Vertigo. Review. Analysis.

Reaction and reply to this IMDb post
Agree about the time capsule effect; pity they didn't show the trolleybuses.

I just saw the movie a few hours ago and thought it this way:

Judy Barton somehow decides to start dating Scottie, afraid that Scottie — having recognized Barton — has already put all the pieces of the puzzle together, while in fact he has yet not. This probably hints to the less sophisticated background of both, despite Scottie being a detective and Judy being part of an elaborate plan.

Were the actor playing Scottie different than John Ferguson, who was 49 at the time, the interpretation of the film could have been different, too. — Such that if the actor were much younger and more handsome, it would have been much more plausible to believe Judy's claims of loving Scottie in the final scenes of the movie. This also applies to the relationship between Midge and Scottie, where in some scenes Midge plays the mother figure.

Hitchcock was therefore correct to complain about mis/casting an older guy, despite 'early retirement' at 49 (going on 50) still sounding about right in 1958.

Midge is clearly smarter than Scottie and knows what Scottie is looking for in a woman (a mother-like figure, that is). Scottie hasn't so far taken the bait from Midge, and it is likely that he innately knows that she knows what he wants and so would feel uncomfortable to progress from friendship to something else, as Midge's play would feel unauthentic just because she knows and that Scottie knows that she knows.

The other reason could be that Midge is far too independent; Scottie wants to dominate, but knows that Midge wouldn't let him. Scottie is also old-fashioned, as he doesn't know much about women's wear.

This is when Scottie, after meeting "Madeleine", sees in her exactly what he wants to see: a young and pretty woman with the look and mannerisms of a lady, reasonably independent, but apparently subservient on an interpersonal level. Here we see how Scottie exercises his right to dominate by saving "Madeleine" from drowning, by taking care of her, and so on.

Scottie has become completely obsessed with Judy/"Madeleine".

As Judy and Scottie keep on dating, Judy realizes that Scottie doesn't know about the ruse and lets her guard loose. She chooses to be with Scottie with designs for a better life with him (We see from Judy's family photos that she seems to be from modest surroundings in the state she grew up in).

Maybe she'd thought that Scottie, almost 50 and still not married yet, might be gay and is perhaps looking for a beard. This is alluded to in "Madeleine"'s question about why he hasn't been married yet.

At the time of the ruse, Judy as "Madeleine" was willing to appear subservient, as she was instructed to be like that by Elster. Scottie falls for it.

I remember Elster at the beginning of the movie had no intention to go and wanted to stay with his enterprise. In the scene where Judy has walked up the stairs of the church tower and Elster throws his real wife down, Judy screams and Elster realizes that this could give away the charade, which causes him (uncharacteristically) to part ways with the city and his company as soon as possible. Scottie only attributes this to Elster's grief.

Once Judy has fulfilled her role as "Madeleine", she doesn't need to appear subservient and we get to see a decidedly more independent Judy than Scottie ever thought. It's hinted about when she decides to leave Scottie's home on her own, instead of letting Scottie bring her to Elster.

The masks start falling when Scottie demands Judy to be more like Madeleine and Judy thinks that Scotty is on to something; and while she plays along out of fear of discovery, she is also pushing back, because Scottie 'doth protest too much.'

The masks fall futher after the detective in Scottie has realized that Judy was in on the charade and when Scottie takes Judy to the murder site.

Several scenes follow where Scottie is overly dominant with Judy, short of being violent. It shows why Scottie is unable to have steady relationships with women, and how this is the real reason for his being unmarried.

Scottie forcibly takes Judy up the tower while overcoming his fear of heights, tells all to Judy and forces her to confess. Judy, trying to save herself both from the situation and to tame the much too overbearing Scottie, expresses the words of love to him, but is startled by the nun, who I think was there all along, who heard everything and only used the excuse of having heard voices to appear as if she just arrived.

Whether Judy was startled or felt no other way than to fall to her death is a matter of debate.

The reason why I think the nun heard everything was because after Judy fell to her death, the nun started pulling the bell ropes and so ringing the bell right away. — A person who just woke up usually takes some time to wholly wake up, so I understood that the nun was completely alert by the time Judy's confession escaped her lips.

The ending is left a bit open, because Scottie could be implicated in Judy's death. His saving grace is the nun, who apparently heard everything... but chose not to reveal this.

Or, if the nun really heard "some sounds," and only witnessed Judy fall down, then Scottie would be in a difficult position. Scottie would think that the nun would tell and would want for the nun to be silent. The old and wise nun probably knows this, too (by way of having observed Scottie's mannerisms with Judy), and rings the bells as soon as possible to make sure Scottie doesn't get any chance to impove his position on account of another person's life.

---

In a later post, I added this:
I remember the "gay old bohemian days" phrase was uttered by Midge's librarian friend.

If we allow ourselves to assume that Scottie might be gay, then the librarian friend somehow recognizes this in Scottie, but Scottie dismisses it, because he doesn't know it yet himself. We might see it when Judy (perhaps still as "Madeleine") and Scottie stroll in a park full of young people being together and cuddling. I then saw a cut to Scottie and Judy, where Judy seems to wistfully look at the young people with want, but Scottie appears conflicted — almost wanting to be there, too, but restraining himself.

Then what I forgot to add to my original writeup is this point:

While Judy is actually more independent and despite that still willing to be with Scottie for various reasons, then by very the end of the film she sees her decision backfire, as Scottie becomes more dominant. By the time Judy actually realizes this and starts pushing back, it's too late to break free, as Scottie is almost violent and takes Judy out of the car to the church tower.

Scottie's demands on Judy to be like "Madeleine" is an exercize of a series of warning signs, which Judy doesn't recognize.

So, if the actor playing Scottie were younger, I'd more readily believe Judy's love for Scottie, while with the current version of her "love" might more than anything be for reasons of fear.

The Way We Were

In reply to a post on an unrelated movie on IMDb.

I guess your parents were hoping that you'd understand the point of "The Way We Were", because in some way, it probably related to them, but weren't able to convey it in any other means than having you watch it. The film is actually more difficult and relates to themes that a ten-year-old might find hard to grasp.

Long story short for "The Way We Were":

If memory of the synopsis of "The Way We Were" (which I haven't seen) read from Wikipedia serves me right, then the point of it was that two people deeply in love with one another had to give up a lot to be together in tenuous times, but eventually split for greener pastures to have a life — or what they thought life meant for them at the time — lest they be forced to be much worse off by events and powers beyound their control.

Time moved on and they met again, being in an age past their prime youth. Reminiscing, they realized that they were actually at their best when staying together when young, yet far too many events had gone past, and they had grown too much apart of one another throughout all that time to be like the way they were.

In my view, the movie probably warns people not to break precious relationships too easily, advising them to ponder the merits of a loving relationship further than just face value. The film also suggests that young people (perhaps by their nature) possess lesser amounts of detachment to recognize the gift of love in their midst.

Going All the Way

Film review that was first a comment; in reply to a thread on IMDb.

I waited, too, to see if they'd discover one another further than what's in the movie, though New York's Greenwich Village alluded to as much.

The film felt open-ended and probably stayed true to the very letter of the novel it was based on, which, I assume, was just as vague, suggesting several possible outcomes, depending on the eye of the beholder.

I would have ended it differently and sweetly. Even if such a happy-end situation were there, then after they guys would meet in NYC, the most possible outcome would have by then been known in advance to any viewer with a brain.

Fortunately, the ending was not as tragic as the one in "The Locusts"...
Would I (have) cast a different actor to play Sonny, just for the sake of seeing Sonny and Gunner (as played by Affleck) discover one another and consummate a possible guy/guy relationship brewing underneath?

Well, I don't know if I would — Davies is just too unique an actor, and the original story shows an environment so devoid of substance that it would not want to suggest anything that would be gay; For example, sodomy laws in the U.S. were not repealed before 1970's, neither was homosexuality an acceptable topic in the kind of polite society shown in this film. The novel by the same title was published in 1970, which is when attitudes towards homosexuality in the U.S. somehow started to thaw, and then only really slowly.

I think I did notice some lines in the movie from which I could infer that there could have been guy/guy relationships, I think in the very inconspicous way Gunner formed words in his sentences. Oh well.

Yet, in conclusion, "Going All the Way" did suggest possible ways of how the Beat Generation sprung up.

"Super 8" movie review

Well, I hope this will be short enough
Warning: Here be spoilers

Ten, maybe fifteen years ago I would have liked this flick very much and just as much would have been very tempted to retell the story of the movie.
What a difference doubling my years of life then actually makes.

Over many years, I actually went to watch a movie in a movie theathre, over many years with a friend, and over many years with a friend whom I haven't been to pictures with since 2003.

Turned out that instead of a sci-fi action-drama which had kids in it, it was a kiddie-movie with sci-fi action and some drama, too. A very good kiddie-movie. If I were a kid, I am sure I would have really loved this film.

Cinematically, JJ Abrams has done very good work on "Super 8", echoing both of Spielberg's "Close Encounters of the Third Kind" and "E.T." After all, Spielberg's name was plastered all over the posters of "Super 8". Michael Giacchino does well with the score and his musical style is recognisable (see "Star Trek" (2009)).

The great stuff

• The train crash is the best train crash I've ever seen.
• SFX concepts of the alien ship are really out of this world. I mean, I've never had any idea a ship could be built like that.
• The late 1970's now refer to a time that eventually might be long forgotten well into our own future, but the film somehow manages to document a way of life and an America that back then was still a dreamable place to be in.

(One omission of the Summer 1979 events is the re-entry of Skylab, news of which was huge in America.)

The interesting and thought-provoking stuff

The most intriguing parts I found appeared to be the most insignificant ones.

• The Three Mile Island nuclear accident lent me to belive that the young protagonist Joe's mother died in that accident, and not in the steel mill, and Joe's young lady-friend Alice's (Elle Fanning) father was the one who failed to attend the shift at the time, which proved fatal to Joe's mother.
  
  The release of the movie in Summer of 2011 is somehow coincidental, after the Fukushima nuclear accidents in Japan, which began on March 11, 2011. Coincidentally, March 11 is a very loaded date for me since 2004 (the Madrid train bombings) and now even more since this year (2011). In 1979, the Chernobyl nuclear accident hadn't happened yet.
• Of course, 1979 wasn't exactly a crisis year in terms of the economy, despite the 1979 oil crisis, for example. It's also before the Savings and Loan crisis of early 1980's really came to be about. Maybe when one progresses into adulthood and reaches news-reading age, then in some ways, crises are always there, around the world; some are closer to home, some are less. So 1979 had its crises, but they weren't of the scale of now.
  
  In light of which is today (as of July 2011) regarded as the Great Recession, the film reminds well into its start for people to be compassionate, generous, and giving; sort of attempting to show that it's still a good thing™ to have these qualities, ways and means permitting. "Transformers: Dark of the Moon" also touches up on the recession.
  
  Breakdown (intentional or not) of the Nuclear Family and single parenting are referred to at least twice; My half-educated guess is that most actual series and films from around the era (1975-1985) wouldn't ever have any of that in the main cast line-up and storylines.
• The movie is good in tackling other difficult subjects, like imprisonment, maltreatment and mistreatment of foreigners (the alien being a substitute for the purposes of storytelling) who are regarded as low-lives, despite their sentience or even intelligence. Think Guantánamo. How would someone have to cope with the after-effects of gross mistreatment upon eventual release, what is the subsequent reaction and what should it ideally be (? — in the mind of a moviemaker and viewers who mostly tend to agree), or what can be the motives for aggressive behaviour and how to reduce chances of vengeance or any reoccurrence of it?
  
  This JJ Abrams film is the one where he very well manages in picture terms to explain all of the above to a young mind. Star Trek now seems like an 85% attempt at this, being a very engaging sci-fi action movie and all.
• The solution presented is not forgiveness, but departure and detachment. Current policy in world politics seems to desire this to be preferred behaviour, given that sincere forgiveness cannot be easy in the first place. The film suggests that perhaps it's expressions of compassion and dignity in the act of release that might prevent vengeance, or reoccurrence of it. Who knows. Has it been tested and proven already?
  
  Any political power wishes, and, in various degrees usually gets departure and separation of its prisoners from said power upon release, physically at least. Yet mental departure and detachment (letting go) is never easy. Most action flicks have not delved into this.
  
  In a "fish out of sea" situation, departure and detachment might be the first reactions anyway, especially if survival is the primary consideration. Sometimes, compassion and dignity are the first and best steps into repairing very bad relations, methinks, or at least help in stopping violence. A cease-fire, then: "...But you can live!". Well, the movie gets that right.
  
  Remembrance, on the other hand, is special:
  Would it be too difficult to explain all of that to adolescents?

• Kid acting kudos go to Joel Courtney (Joe) and Riley Griffiths ("Production value!!11!!!").
• Special kudos to Kyle Chandler and Elle Fanning.
• You won't notice David Gallagher from Seventh Heaven.

If you want to see what the times were back were then 30 years ago, or just reminisce of the times back then, then see all of this for yourself in the movie or from an optical disk once that comes out.

Yet, if a young mind might wish to ruminate over above topics in the bulleted list, I'd suggest watching a documentary or reading the Geneva conventions...

More Ideas for SGU's Future

What I hope and pray for, is to see the continuation of Stargate Universe both as a TV show and a franchise.

My ideas (which I am sure I have written about before) for The Powers That Be:

• Before and until anything is clear about which television network is to pick up the show, MGM should make and promote a full-feature theatrical movie with the same actors and the same creative cast. The motion picture, if production is quick enough, could be released after Season II concludes on SyFy.
• Crazy idea: Why not market episodes as movies shown in pictures theatres? You could extend them to be at least 60 minutes long, for example, and the movie market is worldwide and not dependent on revenue from television advertisers (I don't mind product placement that is smart). Make sure to release in different countries near-simultaneously.
• Some forum posters have talked budget cuts, which I think are wrong. If cuts still happen, then it's best to reduce the number of episodes and not compromise on actors, the creative cast and production values, all of which affect series quality to a good degree.
• I much appreciate musical montages, so do keep these.
• If you haven't done that yet, publish an SGU soundtrack compilation both in CD and digital formats and maybe as an add-on in DVD sets (they're not cheap anyway, so value has to be added).
• In addition to current and very good musical selections, I'd like to hear music in SGU by some of the following acts: One EskimO/Kristian Leontiou, Nine Inch Nails/Trent Reznor, Frontline Assembly/Delerium (who are in Vancouver, btw), Linkin Park, Sarah McLachlan, maybe even 30 Seconds to Mars and Kanye West. All these musical acts and projects have large and/or dedicated fanbases: having a never-before-released song in some episodes of the show is likely to bring in new viewers (make sure to create positive buzz/tweet beforehand).

Sell Stargate Universe to another channel?

I recently posted this to GateWorld, but getting it here in my blog is just faster. I slightly edited the text for less ambiguity and better grammar.

On causes and effects

1. I read some of the possible factors for cancellation by SyFy and one of them was timing, where a four-month delay throughout the winter is bad for an arc-based show, because new and casual viewers could quickly lose interest, which is why ABC kept airing "Lost" without much interruption. I belive that the choice to move the series to Tuesdays was a bad move (schoolkids are busy doing homework, other people working inside a week, while Fridays are freer).

2. The other problem is in marketing the show: First-viewing rights went to Anglo-Saxon countries (U.S., then Canada, then UK and Australia) and then some other country's channel got the episodes later or that channel wasn't quite interested: people in that country already had the episodes online (by any means): iTunes does not extend to enough useful territories, Hulu is only U.S.-based and did anyone consider having the episodes up on VEVO (an ad-supported YouTube project)?

The trick is in timing: Some very successful movies (The Matrix series came to mind) are screened near-simultaneously worldwide to avoid losses in second and third countries, because by the time a movie screens there, people in those might have already seen the material outside the movie theatre and may thus stay away from there.

Crazy idea #1: is for MGM to produce a quality SGU episode and launch it as a movie, worldwide (with nearly the same production budget). And many episodes back-to-back that way. I know it hasn't been done before.

Crazy idea #2: In trying to continue SGU on another channel, a collection of interested TV networks from around the world (I first thought Europe, where Atlantis was very popular, but then there's Australia, NZ, Japan, and maybe some friendly Latin-American countries) could create a collective financing pool to help produce SGU with the current producers keeping the creative freedom and all those channels could then near-simultaneously air the episodes. This would off-set the need to get individual episodes by ambiguous means. Now, how to get the channels interested in product and project, is another matter.

In addition, good DVD marketing could also help.

Farscape had the Library project and the Military/Navy project — donate VHS's (at the time) and DVD's to libraries and military/navy outposts. We could do the same and even more.

(This was my first post on GateWorld)

PÖFF: Films to Watch

I looked around the PÖFF schedule and found some very interesting stuff to take a look at and watch, too:

Canada: "Ce qu'il faut pour vivre" (French and Inuit languages)
"Winner of the Grand Prix des Ameriques as Best Film at the 2008 Montreal World Film Festival and Canada's official entry in the Best Foreign Language Oscar race..."

There are actually six films from Canada, but the site's search function is not designed to be very gracious and does not let the user copy the search results.

Estonia:
• "The Kings of the Time" centers on Estonia's puppet animation, Estonia's film animation in general and the people who laid the base for it
• "I was here" — Keywords: Drugs, sex, violence and loud music

Latvia: "The Soviet Story"
Lithuania: "When I Was A Partizan"
Germany: "The Wave"