Monday, May 11, 2015
99 AND 44/100% DEAD starring Richard Harris, a film also from the early 70s with a tone that doesn’t quite come together and with lead actors that look exactly alike. Either way, PULP causes a question mark to form over my head while at the same time I appreciate its gallows humor and its belief that just because you think you know all the plots doesn’t mean you know how they’re going to turn out. The life of being a writer, I suppose.
Wednesday, April 29, 2015
@oldfilmsflicker takes care of that last part since once it all begins you just have to hit the ground running and not look back. This sort of marathon viewing used to be something I did much more of but you can’t keep that insanity up forever. Patton Oswalt, in his recent book “Silver Screen Fiend”, writes about attending a massive Hammer Films festival put on by the American Cinematheque (in the years before they took over the Egyptian and Aero) that took place over two consecutive weekends way back in ’95. Probably not much of a surprise but just as Patton Oswalt was I was there for every single film they played. As far as I remember, he and I never met but I look back on something like that with a combination of amazement at how I actually did that and wondering just what the hell I was thinking. I could never do something like that again now otherwise I’d go stir crazy but for whatever reason the TCM Classic Film Festival is an exception I’ll gladly make. To be honest, it was a glorious weekend. here he tells pretty much the same story at the Academy in 2012) but it involved Buster lending unexpected assistance to Chaplin during the filming of the ending and the mental image brought on by one legend selflessly helping out another got me unexpectedly emotional even before the film had started. I didn’t care that the ending had been given away. Suddenly, at that very moment right before the lights went down, the ending was the film.