3 Burst results for "Dana Michael"
"dana michael" Discussed on Filmspotting
"To get back into our Buster Keaton marathon. These marathons are a chance to take a deep dive into an actor, director, genre, or regional cinema, with Keaton, we get an actor, a director and a genre, silent, movie, comedy. Last week, it was our first installment and we talked about four of Keaton's short films. This week, it's a feature length comedy, 1920 threes our hospitality. Before we get into the review Adam, maybe we should talk a little bit about this hiatus that we're going to be taking with the marathon. We are going to take a little break after this second film. And come back with our third installment in three weeks maybe. I'd have to look at the schedule to get the exact breakdown, but basically here's why. We are reconfiguring the marathon around an event that we've teased a little bit, but we weren't really ready to give any more details about. And now it's not official. It's not a 100% tickets aren't on sale yet, but we are telling you to save the date and obviously we are rethinking the schedule for the marathon based on the fact that we are pretty sure this is going to happen. So save the date. If you're in the Chicago area or anywhere near it or just want to come visit, June 5th, Sunday, June 5th would be the time because we think you're going to be able to come to the music box. The great institution that is here in Chicago, that incredible theater where we have done different events, including our watch of Rio bravo, back in the before times, and then back in the way before times our 500th episode was there. We're going to watch a Buster Keaton film on the big screen. Dana Stevens is going to be in attendance and is going to talk about the film with us afterwards. And then not only that, it's going to culminate our marathon. On stage, we're going to tape our marathon awards the best of our Buster Keaton marathon. So get our picks and get Dana's fix. Here's the other thing. If you were one of those people who was a VIP guest for our 15th anniversary, Rio bravo event in 2020, we're going to bring that back. You all have an opportunity to buy a ticket, hang out for an hour or so, just have a drink, talk with people like, I don't know, me, Josh, Sam, Dana, Michael Phillips will probably be there, some other friends of the show. It's gonna be a great time, a lot more details to come and hopefully at some point in the next few months, a ticket link to come so you can purchase an attend, but the music box is a big theater. Oh, and I think we're gonna have a live score played on the organ. Oh yeah, you mentioned this. Yeah, for this Keaton event. So a lot of details to be worked out, but it's gonna be special and that is why we're taking just a little hiatus before getting back to Keaton. Yeah, forget everything else you said. This is a chance to see a Keaton silent film with a live Oregon accompany it, which is, you know, not very often you get that opportunity and if there was ever reason to pause a marathon, I think this is a good one. Let's get back to our hospitality. The plot offers a riff on the Hatfield and McCoy feud, Keaton plays William McKay, who returns to his Appalachian homestead after being raised in New York City, only to find out that the woman he's fallen in love with is a member of a family, the canfields that has been in a deadly feud with his family for generations. Adam last week, we split on our favorite of the four shorts that we started the marathon with. We're both like them all, but you preferred 1920s the scarecrow, which has a series of great setups and gags, loosely built around Keaton, competing for the attention of a girl. My favorite was Keaton's debut short one week, which also had its share of great gags and set pieces, but worked really well as a metaphor for marriage. Our hospitality offers another jaded account of marriage, specifically an element of marriage that one week didn't touch on in laws. So should we start this by talking about urine? We can. I'd be fine spending an entire segment on Sarah's parents who are lovely people. They're going to come visit in a couple of weeks, and I always look forward to it, Josh. No guns involved. No guns involved. They've never, they've never chased me around the house. Okay, good inside or outside. No, it's all very civil. It's good. Nice. I think those scenes in our hospitality in particular where they are chasing buster with a bunch of weapons. And taking aim at him are probably among the funnier in the film. But what really struck me about this movie is I won't say the lack of comedy because obviously it's still a silent comedy and there are a fair number of gags and there are plenty of examples of slapstick in the film. But this movie, our hospitality for me is more about marking and I know there was three ages between these, but seeing the quick evolution and the sophistication of his storytelling and filmmaking from those four shorts. That's what you really get with our hospitality. It's not a series of scenes. It's not a bunch of extended gags. It's an actual dramatic narrative. And the comedy is paramount in those shorts. It is always about the gags and these kind of confined spaces and confined situations. There's an adventure aspect to them, but nothing like the adventure we get here with this tale where we see him traveling by train and the scale of some of these set pieces, even just the attention to detail in the authenticity with some of the towns he travels through. And the way this movie is rooted in history in a way that obviously we didn't see with those short movies, but in addition to the scale, we get things like that dramatic, emotional prologue, where we see two men get killed. There's nothing funny about any of it. Two men killed needlessly, one father dead, an infant son left behind, another father just missing his chance to prevent the loss of his son. And from there, when we get into the story proper it's that journey back to the estate back to the home that he left when he was an infant, Willie McKay, the Buster Keaton character. And the bulk of the film, the conflict at the Cannes fields home. Yes, there are some very funny scenes there, but more than anything, it's driven by Keaton's physicality, right? His fearlessness is absolute fearlessness in front of the camera and I knew it was coming because I've seen it before. I've seen our hospitality, I've mentioned this before. I took a silent comedy class on Chaplin and Keaton two decades ago. So I did remember this film or I certainly remembered some of the big set pieces, but Josh, that waterfall kind of swing and rescue. Of Natalie talmadge, that surely was one of the best, most thrilling action scenes in cinema history, up until 1923, but in 2022, it's still incredibly thrilling. I mean, it's actually breathtaking. I did let out a little gasp, but watching it. Sophie, my daughter was watching it with me, and at the same moment she let out a wow. And it was a genuine wow like amazement at what we just saw. You know, completely buying the illusion of it, the fact that, of course, that isn't really buster or talmage hanging over a waterfall, surely about to go to their deaths, but everything about the production design of it and the technique used convinces you that that's what you are really seeing. And as I said, I had seen it before, so of course I knew what was about to come, as she's coming down the river, and he's gonna swing out to save her, but also he does show you that. He makes it clear by where the camera's positioned, that that's exactly what's going to happen. And yet the drama, there isn't, how is he going to save her? Is he actually going to be able to do it?.
"dana michael" Discussed on Metal Mantra Podcast
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"dana michael" Discussed on Papo no Auge!
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