Welcome to my channel! I post monthly videos on a mixture of film analyses, retrospectives, politics and just absolutely overthinking anything to do with pop culture.
Spoiler warnings are placed on videos that discuss shows/movies with a twist, recent shows/movies, or shows/movies that aren't the subject of the video. If you're watching a video about a show/movie that is over a decade old, very famous in pop culture, and the subject of my video - then please watch at your own discretion.
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Yeah, idk I grew up in the poverty class, parents had too many mouths to feed. And all I did to get out of that was finish high school and get a decent job. It's literally not impossible, but I didn't idealize the rich to get there, just physical hard work
Spielberg said Kubrick asked him to direct A.I. I believe for the same reason he cast Cruise in EWS. To reveal them to the world. He was not their friend.
I think Stanley cast Tom and Nic to end their marriage with the stress he put on them for 18 months. Why, you ask? Revenge for scientology stealing his daughter from his family. Never fuck with an evil genius.
I don't like Saltburn, but I think your criticism is a little off the mark. I wish you'd looked into the screenwriter's background. Her take actually comes off as "nouveau" as your friend described that general group, though I don't think that's the right word either. I sense she feels inferior to the family, but superior to Oliver. She doesn't paint them as nice, there are undertones of racism and massively emphasised class ignorance in the family, the purpose of which may be lost on an American perspective if you limit the commentary to just how it was made and what its contents are, but she seems disdaining of Oliver. He is a leeching villain who is desperate for something that isn't his because you have to be born into it, a sentiment Farley expresses almost word for word. Frankly, Farley appears to be "the voice of reason" in the film, even though he is objectively classist. I think the screenwriter is objectively classist, and it really bothered me what your friend said about Liverpool, it was such a bland read, it's not just about them not knowing where it is, it's their assumptions about what being from there means, they keep Oliver as a pet to curiously scrutinise because he's from the other side of the North-South divide. They take him in to pick apart for fun, but he's a wolf in sheep's clothing. I think Saltburn is an objectively bad take. As someone from the North, I know a handful of middle-class people who are desperate to put a line in the sand between themselves and the working class to 'get in' with people like Felix's character, and I know of people rejected from circles like Felix's, better off than the 'Oliver's' of the world because they're not wealthy enough. After all, the rich hate the poor here, and the poor hate the rich, and the middle-class are ashamed to be middle class so they pretend to be working class to fit in with working class or upper-middle to try and gain the favour of the upper-class. So what happens in Saltburn would never happen, obviously not the murder, but the setup too. The screenwriter doesn't understand the middle-class but obviously doesn't like them. It feels tone-deaf, and as ignorant as Felix's family, ironically enough. I think the ignorance from Rosamund Pike's character is for people to enjoy, but the whole thing feels like fear-mongering by a wealthy woman who doesn't like the middle class and thinks very little of the working class.
14:51 That is a pretty sharp observation, as I've been there myself too. I think the best way I can put it into words would be I just don't seek that kind of relationship from my close male friends? It isn't that I think they'd brush me off, or wouldn't/couldn't help me, quite the contrary. Just that I don't want them to help me with that exactly. Maybe it is that I feel too close with them? Like it would feel weird to overshare with someone I know that well. Anecdotally, I've also had female friends confide in me about personal issues and grievances when they've needed someone to talk to. And that has always been with casual friends. So it could just as well be more human, than male to need someone comfortable to talk to?
I really wish they had called it Priscilla & Elivis, because Priscilla was so much more than her relationship with him and accomplished so much after. It would be more true to the book name as well, When I finished it I was like this is it?
The indie film "s.l.c. punk" makes me cry everytime as the final scene parallels what happened w/ my childhood best friend. Sometimes i put it on just to cry and remember my friend.
They lost trust . Everyone has an easier time letting you know a movie was bad when you think it might have just been you and the critic seeing differently . Critics praising Rings Of Power as some milestone of story telling when 75% of people hated it so much that they didn't bother finishing it. Many other shows or movies are the same. Critic and audience scores are almost never close.Idk if critics are bribed with access or just cash but they are lying for one reason or another and everyone sees it much easier now
I prefer Hollywood's Golden Era rather than the 80s. Albeit, 80s weren't today's Dark Ages. ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-pKStJ3YECqU.htmlsi=wfUCETN0Yzva1SUU
Hollywood keeps turning out shitty bio pics because they’ve done the math and they know enough idiots will go see them globally so that they can make money. It’s nothing more interesting than that.
The only real commentary on class that I took away from Saltburn was that if you are upper class then you cannot trust anyone below you on the financial ladder because they will only be motivated by a consuming desire to steal your wealth. It came across like a film telling the working class that the upper class are actually all really nice even if a little quirky and that trying to dig any further into the machinations of the upper class is just silly. Like the reveal that Oliver is comfortably middle class just felt like the film was saying 'see he has everything he could ever want isn't it crazy that he wants to steal from the the lovely upper class family?'.
Having just recently gone on a big Schrader/Ozu/Bresson/Bergman binge (largely fallout from a series of long plane journeys on a carrier with a REMARKABLY good in-flight entertainment selection) this essay has arrived at a very appropriate time for me personally. It also stood out to me about Schrader's recent work that he has been using this format in ways which contain far more internal tension than his theoretical framework would initially suggest - another example beyond the one in the video would be in Master Gardener, the contrast between the formal contrast of Joel Edgerton's gardening with his neo-nazi past and the description of gardening throughout the film which could just as easily be a description of the fascist maintenance of an idealised communal ethnic arrangement. It makes the criticisms that he remakes the same film over and over fall very flat to me, because he's clearly pushing it in much more versatile and complicated ways.
This beautiful essay made me pause and recall a German film I saw a few years ago - the White Ribbon. It portrays a small town in Northern, Protestant Germany, in the early 20th century. The shots making that film so powerful - mundane, disconnected, yet profound - were always so hard to describe, but now I know; it's part of transcendental style. The movie gives us an insight into everyday life in this small, typical town, where individuals get crushed by big and small cruelties. A series of mysterious murders shake the towns foundations. What's left is a town, symbol of a country, where may are left without empathy and unable to cope with the repressed cruelness surrounding them. This is the society that will ultimately start two world wars. Highly, highly recommend. Seriously.
If you used any other term then male weepie i feel like this video would work better. Because despite you talking about male emotions. The word fundamentally makes men crying or relating to these films goofy, silly, and childish
