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Still gives me goose bumps when McQueen enters the engine room starts talking to the engines and feeling them, then says "Hello engine, I'm Jake Holman". Finally put that music track on the Deluxe Edition CD. BTW, the engine in the movie was actually located on a Fox movie lot in Hollywood, not on the San Pablo. It is now on display in the SS Lane Victory onboard museum, located at Berth 94, in San Pedro, CA.
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Sounds like a hellish existence, Joan. ("She's my daughter! [slap!] My sister! [slap!] My daughter! [slap!] My sister...! [slap!]")
Regardless of what the precise meanings of "bravado" and "bravura" are, Ron, Joan couldn't have meant the former because it's a noun; the latter is an adjective, and that's what the context of the sentence called for.
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Posted: |
Aug 3, 2002 - 2:42 AM
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By: |
dragon53
(Member)
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One more comment about THE SAND PEBBLES symbolizing the U.S. in Vietnam and/or China. One movie with a somewhat similar setting but a totally different perspective is 55 DAYS AT PEKING. In 55 the Chinese are mostly depicted as being evil, sinister and savage aggressors while the invading Europeans and Japanese are portrayed as the noble, honorable victims of the Boxer hordes. Obviously from a military standpoint, the mostly white defenders acquited themselves well, but 55 barely touches on the fact that the Boxers were defending their homeland from a mostly white invasion that subjugated the people and their country. This is similar to many early Westerns in which the Indians are portrayed as ruthless savages who attack, rape and kill innocent men, women and children settlers---settlers who, in many cases, are seizing the land that is the home of the Indians. The Chinese-as-victims of the mostly white invasion is barely touched upon in 55. In ZULU, the Zulu warriors are at least shown with a certain dignity and ability as warriors. The Zulu uprising against the invading British empire is certainly not the focus of the movie. Instead ZULU, like 55, is more a movie of military bravery and heroics against overwhelming odds, not the circumstances which brought about the conflict in the first place. At least THE SAND PEBBLES resulted, in my opinion, Jerry Goldsmith's best love theme and a great, but too-short, score from John Barry.
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Hilarious, TomD!
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Posted: |
Aug 4, 2002 - 5:42 AM
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By: |
CCW1970
(Member)
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As usual, Joan's comments are intelligent and provocative. I would suggest, however, that the Vietnam connection is a bit premature, as the film was being made in 1965 for 1966 release. At that time, our involvement in Vietnam was not really in the public discourse compared to 1967 and on.
I suppose it's possible that it was in the mind's of Wise and the filmmakers. But I suspect it wasn't the main thrust of the film.
The reason I suggest this is that often admirers of a particular film (and other art forms as well) will postulate ideas about subtext and underlying meanings, only to find out that the fimmaker(s) never intended such ideas. Bad Day at Black Rock is a good example, with many lovers of that film assuming it was an allegory for McCarthyism, even though John Sturges said that thought never entered his mind while making the film.
Granted, this doesn't mean that a particular viewer's interpretation of a film is wrong. Just that, the interpretation may not have been what the filmmaker ever intended.
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Precisely why I have no use for "film criticism" books that look for allegories and symbolism in every nook and cranny of a film. My favorite story debunking this kind of thinking was John Frankenheimer's discussion of a scene in "Manchurian Candidate" where when Sinatra reprograms Laurence Harvey, Sinatra is out of focus in his close-ups. He mentions how film scholars were calling that a "brilliant depiction of the fuzzy way Sinatra would appear to Harvey in his brainwashed state" but the truth was the camera was accidentally out of focus on the first take and because Sinatra was notorious for giving his best performance on the first take he had no choice but to use the out of focus one.
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It's hard to belive now, but Groucho Marx and director Leo McCarey each swore up and down that at the time they were making DUCK SOUP, no one had any idea it would be perceived as an anti-war film.
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Hahahaaaa !!!!!!!! Tomorrow is shopping day for me !!!!!!!!!!!!!! 
At least you won't be short on gas!