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Messages - KC

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Off-Topic Discussion / Re: The Aussie Thread
« on: Yesterday at 08:18:28 PM »

Thanks, Macpherson. Yes, it looks like this is really happening. From the above link:

Clint Eastwood and Warner Bros.’ new movie started production in Georgia this May. Based on the true story, “The 15:17 to Paris” tells the story of three American soldiers who stopped a terrorist plot on a train bound for Paris. The film is based on the book by Anthony Sadler, Alek Skarlatos, Spencer Stone and Jeffrey E. Stern. Dorothy Blyskal will write the script, according to Variety.

Off-Topic Discussion / Re: Happy Birthday Elizabeth77
« on: June 25, 2017, 11:41:06 AM »
Happy Birthday, Elizabeth! Wishing you a day of peace and serenity! :)

By Frederic Edwin Church

With all the best wishes of everyone on this Board!

General Discussion / Re: CLINT PICS!
« on: June 25, 2017, 09:40:23 AM »

He said "Exploitation-influenced." I can see that.

Off-Topic Discussion / Re: The Ask Anything About Computers Thread
« on: June 24, 2017, 07:48:06 AM »
OK, but out of curiosity ... Why would you want a shortcut to a webpage on your desktop, as opposed to in your browser?

(And Matt's method does work for me, too. Just click, drag and drop.)

Coppola totally took out the Mae Mercer role for PC reasons.

This review by Corey Atad in Slate has some trenchant comments on that:

“The slaves left.” In three words, Sofia Coppola’s new film The Beguiled casually dispenses with one of the great shames of the American republic. Coppola’s film is an elegant Southern Gothic tale of masculine charms and feminine vengeance, completely stripped of its historical and racial context.

In The Beguiled, Coppola cuts out the enslaved housemaid Mattie (called Hallie in the 1971 film), and she also turns the character Edwina, who was a free mixed-race teenager in the novel, into a white teacher played by Kirsten Dunst. Asked why she cut out the enslaved woman from the original film, Coppola told BuzzFeed News, “I didn’t want to brush over such an important topic in a light way. Young girls watch my films and this was not the depiction of an African-American character I would want to show them.” Perhaps her intentions were pure, but it’s hard not to see this as part of a larger pattern.

(I didn't know that Edwina, in the novel, was mixed-race ... I'll have to read that book someday.)

Mattie, meanwhile, is the book’s most clear-eyed character. She knows precisely where she stands in relation to not only her enslavers at the school but also to Corporal McBurney, whom she quickly sizes up as a deceitful man despite his suiting up for the army that would supposedly free her. In Don Siegel’s exploitation-influenced film, too, the enslaved Hallie, played by the outstanding Mae Mercer, is easily the strongest character. While everyone else falls into games of seduction and deceit, Hallie sees right through the charade and stands up for herself with a ferocity drawn from any number of black women in the blaxploitation genre. “You better like it with a dead black woman,” she says to McBurney after he threatens to rape her, late in the film, “because that’s the only way you’ll get it from this one.”

The Times review (by A.O. Scott) has some interesting comments on how this stacks up against the Siegel film:

The earlier film is a bracingly pulpy product of its moment, a time when American movies were breaking free of repressive codes and reveling — sometimes wallowing — in sexual display and rough violence. It’s smutty and disturbing and feverish, rooting around in the muck of the unconscious and the mess of the American past and digging up all kinds of disturbing stuff.

None of that applies to Ms. Coppola’s film, which is less interested in battling repression than in observing its mechanisms and arguing, quietly and unmistakably, for its virtues. Her “Beguiled” is less a hothouse flower than a bonsai garden, a work of cool, exquisite artifice that evokes wildness on a small, controlled scale.

It's part of a "Southern Gothic" series.

Part of BAMcinématek series Southern Gothic
Directed by Don Siegel | 1971

With Clint Eastwood, Geraldine Page, Elizabeth Hartman

This chilling, Civil War-set art-western stars Clint Eastwood as a wounded Yankee soldier who finds himself convalescing in a Confederate all-girls school, a charged setup that precipitates a disturbing series of sexual and psychological manipulations. Though produced the same year that Eastwood and director Don Siegel made Dirty Harry, The Beguiled forgoes bullet-spray action in favor of creeping, slow-burn menace.

It's playing Monday, June 26, at 4:30pm, 7pm and 9:30pm, and Friday, June 30, at 2pm and 4:30pm.

More information here:

The Dirty Harry Films / Re: Directed by...
« on: June 22, 2017, 07:27:21 AM »
I think you have them all ...

In order: Don Siegel (Dirty Harry), Ted Post (Magnum Force), James Fargo (The Enforcer), Clint Eastwood (Sudden Impact), Buddy Van Horn (The Dead Pool).

Off-Topic Discussion / Re: The Weather Thread
« on: June 21, 2017, 07:31:03 PM »
Chill out, boys ...

In recent days, American Airlines has been forced to cancel more than 40 flights in Phoenix. The reason: With daytime highs hovering around 120 degrees, it was simply too hot for some smaller jets to take off. Hotter air is thinner air, which makes it more difficult — and sometimes impossible — for planes to generate enough lift.

120 degrees Fahrenheit works out to 48.9 degrees Celsius. For days at a time.

Good luck to her and if the films good I'll certainly give it a chance.. but I'm finding it a little annoying how dismissive all the reviwers are being of the Eastwood/Siegel film..

"The male gaze of the Eastwood film feverishly directed by Siegel " etc etc

"like a mediocre Tennessee Williams play staged by Sam Pekinpah as a third wave feminist horror film "

Where did you find those reviews, Gant?

Wait, I found them. The first is by Peter Travers in Rolling Stone:

I wonder if he's even seen the original? It would take a very dumb observer not to notice how much the original Beguiled is centered on the female gaze.

The other is by Owen Gleiberman, now writing for Variety, and if he's dismissive of Siegel-Eastwood, he's none too kind about Coppola:

“The Beguiled” is like a mediocre Tennessee Williams play staged by Sam Peckinpah as a third-wave-feminist horror film. Yet there’s no denying it’s a picture of its time.

So why would Sofia Coppola want to remake it? If you’re the sort of moviegoer who favors good taste over sensation, restraint over decadence, and decorous drama over porno leering, then you may actually like Coppola’s coolly pensive and sober new version of “The Beguiled.” But anyone else may wonder what, exactly, the movie thinks it’s doing.

Sofia Coppola has long been a filmmaker who divides critics and audiences. I count myself as a Coppola believer (I even liked her Hollywood art ramble “Somewhere”), but this may be the first film she has made in which her essential personality as a director gets buried under the movie she’s making. She has “feminized” “The Beguiled” to the point that she’s really just pummeled it into the shape of a prestige movie, one that ends with a telling tableau of the film’s female characters posed in formation, like some Civil War sorority of the newly woke. Coppola, in attempting to elevate the material, doesn’t seem to realize that “The Beguiled” is, and always was, a pulp psychodrama. Now it’s pulp with the juice squeezed out of it.

Off-Topic Discussion / Re: The Ask Anything About Computers Thread
« on: June 18, 2017, 11:46:42 AM »
And now I'm not sure.  :-\

If you just want to save a link, can't you add a bookmark ("favorite" in IE-speak)? Or put it in your bookmarks or favorites toolbar?

Hi Rawhide7 ... you can certainly posts questions like this on the Board. We do have quite a few baseball fans here, but the whole Board has been very quiet lately. Maybe some of them are on vacation or just not bothering to check in very often.

The most highly recommended biographies of Babe Ruth that I have found are Babe: The Legend Comes to Life, by Robert W. Creamer, and The Life That Ruth Built: A Biography, by Marshall Smelser.

You can find copies of either or both on and Barnes & Noble. Or if you just want to read them, check out your local library, or look at the World Cat links below to see what libraries near you have them. Put in your zipcode where it says "Find a copy in the library" and "Enter your location." Or underneath that part, there are also links to and Barnes & Noble.

I found both in the first place on a Yankees fan site where I post sometimes. If you want to check out the thread for other recommended baseball books, it is here:

Of course, they are mostly about Yankees, but the Yankees do have a lot of great players and great teams!  ;)

I've never read a biography of any baseball player, except Sandy Koufax: A Lefty's Legacy, by Jane Leavy, which was pretty good ... but Koufax is no Babe Ruth. Though Babe was a pretty darn good lefty pitcher back in the day, before he got so homer happy.

Off-Topic Discussion / Re: The Ask Anything About Computers Thread
« on: June 17, 2017, 09:33:22 PM »
However, I think you're just creating a shortcut to the webpage on the Internet, not saving a copy of it. In other words, you're just saving the URL.

Off-Topic Discussion / Re: The Ask Anything About Computers Thread
« on: June 16, 2017, 09:47:05 PM »
Didn't anyone answer this? I'm on Windows 10, and when I right click on this page, a context menu pops up and the first choice is "Save page as ..." ???

The Times critics Manohla Dargis and A.O. Scott got together last Sunday and selected "The 25 Best Films of the 21st Century So Far." Million Dollar Baby is Number 3 on the list:

Million Dollar Baby
Directed by Clint Eastwood, 2004

A.O. Scott
Clint Eastwood sometimes releases his movies the way he shoots them: quickly and efficiently, without a lot of fuss and hype. “Million Dollar Baby” bypassed the festivals and the early awards-season buzz and was screened for critics about a week before it opened in December 2004. On a whim, I invited my editor at the time to the screening. Though he and I always got along well, we sometimes differed on matters of taste. Not this time. After the final credits rolled, we walked back to the office in a contemplative silence that he finally broke. “Now that was a movie,” he said.

It was, and it is. You sometimes hear that that they don’t make them the way they used to, but Mr. Eastwood – almost uniquely in 21st-century Hollywood – most assuredly does. In the years since “Million Dollar Baby” (which won him his second best picture Oscar), he has occasionally wandered into the public eye for reasons unrelated to movies. He appeared in a memorable Chrysler commercial, argued with an empty chair at the Republican National Convention in 2012 and expressed admiration for Donald J. Trump during the 2016 campaign. But that’s just his way of passing the time and letting off steam. Since turning 70 in 2000, he has continued to practice and refine his craft, producing some of the strongest work of his career and also some of the strangest. A ghost story? A musical? A rugby movie about Nelson Mandela? Why not?

But Mr. Eastwood has always been most at home in the classic American film genres: the western, the crime flick, the combat picture. And, in this case, the boxing movie, perhaps the most susceptible to sentimentality and cliché. The glory of “Million Dollar Baby” is that rather than strain for novelty, it settles into the conventions of the genre with masterly confidence and ease, and discovers deep currents and grace notes of feeling that nobody had noticed before.

Morgan Freeman and Hilary Swank each won Oscars for their performances. Mr. Freeman plays a former fighter nicknamed Scrap who acts as the confidant and conscience of Mr. Eastwood’s Frankie Dunn. Frankie is a trainer haunted by ghosts and regrets who takes a chance on an ambitious young fighter named Maggie Fitzgerald (Ms. Swank).

If for some unfathomable reason you haven’t yet seen “Million Dollar Baby,” I won’t spoil the plot by saying any more. But if you have seen it, you know that there’s much more to this movie than its plot. The warm, sharp banter among the principal characters never gets old. The images, shot by Mr. Eastwood’s longtime cinematographer, Tom Stern, glow with unexpressed, somber feeling. Fifty years from now, as the end credits scroll on whatever screen viewers are watching on, they will reach the same conclusion my editor did back in 2004. This is what a movie looks like.

Off-Topic Discussion / Re: Movies I have watched this week
« on: June 14, 2017, 08:05:59 PM »
If you want to see a lobster in a movie, watch Annie Hall!

Thanks for posting, qwerty1234! I think this is the article you saw:

The whole article is quite interesting, about how false memories can form in our brains ... and how they can be planted there, including those "collective false memories."

A nice tidbit: in the interview with Stina Dabrowski, she says they were so pressed for time before the broadcast that Clint drove her from the Grand Hotel to the studio on a motorcycle! Hmm, Clint was 62 at the time, and was basking in the great European reception for Unforgiven. Couldn't possibly be a false memory, could it? ;)

Can't resist posting this:

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