I think Lynch movies are kindergarten stuff compared to Big Sleep.
That bogey picture is WEIRD!

In article <f99ae2ad.0403032334.634c9819@posting.google.com>,
homonohana@hotmail.com (gayboy) wrote:

I think Lynch movies are kindergarten stuff compared to Big Sleep.
That bogey picture is WEIRD!

The Big Sleep is complex but knowable; Lost Highway is just a ragged
retelling of An Occurance at Owl Creek with a lot of Lynchian smoke
and
mirrors.

--
Steven

I think Lynch movies are kindergarten stuff compared to Big Sleep.
That bogey picture is WEIRD!

In a previous "Big Sleep" thread someone said the real problem with
the movie is that it has no real villains. I hadn't thought of it
before but I think he had a point. Canino was a bit of a meanie I
guess but he soon got his comeuppance. I always kind of liked Eddie
Mars he had charm and humor. there were certainly no villains of the
caliber of Greenstreet, Lorre and Cook in "The Maltese Falcon".

On 4-Mar-2004, homonohana@hotmail.com (gayboy) wrote:

I think Lynch movies are kindergarten stuff compared to Big Sleep.
That bogey picture is WEIRD!

It's about time someone compared these two films. I mean, the connection is
obvious...isnt it?

steve

Agreed. It's pointless trying to make sense out of much of Lynch's
work you just either enjoy the set pieces and the performances or you
don't.

Personally regarding "The Big Sleep" which I have seen about five
times I always get so caught up with the sharp wise-cracking dialogue,
the deft directorial touches and the chemistry between Bogart and
Bacall that I end up not really caring too much about the plot but as
Steven says it does make sense confusing though it is.

On 2004-03-04, David Matthews <dmatthews03@sympatico.ca> wrote:

Agreed. It's pointless trying to make sense out of much of Lynch's
work you just either enjoy the set pieces and the performances or you
don't.

Personally regarding "The Big Sleep" which I have seen about five
times I always get so caught up with the sharp wise-cracking dialogue,
the deft directorial touches and the chemistry between Bogart and
Bacall that I end up not really caring too much about the plot but as
Steven says it does make sense confusing though it is.

I agree. After you see it about a dozen times (my favorite movie), the plot
becomes inconsequential. It's the characters and dialogue that keep me
coming back over and over. I love Martha Vickers as the childlike, yet
steamy Carmen. Whatta babe! She smokes a young Melanie Griffith, who's
early role in The Drowning Pool is a pale imitation of the Carmen
character. And no one has even mentioned Elisha Cook Jr., who is great
as the painfully complaisant Jonsie. I always watch The Maltese Falcon and
The Big Sleep together, just so I can also watch Elisha ply his persona on
the other side of the coin as the barely restrained psycho, Wilmer. Great
stuff!

Let's face it, it's all about Dorothy Malone.

swac
*rowr*

On Fri, 5 Mar 2004, notbob wrote:

On 2004-03-04, David Matthews <dmatthews03@sympatico.ca> wrote:

Agreed. It's pointless trying to make sense out of much of
Lynch's
work you just either enjoy the set pieces and the performances
or you
don't.

Personally regarding "The Big Sleep" which I have seen about
five
times I always get so caught up with the sharp wise-cracking
dialogue,
the deft directorial touches and the chemistry between Bogart
and
Bacall that I end up not really caring too much about the plot
but as
Steven says it does make sense confusing though it is.

I agree. After you see it about a dozen times (my favorite
movie), the plot
becomes inconsequential. It's the characters and dialogue that
keep me
coming back over and over. I love Martha Vickers as the
childlike, yet
steamy Carmen. Whatta babe! She smokes a young Melanie Griffith,
who's
early role in The Drowning Pool is a pale imitation of the Carmen
character. And no one has even mentioned Elisha Cook Jr., who is
great
as the painfully complaisant Jonsie. I always watch The Maltese
Falcon and
The Big Sleep together, just so I can also watch Elisha ply his
persona on
the other side of the coin as the barely restrained psycho,
Wilmer. Great
stuff!

Let's face it, it's all about Dorothy Malone.

swac
*rowr*

"Stephen Cooke" <am082@chebucto.ns.ca> wrote in message
news:Pine.GSO.3.95.iB1.0.1040305125625.26475E-100000@halifax.chebucto.
ns.ca...

Let's face it, it's all about Dorothy Malone.

swac
*rowr*



Yeah!!! I loved Bogart's "Well Hello!" after she had taken off her
glasses and loosened her hair.

I was always sorry we never got
another scene with Sternwood.

On 2004-03-06, Frank R.A.J. Maloney <frajm@blarg.net> wrote:


I was always sorry we never got
another scene with Sternwood.

I second that! He had some of the best lines in the film:

"...my sleep is so near waking that it's hardly worth the name. I seem to
exist largely on heat, like a newborn spider. [...] Nasty things! Their
flesh is too much like the flesh of men, and their perfume has the rotten
sweetness of corruption." [0]

Not only are these lines classic, I hear them effortlessly. I'm so sick
of
today's movie's psuedo-realistic mumble-mumble dialog, which is usually so
inaudible as to requires me to turn on subtitles to follow. Another
reason
why so many folks are old movie buffs.

[0] http://www.filmsite.org/bigs.html

On 2004-03-06, Frank R.A.J. Maloney <frajm@blarg.net> wrote:
Not only are these lines classic, I hear them effortlessly. I'm so sick
of
today's movie's psuedo-realistic mumble-mumble dialog, which is usually so
inaudible as to requires me to turn on subtitles to follow.

"notbob" <notbob@nothome.com> wrote in message
news:TF92c.121357$Xp.536809@attbi_s54...
On 2004-03-06, Frank R.A.J. Maloney <frajm@blarg.net> wrote:
Not only are these lines classic, I hear them effortlessly. I'm so sick
of
today's movie's psuedo-realistic mumble-mumble dialog, which is usually
so
inaudible as to requires me to turn on subtitles to follow.

Agreed. I thought it was just me. As an Englishman watching present-day
Hollywood output, film and TV, I nearly always need subtitles,
particularly
for young female actresses. There's one woman on CSI who I simply cannot
comprehend. Hollywood actors of the 30s and 40s on the other hand spoke,
for
the most part, excellent American English.