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"Tell the chef, the beer is on me."
“We Greeks are dying people. We've completed our appointed cycle. Three thousand years among broken stones and statues, and now we are dying.”
There's a lot to learn if you're making the move to game animation, but some specialized community outlets have sprung up to help.
The post Looking to Get Into Animation For Games? The Community Is Out There, And It’s Growing appeared first on Cartoon Brew.
Delmer Daves - 1950
KL Studio Classics BD Region A
There has been a good amount of discussion regarding Delmer Daves quest to make the presentation of the Apaches in Broken Arrow as authentic as possible within the context of a Hollywood production. Likewise, the film has been oft noted for showing for showing the settlers and indians where both are capable of sympathy or villainy. And in terms of genre, Broken Arrow, even while dated with its casting of white actors as native Americans, is still worth noting.
What I found interesting, and not mentioned, is that a significant number of shots are extremely tilted, especially in the opening scene, with the camera looking up at a character against the blue sky, or almost overhead, looking almost straight down against the tan, rocky surface. There are very few shots with the camera focused straight ahead, or eye level. The camera angles become less extreme as a visual corollary for those moments when the characters may be seen as equals. The casting of Jeff Chandler as Cochise could well have been due as much to his being as tall, actually one inch taller, than James Stewart, again providing a visual shortcut to the film's message.
Two visually striking moments are reminders that previously Daves had made films now regarded as film noir classics, Dark Passage and The Red House. After a skirmish, three white men have been hanged by their indian captors. The three bodies are seen in silhouette against the red sky, one of the bodies is upside down. While not fully graphic, the grotesque nature of the punishment conveys why there is fear of the indians. Later, James Stewart is seen alone, illuminated by a camp fire. His face is seen half in shadow.
I'm not familiar with the novel that provided the basis for the film. Some scenes can be easily read as referring to the political climate when Broken Arrow was produced. The blu-ray has corrected credits attributing the Oscar nominated Albert Maltz for the screenplay, rather than his front, Michael Blankfort. Maltz was one of the "Hollywood Ten", blacklisted until 1970. The actor playing the most antagonistic of the white settlers is Will Geer, who would also be blacklisted. As the itinerant prospector acting as the self-appointed liaison between the settlers and the indians, Stewart is challenged regarding racial loyalty, and is later almost lynched by an angry mob over his defense of Cochise. While a good distance from the revisionist westerns that often stood in as critiques of the war in Vietnam, Broken Arrow was considered quite progressive for its time.
Stewart's character of Tom Jeffords is similar to the characters portrayed in the Anthony Mann westerns. Jeffords, like the characters in the Mann films, has no fixed home, with the drama initiated by a chance encounter. There is a brief moment when Jeffords is seen as vengeful, the darker James Stewart more frequently associated with Mann, when Jeffords discovers that his young indian wife has been killed in an ambush arranged by Geer. The film is told with first-person narration from Stewart, seen at the beginning and end, riding alone.
The color is quite subdued for a Technicolor production, filmed on location in Arizona. In his first western, Daves finds moments to emphasize the smallness of his actors against the mountains, rocky flatland, and sky. This sense is further underlined when Geer's body is washed away in a river, seen directly above, a view from heaven. Cinematographer Ernest Palmer was an Oscar nominee for his work here. There's one critical study of the films of Delmer Daves, a filmmaker still seriously in need of deeper consideration. The new blu-ray of Broken Arrow is definitely collection worthy.
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Within the two years after Dragon Lord’s release, Chan would enter into his golden age with the quadruple punch of Project A, Winners and Sinners, Wheels on Meals, and Police Story, catapulting him into superstardom and cementing his reputation as one of the greatest action stars of all time. But Dragon Lord finds Chan in a transitional period, having established his comedic persona in counterpoint to the more serious Bruce Lee and Shaw Bros film of the previous decade but still trying to move beyond low budget period pieces. Consequently, most of the film is sub-par slapstick and comic hijinks, consigned to the usual village, warehouse and field sets that so characterized that era’s kung fu films.
Plot-wise, Dragon Lord finds Jackie in his comfort zone, casting him as a bumbler engaged in a game of one-upsmanship with a friend (Chan-regular Mars) over their mutual attraction to a local girl, before they stumble into an antiquity-smuggling operation. Chan would go on to re-use many elements of the plot years later to much better effect in Drunken Master II. Chan did introduce a few innovations in Dragon Lord, bookending the first half of the film with some unconventional athletics, both in a team competition combining elements of Capture the Flag and King of the Hill, and in a violent round of team jianzi, or Chinese Hacky Sack.
More importantly, and the one thing making this film more than just a curiosity, the lengthy final boss fight against Korean Hapkido master Hwang In-shik features some truly breathtaking and rewind-worthy stunts and falls, even though the main villain’s lack of presence throughout the film really detracts from the narrative punch.
1 1/2 out of 4 stars (Below average).
It's no surprise that "Spark: A Space Tail" didn't perform well, but this is a box office bomb of historic proportions.
The post Box Office: ‘Spark’ Fails To Ignite At The Box Office appeared first on Cartoon Brew.
Im Film MIT SIEBZEHN von André Téchiné, den ich leider nur in einer pappigen deutsch-synchronisierten Fassung sehen konnte, wird im Schulunterricht das Gedicht SENSATION von Arthur Rimbaud behandelt. In der deutschen Übersetzung von K. L. Ammer ist das Gedicht EMPFINDUNG benannt. Der Film handelt von der Feindschaft / Freundschaft zweier junger Männer. Zentrale Figur aber ist die Mutter des einen Jungen zwischen drei Männern: Ihrem Mann und den beiden Raufbolden.
Die Funktion des Gedichts im Film – außer den Unterricht zu charakterisieren – bleibt zunächst unklar.
Par les soirs bleus d’été, j’irai dans les sentiers,
Picoté par les blés, fouler l’herbe menue :
Rêveur, j’en sentirai la fraîcheur à mes pieds.
Je laisserai le vent baigner ma tête nue.
Je ne parlerai pas, je ne penserai rien :
Mais l’amour infini me montera dans l’âme,
Et j’irai loin, bien loin, comme un bohémien,
Par la nature, heureux comme avec une femme.
Durch spitziges Korn, auf einsamen Pfaden,
über schlankes Gras will ich irren:
mein Fuß wird die kühlende Frische spüren.
Die freie Stirn lass ich im Winde baden.
Ich denke nichts, ich spreche nicht: ich träume nur,
unendliche Liebe gibt mir das Geleit.
So geh ich durch das Sommerabendblau
wie ein Zigeuner, weit, recht weit,
durch die Natur –
glücklich wie mit einer Frau.
Vielleicht kann ein anderer Film weiterhelfen. Einen Film mit einem anderen Film erklären, kommentieren.
Am 20. April 1985 drehte Helmut Ulrich Weiss einen Film ausgehend vom Breitscheidplatz, dem damaligen Zentrum Westberlins. Dieser Film trug den Titel SENSATION und benutzte den Text der obigen Übertragung ins Deutsche. Helmut war seinerzeit Student der Deutschen Film- und Fernsehakademie Berlin und u.a. später Kameramann meines Films CANNAE.
In einer Rahmenerzählung berichtet eine holprige Kinderstimme von einem Wesen, das auf die Erde gekommen sei. Dieses Wesen – eine junge Schauspielerin in einem hellen kurzen Kleid oder einem Mantel – ich weiß es nicht mehr genau – beginnt seinen Weg durch die Natur vor dem Europa-Zentrum, setzt ihn fort den Tauentzien entlang, überquert die Straße und verliert sich in Richtung KaDeWe. Es ist früher Abend – noch nicht dunkel, aber nicht mehr heller Tag. In einem fort rezitiert das Wesen im O-Ton, der per Funk aufgenommen wurde, das Gedicht durch den Fluss der Passanten hindurch, darunter auch Neo-Nazis, die sich anlässlich des Führergeburtstages versammeln. Das Wesen wird gefilmt von zwei 16-mm-Schulter-Kameras. Die eine Kamera bedient Helmut selbst. Er trägt Smoking entsprechend dem schwarzen Paillettenkleid der zweiten Kamerafrau, Robina Rose. Beide umkreisen fortwährend das sich fortbewegende Wesen, filmen das Wesen und sich gegenseitig, das Wesen filmend. Eine dritte Stativkamera filmt das Geschehen von einem erhöhten Standpunkt. Die Aktion war auf 10 Minuten beschränkt, da eine Rolle 16-mm-Film nicht mehr Material hergab und ein Kassettenwechsel den Fluss unterbrochen hätte.
Der Filmdreh hatte den Charakter eines Happenings. Es ist daraus aber ein richtiger Film geworden. Neben einem anderen Versuch, Gedicht und Film zusammenzubringen – nämlich FREMDE TAGE von Martin Schlüter nach einem Gedicht von Apollinaire, der sich seiner Vorlage sehr viel impressionistischer nähert – ist mir SENSATION immer in guter Erinnerung geblieben. Der Studienleiter der Filmakademie fragte mich damals um Rat, was er denn zum Studenten-Oscar nach Los Angeles schicken solle. Ich empfahl SENSATION – und so wurde es gemacht. Was soll ich sagen? – der Film hat keinen Oscar bekommen.
Der Film Téchinés folgt der alten Weisheit, dass das, was sich liebt, sich neckt, und lässt ihn in eine Liebesgeschichte münden. Alles an diesem Film ist hektisch und überstürzt, weniger an psychologischer Glaubhaftigkeit interessiert als daran, einen möglichen Entwurf zu liefern und jugendliches Ungestüm in den Film zu übertragen.
Genet spricht davon, dass in der Liebe eines Mannes zu einem anderen Mann die Männer die Frau zwischen sich erfinden
– glücklich wie mit einer Frau.
"Tell the chef, the beer is on me."
"Basically the price of a night on the town!"
"I'd love to help kickstart continued development! And 0 EUR/month really does make fiscal sense too... maybe I'll even get a shirt?" (there will be limited edition shirts for two and other goodies for each supporter as soon as we sold the 200)