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Posted: |
Feb 12, 2020 - 4:47 PM
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By: |
Ray Worley
(Member)
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re 'zen-o-phobic, misogynist, radiologist, homophobic, anal probic...'
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I said to H (that's what I call her around the house) just this morning, whilst getting ready for work, 'you don't mind me calling you Hurdy Gurdy on the FSM message board, do you?' and she said* 'no darling, you should hear what I call you on the Cello, is there anybody out there' website' and then laughed that lovely Icelandic laugh she has that sounds like a cross between a donkey and water disappearing down a plug hole.
*actually, she said something in a foreign language that sounded like Pingu but I used my eye phone to universally translate the words like from that Star Trek.
With all the doubling down, I think someone feels personally attacked, although that was not my intention. I thought the late (at least on this board), unlamented Mr Marshall started that "Hurdy Gurdy" idiocy, but I could be wrong. He liked to use his sense of "humor" as a defense when called out and asked to stop too.
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Oh, I certainly disagree with you there, Mark. I think it's a marvelous film -- a clever, satirical look at Korean class society, and using architecture and surroundings as constant markers for its intrigue (most obviously the whole 'upstairs-downstairs' thematic; or the constant criss-cross of vertical and horizontal lines). And weather, the 'river of sins' that wash over them. And poetry (like the 'magic rock'). It's just a chocolate box of details and commentary that continues to give. Granted, I'm not as crazy about it as my colleagues (as I said earlier, it came in 9th rather than top 3 of my 2019 list before I realized it was a 2020 film here in Norway), but it's definitely a visionary work that is deserving of all the kudos it has gotten.
If the Ceylan film had been WINTER SLEEP, I might have agreed with you. I'm not that keen on THE WILD PEAR TREE. Likewise with Sorrentino; I would have been pro an award for LA GRANDE BELLEZZA. But definitely not for the disappointing YOUTH or the abysmal LORO. He's very uneven.
But yeah -- obviously agree on Bergman, Antonioni or Ozu. Too late now, though.
Interestingly, SHOPLIFTERS -- which would have been a perfect companion piece to PARASITE in many ways (they did, in fact, share my 9th place before I had to take PARASITE out) -- owes a lot to Ozu, as does many of Koree-eda's films. So his style and tradition lives on.
I think I'm just sore that Quentin Tarantino did not win Best Director for what I think is his best film to date.
Of course, then I realize who also has not won Best Director: Antonioni, Bergman, De Sica, Fellini, Hawks, Kieslowski, Kubrick, Kurosawa, Lynch, Malick, Powell & Pressburger, Renoir, Rohmer, Ken Russell, Tarkovsky, Truffaut, Visconti, Welles, Wenders, etc, etc.
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Let's face it award season is about the people with the votes feeling good about themselves. It's impossible to say which of Joker, Parasite, 1917 or Once Upon a time in Hollywood is the BEST film rather than having a set of individual preferences.
Ultimately a group of people felt a little better about themselves in voting for Parasite than they did about 1917, in the wake of accusations of lack of diversity. I haven't seen Parasite yet but the director seems a really nice guy so it was nice to see him pick up the best director gong.
The whole show exists to shift product and to allow the audience to be lectured by some reasonably talented people who feel their opinions are important.
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