Monday, February 28, 2011

The Man With The Movie Camera (Vertov. 1929)

“This film is an experiment in cinematic communication.”

The Soviet Union was a bad thing. Communism is bad. Moscow smells bad. Russia is forever the enemy of the United States of America (fuck yeah). I hate that the 1077 Films to See Before You Die has basically forced me to acknowledge how brilliant some of the early Soviet filmmakers really were. The Man With The Movie Camera is by far the most impressive early film I have seen so far. Its director, Dziga Vertov is easily one of the most groundbreaking pioneers in the history of cinema. Man, I wish he was an American.

That’s enough of my pro-American dangerous rhetoric. The Man With The Movie Camera is a simple, silent, documentation of a day in the life of a Soviet citizen. Though the whole thing seems incredibly simple, Vertov actually created one of the most complicated films in all of history. He showed off several never-before-done editing techniques that filmmakers have gone on to copy for decades. The Man With The Movie Camera features film’s first examples of double exposure, fast motion, slow motion, freeze frames, jump cuts, split screens, extreme close-ups, tracking shots, footage played backwards, animations and split screening. Though Vertov certainly did not invent these things, he was the first filmmaker that was able to make them happen. And the product is very impressive.

The film is labeled and presented as a documentary film, but this is not necessarily the case. Every shot in the film is deliberately set-up to create the proper stage for Vertov’s edits. He creates a fast-cut, spinning world that makes the Soviet Union look partially livable. The film’s concepts are interesting and perfectly complimented by the difficult variations of extreme long-shots and close ups. These tricks are needed to keep the film watchable because without them the film would be nothing more than looking out of your apartment window at the world below you.

The most memorable thing in The Man With The Movie Camera is the scene that features the animated movie camera. Vertov somehow manages to animate his large video camera and make it do what resembles some kind of dance. After the camera is done entertaining, it just scoots off screen like nothing happened. Remember, this is several years before Disney’s Snow White (1936), so people were not accustomed to seeing animation of this kind. With the proper mindset, this scene will blow you away.

In the years that The Man With The Movie Camera was being made, film was still in its infant stages. Vertov was not really making a film to entertain people, but more to explore what he could do with film making as an art form. There is no actual plot to the film, but it still stays entertaining throughout.

I do not like to consider The Man With The Movie Camera a documentary about the life of a Soviet, but I think if it as a documentary on the early innovations in film. I’ll admit, a casual moviegoer will not find this entertaining. But Vertov’s vision has remained a must see for historians, fans, filmmakers and critics. It is a compelling testament to the techniques we take for granted.

The Man With The Movie Camera: B+

My Next Film.....The Breakfast Club (Hughes. 1985)

Sunday, February 27, 2011

Seven Brides for Seven Brothers (Donen. 1954)

“Let me tell you something, no woman is gonna go to bear country with you to cook and wash and slave for seven slumachy back woodsmen.”

It did not take long for me to hit one of the staples of film, the MGM musical. The 1077 Films to See Before You Die is filled with classic American musicals, but none of them (outside of Singin’ in the Ran) could even come close to the love I have for the next film I watched. Seven Brides for Seven Brothers is one of the all-time heralded musical films in history.

Directed by Stanley Donen, Seven Brides for Seven Brothers is one of the sweetest, kindhearted and entertaining films I have ever seen, The music is incredibly catchy and the dance sequences are out if this world. With that being said, the film has a plot line that would seriously offend my Gender Communications teacher…..

Seven Brides for Seven Brothers follows the story of an 1850 Oregon backwoodsman named Adam, played by Howard Keel, and his wanting to find a wife. He very easily convinces the lovely Milly, played by Jane Powell, to marry him, and they head off to the backwoods where she learns of his six unruly and unkempt brothers. Adam treats his wife like a maid for the first few nights, but Milly is tough. Not only does she tame Adam, but she also teaches the brothers how to successfully pick up women. After a few lessons in courtin’, the backwater brothers ride into town with the intent of finding some wives.

So, this all sounds like a fluffy and fun musical. But after the brothers’ plans are thwarted by the local men in town, they decide to take matters into their own hands. They kidnap the ladies that they had eyes for and hold them hostage at their farm for the entire winter. This is where the whole thing gets ridiculous. Are we really supposed to believe that, after being held hostage for months, these young women would actually marry the brothers? No way, but I guess things have changed since 1850. The women swoon and eye the farming brothers which eventually leads to, with the help of spring, them all falling in love.

So yeah, the whole plot just screams Stockholm syndrome, but if you look past the obviously chauvinistic premise you will find yourself swept away in the awesome music. Howard Keel delivers smooth and masculine bass vocals that are perfectly complimented by Jane Powell’s soprano. Seven Brides for Seven Brothers features my favorite musical catalog of all the classic MGM’s. From the opening scene when Keel sings “Bless Your Beautiful Hide" you cannot help but be wrapped up in the warmth of the entire picture.

The most famous moment in Seven Brides for Seven Brothers is the iconic barn dance. Five of Adam’s six brothers were played by very experienced professional dancers, and they put on a show in one of the most eye-pleasing dance sequences of the 1950’s. They combine styles like square, ballet, ballroom, gymnastics and tap for seven minutes of dancer heaven. I ended up watching the scene four times before completing the film. It was that impressive.

While working through the 1077 Films to See Before You Die, I will encounter a ton of musicals. Seven Brides for Seven Brothers has set the bar exceptionally high. If you are a fan of golden age musicals, I very much encourage you to seek out this 1954 Academy Award nominated masterpiece. The streak of positive reviews continues with Seven Brides for Seven Brothers. It’s a must see.

Seven Brides for Seven Brothers: B

Friday, February 25, 2011

The Hangover (Phillips. 2009)

“Here is a movie that deserves every letter of its R rating”

Up to this point, the most modern film I had watched from the 1077 Films to See Before You Die was David Lynch’s Blue Velvet. Though all the films have been great, I decided it was time for me to watch a film that was made during my lifetime. In recent years, the comedy genre has had its share of hilarious films. Pineapple Express (2008), Forgetting Sarah Marshall (2008) and Dinner for Shmucks (2010) are just examples of this phenomenon. But those films do not qualify for the 1077 Films to See Before You Die. The newest comedy on this list is also the latest comedic pop-culture landmark. Of course, I am talking about Todd Phillips’ 2009 laugh riot, The Hangover.

There is something important that you need to know about me. I do not like to laugh at movies. That is why The Hangover is so fantastic. It follows the story of three troubled friends (along with an awkward tag-a-long) and how they chose to spend the eve of a wedding in Las Vegas. After taking shots that were drugged with roofies, the friends find themselves waking up in a hotel room with a chicken, a tiger and a crying baby. Oh yeah, and the to-be-groom is missing.

From here, The Hangover runs like a conventional comedy. The friends meet unusual characters and fling insults back and forth at each other like you would expect in a film directed by the same man as Old School (2003). But there is something about The Hangover that keeps you laughing- it has a brilliant script.

John Lucas and Scott Moore, the screenwriters, were able to do something that comedians have tried to do for years. They completely bombard you with funny shit. If you aren’t laughing at the tiger in the bathroom- you are laughing at the naked Asian man in the trunk of a police car. The film is fast, random and witty with actions that are constantly reinforcing your laughter. And not only are the situations in the film funny, but the dialogue is also hilarious.

This is a testament to the excellent work of the ragtag cast. Bradley Cooper and Ed Helms give career performances as they stumble along the streets of Nevada in search of their lost compadre. Heather Graham is soft and sweet in her portrayal of a nice young lady (hooker) who is just trying to find the right man to fit her lifestyle.

But the breakout performance in The Hangover was obviously the bubbly, naïve and side-splitting performance by Zach Galifianakis. Though a lot of people have been familiar with his stand-up for years, Galifianakis really thrust his name into the limelight of American comedic celebrity in this film. He was adorable, but incoherent, and every time he said something you were forced to listen with great interest. Almost everything he says is funny. His lines, actions and facial expressions really make the entire film.

The Hangover is a film that will be quoted for another decade. Very rarely does a comedy manage the staying power that this film seemingly has. It will make you laugh. It is vulgar, awkward, childish, heartwarming and therapeutic.

Remember, I do not like to laugh at comedies. The Hangover made me laugh, a lot. The streak of positive reviews continues as the most recently made comedy on the 1077 Films to See Before You Die proves to be a nothing short of a generational comedic landmark. 7 films down with 1070 to go.

The Hangover: B-

My Next Film…..Seven Brides for Seven Brothers (Donen. 1954)

Thursday, February 24, 2011

The Battleship Potemkin (Eisenstein. 1925)

"A marvelous film without equal in the cinema ... anyone who had no firm political conviction could become a Bolshevik after seeing the film."

I have a feeling that silent films will be the death of me. I would never say that a silent film cannot be entertaining because that would be far from the truth. It’s just the thought of watching over 200 silent films that seems a bit taxing. When starting the 1077 Films to See Before You Die, is important to mix the harder to watch silents in with the more modern pieces. With that being said, I am yet to have come across a taxing silent film. The Battleship Potemkin, a Russian film from 1925, was an incredibly easy viewing.

It is easy to tell why several film scholars call it the most important foreign film ever made. It was also the next film I watched from the 1077 Films to See Before You Die.

Directed by Sergei Eisenstein, The Battleship Potemkin is not only a grand showing of film editing, but it also the first ever propaganda film. The film follows the story of the mutiny that occurred in 1905 when the Russian battleship,Potemkin, rebelled against their officers of the Tsarist regime. Eisenstein shows that Tsarists as barbaric and uncivil killing machines in what is no doubt an extremely powerful pro-communist ethos. The film is split into five chapters, I would like to focus on the first and fourth chapters and how they laid the framework for one of history’s most controversial masterpieces.

Chapter one: Men and Maggots.....

The opening chapter of The Battleship Potemkin is important because it sets off the entire story. It starts with Russian soldiers refusing to eat the rotten and maggot infested meat that the Tsarists have chosen to feed them. When presented with the rotten food, the Tsarists simply tell them to “wash it off with brine.”

Storyline aside, this is when I really started to notice the masterful editing skills being displayed. In the 1920’s, most films were being shot in a single scene-by-scene style. But The Battleship Potemkin was years ahead of its time. You see the beginning of modern film editing as several characters and settings flash across the screen. It is difficult to not wonder how Eisenstein made this happen, as the technology was very limited at the time.

Chapter four: The Odessa Staircase.....

Simply put, this section of the film is amazing. It features the Tsarists walking down a seemingly endless staircase as they mercilessly pick-off the innocent civilians of Odessa. The victims include a small boy, an elderly man and even the retreating mother of an infant child. As the mother falls to her death, she bumps the babies’ stroller and it starts to venture down the many steps. This is one of the most iconic scenes in the all of early film. To this day, filmmakers wonder how Eisenstein was able to get this shot. The camera follows the stroller all the way down to the bottom of the steps were the child is met and killed by a Tsarist soldier, remember this is a propaganda film so nothing is off limits.

The staircase scene is another prime example of editing masterwork. There are so many things being captured on screen at once that it is almost impossible for a viewer to not sit back and wonder, how the hell did he do that?! The Odessa Staircase is one of the most impressive, brutal and innovative things I have ever seen in film. If you aren’t going to watch the entire film, at least make an effort to seek out its fourth chapter.

So yes, maybe the controversies and propaganda that surrounded the film upon release has faded away. But The Battleship Potemkin should not be remembered strictly as a pro-communist film. It is one of the finest examples of early editing and a pioneer of effective storytelling.

The film was named the greatest film of all time at the Brussels World Fair in 1958, and though it may have lost its grasp on that title, it still remains one of the most mind-blowingly impressive works in the history of foreign cinema. At some point I WILL find a film on the 1077 Films to See Before You Die that I do not like. Until then, I advise you all to search for and find The Battleship Potemkin. It will blow your mind. 6 films down with 1071 to go.

The Battleship Potemkin: B+

My next film….The Hangover (Phillips. 2009)

Blazing Saddles (Brooks. 1974)

"Have you gone berserk? Can't you see that man is a ni?....."

I have to admit that there will be some films on the 1077 Films to See Before You Die that I will never want to watch again. In fact, I would bet that there are several hundred films on this list I will never want to see again. Blazing Saddles is NOT one of those films. A personal favorite of mine since JR High, Mel Brook’s comedic masterpiece is one of the most re-watchable films ever made. Though it may not be as funny as it used to be, it is still one of the funniest and most controversial films in American history.

When I say that Blazing Saddles is not as funny as it once was, I am not really being honest. The film is still as hilarious as it was upon release in 1974. The reason I WANT to say it is not as funny is because the style of humor is sophomoric, offensive, slapstick and very silly. Mel Brooks is the first of many comedic directors who could get away with anything. He incorporates several offensive racial slurs throughout the film that nobody was able to get away with at the time. How did he avoid trouble? He simply shrugged his shoulders and said “meh, it doesn’t offend me.” And people followed his lead.

Blazing Saddles follows that story of a corrupt political boss and his desire to commandeer the town of Rock Ridge. He sends his henchman into the town in an attempt to make the peaceful western community unlivable. After the sheriff is murdered, the townspeople ask the governor for a replacement. Governor Lepetomiane, brilliantly played by Mel Brooks, is pressured into appointing the first ever black sheriff to the western territory. This is just another attempt to render the town helpless, but Black Bart becomes a more than formidable adversary.

The film has absolutely no structure, but that is what makes it so hilarious. Gene Wilder, Slim Pickens and Harvey Korman all show that they have impeccable comedic timing as they perfectly embody their goofy characters. But the most memorable, and only Academy Award nominated, performance in Blazing Saddles is given by Madeline Kahn. She plays the promiscuous and sultry saloon singer, Lili Von Shtupp. She may not have a ton of screen time, but she will leave you in stitches.

Blazing Saddles is a prime example of everything coming together perfectly. Mel Brooks and Richard Pryor wrote a brilliant script, the cast portrays undeniable comedic chemistry and the humor is silly enough to remain timeless. So sure, maybe I don’t find myself laughing at the baked bean scene anymore, but you will still find a million things to laugh at in my favorite comedy ever made. This is a classic comedy that everyone should see. You may be offended, but Mel did that on purpose. 6 films down. 1071 to go.

Blazing Saddles: A-

My Next Film.....Battleship Potemkin (Eisenstien. 1925)

Wednesday, February 23, 2011

The Great Train Robbery (Walker. 1903)

“The Original and Only”

Though A Trip to the Moon is the oldest film on the 1077 Films to see Before You Die (1902), The Great Train Robbery is by far the most important. Why? One major reason is that is that it is the first ever American made feature film.

I do not say that as a prideful American, but as a lover of cinema. This is a film that showed American audiences that films can be made; it was the inspiration that jump started the building of movie theatres all across America. Also, the film served as a major stepping stone for makers of fiction film. Before this, most films had just been the recording people’s actions. The Great Train Robbery actually told a story. With a runtime of less than fifteen minutes, this is not a difficult film to get through. The Great Train Robbery is my next viewed film in the 1077 Films to See Before You Die.

Directed and photographed by a former Edison cameraman, Edison S. Walker, The Great Train Robbery should be looked at as an incredible achievement in early film. I mentioned that one of its merits was the American factor. Well, the other is the fact that the film was the first to represent the great American film genre, the Western. But this does not mean the film should be considered a Western.

When looked at from the viewpoint of a historian, the film is less of a fictional piece of entertainment and more a depiction of everyday life. Remember, this film was released in 1903. So it could have been easily looked at as a warning to bandits or even train passengers. No matter how you look at it, nobody can deny the short-film’s impact on American cinema.

With ridiculously impressive camera work and very memorable imagery, The Great Train Robbery has established itself and cemented its own legacy into the everyday American vernacular. This is one of the easiest films on the list to get through, and I recommend it to everyone. 5 films down with 1072 to go.

The Great Train Robbery: A

Tuesday, February 22, 2011

The Rocky Horror Picture Show (Sharman. 1975)

“Hi, my name is Brad Majors (asshole!), and this is my fiancée, Janet Weiss (slut!).”

One interesting aspect of the 1077 Films to See Before You Die is the variety. This list features a wide range of films that represent every genre, including 1970’s trash. If you know me, you know that I am a big fan of the trashy films of the disco-decade. For example, films like Snuff (1976) and I Spit on Your Grave (1978) are sitting in my DVD collection right now (look them up). Though these films are far too poorly made to be considered “must-see” films, there is one 70’s trash representative on this list. In 1975, The Rocky Horror Picture Show was released in the United States and has slowly developed one of the most loyal followings in cult-movie history. 

If you were to watch The Rocky Horror Picture Show as a stand alone film, you would be forced to recognize and acknowledge its flaws. The film is super-sweet and fluffy with several meaningless episodes of hilarity. BUT it is also one of the most unforgettable pieces of cinematic pop-art in history. Richard O’Brian’s script is filled with wry humor and backwards sexuality, but the overall style of the film is an undoubted testament to the low budget.

But The Rocky Horror Picture Show is not a stand alone film, is it? Through a simple stroke of genius, the film was released to the midnight market and a national phenomenon was created. For decades now, Rocky has been celebrating his birthday in front of enormous crowds of cult-like fans. Most of these fans come dressed as their favorite character (assuming they come dressed in anything). They pay ungodly amounts of money to see a show that they, the audience, are actually putting on for themselves. For what is Rocky Horror without the derogatory remarks and the unabashed wasting of toilet paper?

The thing that makes Rocky Horror fun is that it puts people on an even playing field. Seeing a shadow cast of this film is like going to a convention where everyone is just like you. And if they are not from the start, they will be by the end of the "Time Warp." Men and women put their inhibitions to the side in order to enjoy one night a year (or every weekend for the most hardcore) of forbidden fruit. The overt sexual fantasies of the many outweigh the conventional prude as lingerie-clad men and women bounce and jiggle their way to Transylvania. The film, which is deemed important by this list, serves as nothing more than cherished background noise to the many flying freak flags in theatres all across the country.

The one memorable thing in The Rocky Horror Picture Show is the iconic and now celebrated performance by Tim Curry. He stars in the film as perverse transvestite scientist named Frank-N-Furter. Curry oozes both masculine and feminine sexuality to the point that people are given no choice but to believe his mythos. He is the God of sexuality and you are one of his followers. The most secure and masculine of men will find himself sneaking a peak of Tim Curry’s goodies. I’ll admit, I looked a few times. Its not bad.

On a list of all-time great films, The Rocky Horror Picture Show has no reason to be acknowledged. But, the 1077 Films to See Before You Die is not a list of great films. It is a list of films that recognizes the importance of a pop culture breakthrough. Few films will survive as long as The Rocky Horror Picture Show. I recommend ignoring the home video and seeing the entire production. The film is outright average, but the experience is unforgettable.

The Rocky Horror Picture Show: C

Monday, February 21, 2011

Blue Velvet (Lynch. 1986)

“I'm seeing something that was always hidden. I'm in the middle of a mystery and its all secret”

I had a funny feeling going into Blue Velvet that I would remember the film for a very long time. I recently became a fan of David Lynch after being introduced to his short-lived television show, Twin Peaks. Because of how much I enjoyed his television work, I assumed I would be swept away by the work in his preferred field, film. That is why I picked Blue Velvet as my second film to watch in the 1077 Films to See Before You Die.

Watching Blue Velvet was like being torn in between two worlds, the comfortable and the freaky. The film takes place in a typical Small-town, USA and follows the story of a college student named Jeffery Beaumont. Jeffery is back in town to visit his injured father, but he accidentally stumbles into the violent and sexually perverse underworld that his city so purposely hides.

The plot of the film is thin and the ending is predictable, but Lynch would never claim to be a poetic storyteller. Blue Velvet is a film that slaps you in the face with symbolism and raw performances from the incredible cast. These are the aspects of the film that I would like to focus on.

Though symbolism is pertinent in any film by David Lynch, Blue Velvet seems to thrive on a higher level of intellectual design. Every single set piece in the film serves as an important component to the frantic story. Lynch uses colors like red, dark blue and purple to create an atmosphere that not only looks eerie, but simply seems off. The costuming of the film greatly resembles the boutique of your local thrift shop, which may represent the less fortunate and their greater likelihood to mentally break down. This also makes it nearly impossible to recognize the time period – which is never stated in the film.

The greatest symbolism in the film would easily be the bugs that represent evil. In the opening credits we are introduced to a town of picket fences and beautifully displayed red roses. But when the camera dives more deeply into the grass and dirt of Pleasantville, we see the bugs that are constantly at war to stay alive. This directly points to society and our ability to hide the bad, the gross and the needy underneath our disguised grass and dirt.

Jeffery, played by the under-appreciated Kyle MacLauchlan, manages to dive underneath the green grass of his upper-class life style only to become a reluctant member on the gritty under dwellings. MacLauchlan’s sincere and submissive performance makes the events in film even more difficult to watch. You see him, an innocent youth, getting dragged into a world that is completely past his understanding of sexuality, violence and masculinity. You sympathize for his character and you realize why Lynch refers to him as an actor who "plays innocents who are interested in the mysteries of life. He's the person you trust enough to go into a strange world with."

His primary love interest, Sandy, is played by Laura Dern. Dern uses the role as an outlet to display the innocent sexuality that plagued high school students in the “Brat Pack” generations. The antithesis of her performance can be seen in the brilliantly unrefined performance of Isabella Rossellini.

Rossellini plays a part that very few actresses would be willing to tackle. Her character, Dorothy, is an abused and often humiliated masochist who is submitting to sexual slavery in order to save her young child. She is beaten and stripped on camera in such manners that I actually had to turn my head from shame. Lynch managed to reward her disgustingly rich performance with an overall film that was worthy of her stoke-of-genius work.

But, of course, the scene stealer in Blue Velvet is the legendary and often demented Dennis Hopper. Hopper plays the antagonist, Frank Booth. Booth is a character that Lynch and Hopper crafted to the point of perfect evil. He is a low life, drug addicted scumbag whose sick sexual perversions manage to far outweigh his redeeming qualities (if any could even be found). Hopper gives one of the most memorable and terrifying performances in history, which proves that when two demented personalities get together the outcome can simply be ingenious morbidity.

It seems appropriate that, in the middle years of the Ronald Reagan administration, Lynch would write and direct a film about the secrets that haunt your typical picket fence charade. His critique of American small-town-conventionalism is not lost in the eyes of any modern day small town resident, for we all truly fear the blue velvet that may sit beyond our tears. This film is a must see. 2 films down, 1075 to go.

Blue Velvet: B+

Next Film….The Rocky Horror Picture Show (Sharman. 1975)

Un Chin Andalou (Bunuel. 1929)

"Give me two hours a day of activity, and I'll take the other 22 in dreams -- provided I can remember them."

When going about completing the 1077 Films to See Before You Die, the most important thing to remember is that selection is the key. There are some films on this list that will take days to finish, and there will be some that will simply take an afternoon. A great example of the latter would be Louis Bunuel's 1929 short film, Un Chien Andalou (An Andalusian Dog). Roger Ebert has referred to Un Chien Andalou as the most famous and iconic short film ever made. So, needless to say, my expectations were very high.

The film was written as a collaborative effort between Bunuel and the famous surrealist artist, Salvador Dali. Though the film has a less than 16 minute run time, the two writers (and arguably co-directors) manage to incorporate several themes that had never been presented before to an American audience. The most notable of these new ideas was surrealism.

Dali and Bunuel crafted this film for the sole purpose of confusing the audience. Though secular events occur on screen for the entirety of the film, no event is ever given a secular purpose. Un Chien Andalou is literally a film that portrays a conglomerate of unrelated events. The writers were in no way trying to please their audience. In fact, they were deliberately releasing a film that would induce flagrant shock. Un Chien Andalou is the first example in history of a film that disregarded the conventional limits of the human attention span. Long story short, the film is nonsense.

The important thing to look at is how Bunuel makes the nonsense interesting. He sets up an entire frame for these events that almost causes the habitual moviegoer to automatically formulate a plot line. This was Bunuel and Dali’s ingenious design. The foundation of this frame is the most iconic moment in all of pre-1940’s film, the eye cutting scene.

In a private meeting, Bunuel explained a dream that he had where the clouds “sliced through the moon like a razor through an eye.” This phrase was the beginning of Un Chein Andalou’s creative process. The scene itself features Simone Mareuil's eye being held open by Luis Bunuel. The frame then quickly switches to the knife slicing the eyeball (actually the eye of a dead calf) directly in half. The meaning of the scene has been speculated for years with Dali and Bunuel saying that there is no meaning at all.

For me, the meaning is clear. Having the eye sliced open in the first minute of Un Chien Andalou serves as a warning to the filmgoer. Surrealism is the knife and your pre-determined ideas of convention are sliced like the eyeball of the innocent “main character.”

In the end, this film serves as an undisputed victory for the surrealists. Dali and Bunuel successfully created a frustrating, thought-provoking, seemingly useless and ultimately ingenious short film that noticeably influenced directors like David Lynch, and the entire independent film industry. This low budget dream is a film that helped widen the boundaries of popular expression. Before viewing the film, remember to check your idea of film at the door and allow yourself to be engulfed in nonsense. Un Chien Andalou is more important than entertaining and more pretentious than redeeming, but I am happy to say I have seen it. One film down with 1076 to go.

Un Chien Andalou: B

Next Film.....Blue Velvet (Lynch. 1986)