was not released in the 60's or 70's.  NSNA was a remake of
"Thunderball" which was released was released in that time frame.  This must be the movie your husband is thinking of.
From: jamesc@concour.cs.concordia.ca (SCHIDLOWSKY james c.)
Newsgroups: rec.arts.movies
Subject: Re: Greta Scacchi (sp?) - Any fans out there?
Date: 28 Jul 92 03:12:08 GMT
Organization: Concordia University, Montreal, Quebec

She's not British.  I can't find an article I had on her, so the details are
fuzzy, but her parents are mixed.. her mother Italian and her father         
Australian.  Anyway, I'm pretty sure she was born in Italy, and speaks 
Italian, French, and possibly German.  I'll try to find my article.

I first saw her in _Coca-Cola Kid_, and is my favorite of her films.

She was in a Margarethe von Trotta film _Three Sisters_  (I'm not sure
that's the title in English), but I was not impressed.

Despite her name figuring large in the credits, she only has a brief
appearance in the British film _Defense of the Realm_.

There was an Australian mini-series called _Waterfront_ in which she 
played an Italian immigrant in Australia.  Not that great.

_-_
</+\:=-- James.                 /\                                S.P.I.a.D <\
^\:-(jamesc@.cs.concordia.ca)   \/  "These are the dark ages." -- NoMeansNo </
From: "eric walker" <eric.walker@channel1.com>
Newsgroups: rec.arts.movies
Subject: neuromancer & jim cam
Date: 30 Jul 92 21:14:22 EST
Reply-To: "eric walker" <eric.walker@channel1.com>
Distribution: rec
Organization: Channel 1 Communications

PJF>        BTW, no Linda Hamilton would not make a good Molly.  She's far too
PJF>old, Molly is younger and more of a combo of Street Smart, "book" Intelligen

     I've always felt that Rebecca De Mornay could make a good Molly,
     based on her sly, knowing performance in "Risky Business."
---
  SLMR 2.1a  Y'know?  I'd rather see this on TV.  Tones it down.
--
Channel 1 (R)   Cambridge, MA
From: traveler@uflorida.cis.ufl.edu
Newsgroups: rec.arts.movies
Subject: Casablanca rerelease poster
Date: 28 Jul 92 03:42:16 GMT
Reply-To: traveler
Organization: University of Florida  (ufl.edu)
News-Software: VAX/VMS VNEWS 1.3-4


	well, after months of rumors and anticipation, I saw Casablanca
on the big screen on June 27.  Had to go 70 miles to Boca Raton,
though--not a single theatre in Miami picked it up!  (Not too
surprising, given the huge die-off of art houses in Miami in the
last few years, but it proves again that we are NOT a real center
of culture yet).
	The flick was as good as ever; it lifted me out of my depression
that evening, reinspired me to be a screen writer, and reminded
me of humanity's genuine goodness.  SOunds corny, I know, but
hey, that's what a good movie should do...and if it can do it to
an intellectual skeptic like myself, it's really good.
	My question to the net at large: ANyone know where I can get
a copy of the Casablanca 50th Anniversary Rerelease poster?
The theatre had one up...it was a really cool Chagall-like
painting montage of BOgart, Bergman, etc. from various scenes in
the movie, done in blue and purple tones.  I'd love one for my
wall...Any leads will be greatly appreciated!

-------------------------------------------------
Max Clarke				/o)\
TRAVELER				\(o/
-------------------------------------------------
Newsgroups: rec.arts.movies
From: charlesk@fraser.sfu.ca (Charles Hak Kim)
Subject: Re: Favorite musicals
Organization: Simon Fraser University, Burnaby, B.C., Canada
Date: Thu, 30 Jul 1992 00:34:02 GMT

reiher@ficus.cs.ucla.edu (Peter Reiher) writes:

>A lot of the Hollywood films of the 1930's and 1940's might contain two
>or three songs, despite not being musicals.  "Gilda" is one example that
>springs to mind.  Back then, the value of having a hit song in your film
>was even greater than now, at least as far as boosting film attendance
>was concerned.  (The potential payoff from selling soundtrack albums is
>much greater now.)

Are you talking about the movie with Rita (yowza) Hayworth?  She plays
a nightclub singer in some club I think.  It's all about her ex-lover
Johnny returning to her or something like that.  Loved this movie.
Thought I was the only one to know of it's existence.

Regards,

Charles H. Kim

charlesk@sfu.ca

Newsgroups: rec.arts.movies
From: skow@cs.utwente.nl (Jacek Skowronek)
Subject: The Hunger soundtrack
Reply-To: skow@cs.utwente.nl
Organization: University of Twente, Dept. of Computer Science
Date: Mon, 27 Jul 1992 11:46:54 GMT

Can somebody tell me who was the author of the beautiful The Hunger soundtrack.
I don't mean the rock part, but the classic part.

Jacek

---
-------------------------------------------------------------------
Jacek Skowronek				e-mail: <skow@cs.utwente.nl>
Departament of Computer Science
Twente University
Enschede, The Netherlands

Newsgroups: rec.arts.movies
From: stame@emunix.emich.edu (Stewart Tame)
Subject: Re: REVIEW: NAKED LUNCH
Organization: Eastern Michigan University
Date: Thu, 30 Jul 1992 00:26:05 GMT

In article <5964@npri6.npri.com> eric@npri6.npri.com (Eric Williams) writes:
>In article <1992Jul27.014610.2960@zip.eecs.umich.edu>, stame@emunix.emich.edu (Stewart Tame) writes:
>> It's been a while since I've read the book (about seven months or
>> so) so the memory isn't *real* fresh.  Wonderful book.  
>Some people might be confused by this term. It is a wonderful book
>in the sense that it is composed of wonders, but it is not a pleasant
>read.

Gee, *I* certainly thought it was . . . :-)
It's definitely an experience.   The best description I've ever been
able to come with is "a mental enema."   The movie had a pretty good
description too, "Exterminate all rational thought."

>> "But for the most precise literary antecedent to [_RN: The Memoirs of
>>  Richard Nixon_], we must consider nothing less than Vladimir Nabokov's
>>  _Pale Fire_ . . . "			-- Ron Rosenbaum
>I'd be interested in hearing the rationale behind this statement,
>being a VN fan. Is Mr. Rosenbaum comparing RN's writing to Nabokov or 
>Kinbote (I assume the latter)?

Alas, I've yet to read PF but Rosenbaum's comparision ran something along
the lines of people who live vaguely paranoid realities in their minds or
something like that.  I'll Email you the full quote . . . 
Newsgroups: rec.arts.movies
From: rlwilliams@gallua.gallaudet.edu
Subject: Re: Goriest Film Ever Made
Organization: Gallaudet University
Date: Thu, 23 Jul 1992 21:02:42 GMT

In article <2509@nlsun1.oracle.nl>, gbradley@uks197.Berkeley.EDU (Gary Bradley) writes:
> In article <92197.141008MSTBH@CUNYVM.BITNET>, MSTBH@CUNYVM.BITNET (Mike
> S.) writes:
> |>
> |>   I remember, a few years back, Siskel and Ebert rated horror films
> |>   on their TV show.  They voted "I Spit on Your Grave" as the most
> |>   gory film ever made.  I saw it after that and agree that it is
> |>   pretty gross.
>      
>     Well I have never seen this film (it's on my wish list), but "The
> Conesseur's (sp?) Guide to Horror" praises it highly. This book (which
> is pretty damn accurate with the reviews of other horror films which I
> have seen) says that "I Spit on Your Grave" is actually a well
> thought-out piece of feminist cinema, citing that it was a bloody
> tradgedy that the original title ("The Day of the Woman") was substitued
> for the above just to make it look more like a nasty exploitation film.
> Comments??
> 
> +---------------------+------------------------------------------+
> | Gary Bradley        |   "You receive a love letter from me and |
> | ORACLE Corp, UK     |                  you're f*cked forever!" |
> | Edinburgh, SCOTLAND |        - Frank Booth ("Blue Velvet")     |
> +---------------------+------------------------------------------+
> | "God damn the censor man"                                      |
> +----------------------------------------------------------------+
========
I believe Siskle and Ebert said it was the WORST movie ever made, not the
goriest. In terms of bad acting, horrorific message, gratuitous everything...
The director also made a move called "The Sadist" which I've seen at my local
video store. The box proudly proclaims "by the director of I spit on your
grave!"

anyone ever see it. Can it be as bad?


Newsgroups: rec.arts.movies
From: tedk@jpl.NoSubdomain.NoDomain (Ted Ko)
Subject: Re: Patriot Games/Alien/Nicholas Nickleby
Organization: Bellcore
Date: Thu, 30 Jul 92 13:22:32 GMT

In article <1992Jul30.031234.23480@socrates.umd.edu>, caruso@socrates.umd.edu (John Caruso) writes:

|> 
|>      For anyone (like me) who still hasn't seen the film and wonders
|> if they should or not, I recommend it highly.  It's not a classic by
|> any means, but it's well made and suspenseful, with good performances
|> by the leads and the supporting cast.  IMHO, the best mainstream film
|> that's been released this summer, and well worth full price.
 
The opposing view:
	Yes, it was a decent movie but I'd put out a warning to anyone who's
read the book.  Believe me, there's a reason that Tom Clancy wasn't too happy
with the movie.  One might argue that it's difficult to capture an entire
Clancy novel in one regular length movie but, IMO, Red October was done 
beautifully and didn't suffer from the downsizing.
	Unfortunately, Patriot Games falls far short of Red October.  I would
argue that Harrison Ford is not Jack Ryan by any stretch (too many flashes of
Regarding Henry) and Anne Archer is nothing like I'd imagine Carol Ryan.  The
performances were adequate, but Ford couldn't quite get the personality down
as well as Baldwin did.
	Clancy fans will probably also be annoyed by the way the movie skipped
over so much and had sort of a disjointed feeling.

-- 
<--The-Dark-Elf-<<<
(tedk@ctt.bellcore.com)

P.S. I know it came out a while ago so apologies if this stuff has been hashed
over already
From: barmar@think.com (Barry Margolin)
Newsgroups: rec.arts.movies
Subject: Re: UNLAWFUL ENTRY (spoiler)
Date: 24 Jul 1992 22:33:59 GMT
Organization: Thinking Machines Corporation, Cambridge MA, USA
NNTP-Posting-Host: telecaster.think.com

In article <1992Jul24.143750.18904@linus.mitre.org> jartz@mitre.org writes:
>A modern yuppie couple has a burglar break into their house and
>threaten the wife with a knife at her throat before fleeing.  Two
>policemen come to take the report.  One of the two policemen
>becomes consumed with their safety and ultimately decides that
>he must get the husband out of the way to protect the wife.

Did we see the same movie?  He didn't care about safety, and wasn't trying
to protect the wife; he'd become obsessed with her (I was going to say
"fallen in love", but he's clearly a character who is incapable of such a
positive emotion), and he was trying to get rid of the husband so that he
could take his place in her life.

>I was disturbing and even frightening, but in a very
>heavy handed way.  

What were you doing that was so disturbing and frightening? :-)
-- 
Barry Margolin
System Manager, Thinking Machines Corp.

barmar@think.com          {uunet,harvard}!think!barmar
Newsgroups: rec.arts.movies,rec.arts.books
From: francis@oas.stanford.edu (Francis Muir)
Subject: Re: Graham Greene
Organization: Stanford Exploration Project
Date: Tue, 21 Jul 1992 14:14:37 GMT

Margaret F Riley writes:

	Michael Lounsbery writes:

		Ken Yousten writes:

			I've been watching old movies lately, and have 
			noticed that several good ones have the name 
			Graham Greene in the credits.  For instance:  
			he wrote the screenplay for THE THIRD MAN, 
			MINISTRY OF FEAR and THIS GUN FOR HIRE are based 
			on novels of his, etc.  Could someone give me some 
			information on him--he seems worth looking into.

		He's one of my favorite writers, and he just died last year.  
		I believe "Our Man in Havana" and "The Quiet American" were 
		also made into films.  

		[...]  He also had an eerie knack of setting government-
		questioning stories in places shortly before events of
		major importance subsequent to the publishing (Cuba, Haiti, 
		Vietnam).


	This actually makes sense.  Greene was an operative for British 
	Intelligence earlier in his life.


It would make no sense if it were true, since it is well-known that
intelligence operatives plough far too narrow a furrow to know what is
going down around them. I believe Greene was in the Colonial Service,
where, as a Resident, he would be deeply involved in the day-to-day lives
of those around him. In a broad sense, and depending on your political
bent, you may wish to view the colonial Service as a giant intelligence
operation.

Back to his works. The first film I saw of his -- before I began reading
Greene -- was Brighton Rock (1939?) which caused an extraordinary impact
on this writer and defined a genre of British films that included, for
example, Noel Coward's *In Which We Serve*. I particularly remember it
as the firat appearance of Richard Attenborough as a particularly nasty
youth. Peobably Dickie's finest performance. Nowadays he's just another
Old Fart. *Brighton Rock* was also the first of Greene's four great
novels of conscience, and anyone with a little time on their hands might
like to read them in the order they appeared, since they show the
development of Greene's moral sense and the concomitant development of
his power of writing. In order they are:

	*Brighton Rock*
	*The Power & the Glory*
	*The Heart of the Matter*
	*The End of the Affair*

Looking back, I don't think anyone saw the importance or the place of
*Brighton Rock* at the time, it was just a dam' good tale. The titles
are superb indicators, and if I had to pick one again, on reflection
it would be *The Heart of the Matter* -- a change of heart from yesterday.

						Fido
Newsgroups: rec.arts.movies
From: cb366@cleveland.Freenet.Edu (Mark B. Bendiksen)
Subject: Re: The Rapture ** SPOILER ** (but you won't want to see this movie)
Organization: Case Western Reserve University, Cleveland, Ohio, (USA)
Date: Tue, 28 Jul 92 13:48:47 GMT


eiscoop3@bmerh52.bnr.ca (Robert McAulay) writes:

>I noticed in the Siskel & Ebert top ten lists that Ebert listed.
>The Rapture' as one of his favourite films in the last few years.
>I saw this recently and was so turned off by it I can't even
>remember if I finished watching it.
                                                                
>What the hell was this?  Some gratuitous sex at the start to attract
>the viewers and then some disconnected, badly acted and
>horribly frustrating scenes to finish.  I remember that the idea
>interested me at first, the imminent return of God and the fact
>that only a select group of people knew about it, but then it
>deteriorated into... I don't know what.  
                                    
>Any comments out there?  Did anyone like this movie?  Did
>anyone get a coherent message out of it?  I'd like to know what
>Ebert saw in it.
                                                  
>Mike. 

I haven't yet seen the film, but as I recall Ebert really
admired the film on account of Mimi Rogers' performance more
than anything else. He kept rambling on about how Ms. Rogers
really took a risk by taking such a role that no other actress
in Hollywood wanted, etc. In fact, I don't remember him saying
anything substantial about the film itself.


Mark B. Bendiksen
cb366@freenet.cwru.edu
-- 
"If we don't get some cool rules ourselves, pronto,
 We'll just be bogus, too."-- Dr. Jeff Spicolli
From: Mike_Quigley@mindlink.bc.ca (Mike Quigley)
Newsgroups: rec.arts.movies
Subject: Death Warrant
Date: 25 Jul 92 05:38:01 GMT
Organization: MIND LINK! - British Columbia, Canada
Distribution: world

Does anyone know what is the running time of the Jean-Claude Van Damme movie
Death Warrant? According to Maltin, it's 111 minutes, according to the label of
the MGM laser disk, it's 101 minutes, but the actual length of the film on the
disk is 89 minutes! Maltin's summary suggests Van Damme is posing as a Canadian
Mountie, which he is in the film, but with some connection to Los Angeles. Is
there another version of the film which actually takes place in Canada?


--
-----------------------------------------------------------------------------
"TV dinner by the pool -- I'm so glad I finished school." -- Frank Zappa
From: slowther@ducvax.auburn.edu (Sam Lowther)
Newsgroups: rec.arts.movies
Subject: Re: don't look now (minor spoilers)
Date: 22 Jul 92 23:46:00 GMT
Organization: Auburn University
News-Software: VAX/VMS VNEWS 1.41

In article <1992Jul22.204904.23342@usenet.ins.cwru.edu>, cb366@cleveland.Freenet.Edu (Mark B. Bendiksen) writes...

>Someone correct me if I'm wrong, but
>it seems that I heard a discussion once about the director's use
>of the color red (the girl's raincoat). Apparently, in every
>frame of every scene of the film you can find that same red
>color (something about the director trying to remind us
>subconsciously of the girl's presence).

Minor spoilers about "Don't Look Now" and "Flatliners" follow:

Did anyone else wonder if it was more than coincidence that in "Don't Look 
Now," Donald Sutherland was hounded by (and eventually attacked by) a small 
creature wearing a red hooded rain cape, and in "Flatliners," Kiefer 
Sutherland was hounded by (and eventually attacked by) a small creature 
wearing a red hooded sweatshirt?

--Sam

++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++
Sam Lowther       |INTERNET:slowther@ducvax.auburn.edu |"I'm not a doctor, but  
Auburn University |BITNET:  slowther@auducvax          | I play one on r.a.t.s."
++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++