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Author Topic: The Bridges of Madison County to screen in New York, Dec. 22  (Read 569 times)
KC
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« on: December 21, 2017, 03:00:04 AM »

As part of a series "Emotion Pictures: International Melodrama," Bridges will screen at the Film Society of Lincoln Center's Walter Reade Theater once only, on Friday, December 22, at 1:30 PM. I'm planning to go.

https://www.filmlinc.org/series/emotion-pictures-international-melodrama/

About the series:

Quote
When many of us think about movie melodramas, the first names that come to mind are titans of Hollywood’s golden age, directors (Douglas Sirk, Nicholas Ray, Vincente Minnelli, George Cukor) and stars (Lillian Gish, Joan Crawford, Bette Davis) alike. But the melodrama is by no means a distinctly American or mid-century genre, having laid its roots during the silent era (in the work of D. W. Griffith, Erich von Stroheim, F. W. Murnau) before flowering in Japan (Kenji Mizoguchi, Mikio Naruse), Italy (Pier Paolo Pasolini, Federico Fellini), England (David Lean), and elsewhere. Indeed, the careers of many key filmmakers of modern cinema have been predicated on radical reinterpretations of the form, as in the work of Rainer Werner Fassbinder, Pedro Almodóvar, Todd Haynes, Leos Carax, Lars von Trier, Wong Kar Wai, and Guy Maddin. This series pays tribute to the genre that boldly endeavored to put emotion on screen in its purest form, featuring classics from the silent era and Hollywood’s Golden Age to major mid-century films from around the world to modern dramas and subversive postmodern incarnations. Bring tissues.

And about the film:

Quote
“I was acting like another woman, yet I was more myself than ever before…” During one summer in 1960s Madison County, Iowa, a married-with-children Italian-American housewife (Meryl Streep) finds fleeting romance with a rugged, passing-through-town National Geographic photographer (Clint Eastwood). It’s only four days, but it’s enough to fuel an infatuation that stretches even beyond their deaths. The rare literary adaptation to surpass its source material, this stirring, pro-adultery drama is elevated by the finely shaded performances and by Eastwood’s masterful direction, which turns a montage of a blinking car taillight, a rearview mirror, and a passenger side door handle into a heart-stopping, will-they-won’t-they emotional crescendo.
https://www.filmlinc.org/films/the-bridges-of-madison-county/



For more on melodrama as a film genre, see this story in the Times:

https://www.nytimes.com/2017/12/15/movies/he-knows-melodrama-when-he-sees-it.html

Quote
What’s the one thing these 62 films have in common? What makes them melodramas?

It has to do with emotion. Films that depict or express emotion directly, in as direct or pure a form as possible. But these are often films that depict emotion indirectly, that deal with heightened emotions and figure out interesting ways to express them onscreen.

The question behind the series is how emotion works on screen. How do we as viewers become emotionally invested? What makes us emotional?
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KC
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« Reply #1 on: December 22, 2017, 10:49:16 PM »

So, it was wonderful to see it in a theater again! 8)

I've always thought the frame story (the kids come home after their mom dies, and find out what she was up to that time they took the prize steer to the state fair) was weak, and I haven't changed my mind about that. There's a bit of a payoff at the end, when hearing their mother's story moves Carolyn to pull out of her deadening marriage, while it moves Michael to try to strengthen his bond with a wife he actually loves but may not appreciate. (That's my reading anyway, and I'm sticking to it.) These actors were either miscast or not up to the challenge, but to be fair, the writing in these scenes is mostly pretty terrible too.

But the central love story remains, in my mind, one of the best things Clint has ever done, beautiful to look at and heartbreaking to feel your way through. It truly is, as my college drama teacher defined it, a tragedy: When someone has two choices, and they're both wrong. Well, we know that Francesca (who is the one who has to choose) is really right not to go. She explains it so well: She's sparing her family great pain, and preserving the memory of her love for Robert, which would inevitably have collapsed if she had actually run away with him. But I never see that final scene with the two trucks in the rain without wishing she would have pressed that door handle down just a little harder, just a little faster.

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Gant
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« Reply #2 on: December 23, 2017, 03:06:04 AM »

Wow, I'd live to see this on a big screen again... I remember reading the novel way back and not enjoying it that much and thinking I bet Robert Redford does this but actually I can see Clint in it... I'm glad he did along with improving on the novel immeasurably..
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« Reply #3 on: June 20, 2018, 04:33:47 AM »

I almost missed this one on the big screen.  I don’t mind seeing films alone, as I’d done with White Hunter, Black Heart but just didn’t see myself going this one alone. 

As it turns out, my ex-wife and I were dating when it was brought back due to Streep’s Oscar nomination.  We saw it together and that began a tradition of seeing all of the films he starred in going forward. 

Obviously, that trend ended with Trouble With The Curve.  I plan on taking Tina to see Clint in his next starring role in The Mule. 

The Bridges Of Madison County is one of Eastwood’s best movies, again proving critics wrong as to how talented and versatile he is.


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