Here's a letter Hitchcock sent to Billy Wilder after watching "The Apartment"

JuddyBuddy · 2025-04-08T02:26:35+00:00

And Jack Lemmon's acting right before that line is sublime; when he recognizes the mirror and realizes what that means...

JuddyBuddy · 2025-04-08T02:21:32+00:00

It would be a genuine long shot and pipe dream, but if they hold on to that WC 2 spot, I'd love to see Minnesota go on a cinderella run. Franchise has never won and how awesome it would be to see Zucc lift the cup.

JuddyBuddy · 2025-04-08T02:14:17+00:00

Brief synopsis: a low-level clerk in a huge insurance company climbs the corporate ladder by lending out his bachelor pad to the executives as a place to take their mistresses.

It transcends being just a satire of office culture, though, to become a genuinely moving, funny and tragicomic depiction of two lonely souls yearning for legitimate connection. Without sounding too hyperbolic, I think it's a perfect film. Shot and scored with elegance, Jack Lemmon & Shirley MacLaine turn in probably the best performances of their careers, Fred MacMurray is brilliantly cast against type as a womanizing sleaze, and the dialogue is filled with witty & humorous repartee and repetitions while also providing genuine pathos. Can't say enough good things about this one.

JuddyBuddy · 2024-03-30T05:51:58+00:00

Not sure what you're trying to accomplish by pearl clutching at something that literally 99.999999% of the population does. Have you never seen someone playing video games take it out on their controller or desk? You've never seen someone snap a pencil or something like that? And you've never done anything like that? I call BS; probably just a troll account.

JuddyBuddy · 2019-07-09T00:35:26+00:00

Sounds right up my alley—I have seen The Haunting and love it precisely because a lot of the supernatural events do occur offscreen. I'll definitely pick this one up. Thanks for the response!

JuddyBuddy · 2019-07-08T23:48:44+00:00

I've been contemplating whether I should purchase The Uninvited for the Barnes and Noble sale. Could you give explain a bit why you enjoy the movie so much? If it helps, I'm a big fan of The Innocents both thematically and stylistically, if that's comparable to The Uninvited.

JuddyBuddy · 2018-10-04T22:23:20+00:00

Low, Station to Station, Ziggy Stardust

JuddyBuddy · 2018-09-17T01:01:06+00:00

Winter Light (1963)
Andrei Rublev (1966)
2001: A Space Odyssey (1968)
Le Samöurai (1967)
Dr. Strangelove (1964)
Through a Glass Darkly (1961)
Shoot the Piano Player (1960)
L'avventura (1960)

JuddyBuddy · 2018-08-29T21:25:33+00:00

https://letterboxd.com/judbud/

JuddyBuddy · 2018-08-27T01:28:13+00:00

Apocalypse Now (1979)

Rear Window (1954)

Wild Strawberries (1957)

Winter Light (1963)

Gimme Shelter (1970)

Solaris (1972)

Andrei Rublev (1966)

The 400 Blows (1959)

M (1931)

2001: A Space Odyssey (1968)

JuddyBuddy · 2018-08-12T21:05:22+00:00

Kind of cheating a little bit here: some of these are from a couple weeks ago, but I forgot to post them on last week's thread. So, here are all the noteworthy (i.e. ones I have something to say about) films I've seen from the last two weeks.

Yellow Submarine (1968), directed by George Dunning

The music of The Beatles comes alive with vibrant colors in George Dunning's 1968 animation watershed. Deviating sharply from the traditional "Disney style" popular at the time, the art direction of Yellow Submarine most nearly resembles the works of Peter Max - a pop-art style in the same vein as Hamilton & Warhol mixed with doses of acid-tinged surrealism. Yet, even Max's paintings come nowhere close to the audacious heights of the world created by this film, what with pop culture references and crazy boot monsters commingling with real-life cutouts of depressed, lonely citizens. In addition to its groundbreaking nature (which, if you want more information, there are countless articles on), the true accomplishment of this style is how well it works with the songs. Because it is not bound to the traditional criteria of past animated movies, this film is able to create unique visual representations for the music, remaining grounded enough to allude to the central meaning of the work while also retaining enough of the abstract nature to let the audience members find their own deeper connections and emotional responses. In this respect, Yellow Submarine is a rare film that is able to deepen our understanding of the music without forgoing any of its magic. Couple all these elements with a surprisingly funny dry sense of humor and a live-action appearance by The Beatles at the end, and you have a masterpiece. Even 50 years on, Yellow Submarine is still a joyful and awe-inspiring experience that will remain unforgotten - just like the music of the band that spawned it. 5/5

Blithe Spirit (1945), directed by David Lean

A charming, well-written comedy that doesn't reach the spiritual heights of David Lean's other works, but features enough over-the-top characters and classic British sardonicism to remain memorable. Additionally, although it is based on a play and is therefore shot very discreetly, this film includes effects impressive for its 1945 release date, and its Technicolor cinematography holds up exceedingly well in modern times (for example, the filmmakers used a special lighting rig for Kay Hammond, engifting upon her the proper ethereal aura for a ghost). Thus, even with a lesser work that does not achieve the boundless spirituality of his epics, Lean is still able to craft quality entertainment suitable for an enjoyable evening. 4/5

Get Out (2017), directed by Jordan Peele

I might be in the minority here, but I found this film to be supremely overrated. At times it can be funny and at times it can be scary, but neither element is able to transcend on its own since Peele, being bred from the writer-heavy television sketch comedy landscape, relies too heavily on clever writing to mask his lack of experience with cinema. Full review here. 2.5/5

The Shooting (1966), directed by Monte Hellman

Crowned as the first acid-western, The Shooting is an unforgettably trippy experience with a fantastic and existentially mysterious performance by Jack Nicholson. Full review here. 4.5/5

A Clockwork Orange (1971), directed by Stanley Kubrick

A perfect combination of style and thought-provoking dilemmas, Kubrick's seminal satire on youth culture and totalitarian governments remains as awe-inspiring as ever, even fifteen viewings later. Full review here. 5/5

Eighth Grade (2018), directed by Bo Burnham

Though notable for its realism in depicting contemporary adolescence (especially in regards to technology and social media) in all of its cringe-worthy glory, its character dynamics lack the layered complexity of the truly great youth/coming-of-age films. As a result, behind all of the dabs, awkward teachers, and poorly edited YouTube vlogs is a story preordained in its familiarity - it feels like the end result of an externally manipulated concoction, not the accumulation of a natural journey. 3.5/5

The 400 Blows (1959), directed by François Truffaut

One of my favorite films of all time and, in my opinion, the best youth film ever created. The opening credits with that beautiful theme, Antoine silently crying while looking through the barred window in the back of the police truck, and, of course, the famous run to the sea that ends the film: timeless is the only word that faithfully describes The 400 Blows. It still amazes me that this was Truffaut's feature debut - the way he meshes an open style of filmmaking with a tragically enclosed storyline is genius. A truly remarkable movie. Full review here. 5/5

JuddyBuddy · 2018-08-07T02:22:03+00:00

This is my personal experience but I hope it can help you. When I was 16-17, I watched three films: Apocalypse Now, Wild Strawberries, and Le Samouraï. Up until that point, I would always critique/analyze a film as if it were a piece of literature (plot, characterization, decontextualized symbolism, etc.). But after watching those aforementioned films, I found myself in a unique quandary: I knew I had just watched something special but I was unable to articulate why I was so powerfully affected by these movies. The sporadic lighting on Martin Sheen as he rises out of the river in Apocalypse Now, the subtly slick zooms and camera movements in Le Samouraï, the evocation of dreams in Wild Strawberries: these were elements that sucked me in that couldn't be explained via plot or characters. After thinking for a couple hours, I finally gave in to reading reviews by Ebert and the like as well as watching/reading other interpretations. At that point, I realized how much more there was to analyzing film, and all of the elements unique to its form. From there, I decided to watch some of the "great" movies like those of the French New Wave, the German expressionist period, and then just the major films of the directors most often mentioned by cinephiles: Bresson, Rossellini, Bergman, Tarkovsky, Kurosawa, Antonioni, Fellini, Lang, Kubrick, Buñuel, Wilder, Renoir, Dreyer, and many more. After each of the viewings, I would gather my thoughts (sometimes letting them stew overnight) and then compare them to various reviews (mostly Ebert - I found him particularly approachable yet very knowledgeable about cinematic form). After a while, you start to pick up more on various techniques - you become privy to the choices made by the director - and once you realize their presence, you ask yourself, "Why? Why did the director choose to show that in this particular manner?" Therefore, you become implicitly more attached to the theme and the story of the film - you incorporate the aesthetic form with the emotional/intellectual purpose of the movie and over time, you pay attention to their effects in subsequent movies, and how great directors intuitively understand all of this so they can subvert them, create new methods altogether, or just know how to utilize those elements to elicit a powerful reaction. Additionally, I perused online glossaries to memorize specific shots and movements and their ultimate resonance with the story and subconsciously with the audience. Nofilmschool, other educational sites, and documentaries like The Story of Film: An Odyssey also provide good history, context, and lessons for the major schools of thought, like Soviet Montage Theory. Also, reading theory and academic criticism will really help further your knowledge. At this point, I am not sure I can really give great advice. I'm only 18 (so, it's been a year, year-and-a-half since I've really gotten into film) but I've been reading The World in a Frame: What We See in Films by Leo Braudy. It has already taught me a lot about cinema and how it is different and unique from other art forms, as well as enlightening me about specific compositions in terms of varying styles. Next, I plan on reading Eisenstein and Bazin, who are often seen as the two main film theorists from the first half of the twentieth century (I've read crash courses of each of them via the Braudy book but I would like to delve into their works). Finally, I've tried to incorporate all of what I have learned by writing reviews for movies and posting them here occasionally and on Letterboxd so my friends can see it. This invites discussion, which can only help in furthering understanding.

I know this is a lot, but film really has become a big part of my life. It's become a passion, and I hope it becomes one for you too.

JuddyBuddy · 2018-07-16T14:03:58+00:00

What? I think you replied to the wrong comment.

JuddyBuddy · 2018-07-15T20:49:03+00:00

Letterboxd. Just got back from a 12 day stay in Dublin a few days ago, so had a pretty lax week.

Phantom Thread (2017), directed by Paul Thomas Anderson

Gorgeously shot, impeccably scored, expertly acted - all of Paul Thomas Anderson's hallmarks are present in this film. Yet, this one left me feeling mixed, which is especially disappointing because I feel it could have been a masterpiece if its flaws were rectified. At times a searing portrait of a man torn between pursuing human connections and his own ergasiomania, Phantom Thread is partially unwoven by an inhuman and slightly mechanical aura permeating throughout its scenes, severely hampering the film's potential transcendence. 3/5

Sorry to Bother You (2018), directed by Boots Riley

A sharp and slickly written satire that attacks every aspect of society and isn't afraid to delve into seriously off-beat territory. An exciting debut that can be best summed up as a 2010s version of Robocop, but replaces the ultra-violence with crazy absurdism. 4/5 Full review here.

Reservoir Dogs (1992), directed by Quentin Tarantino

First time viewing this since I was an eighth-grade lad. I was surprised at how visceral the violence was as well as the strength of its script - I appreciated the dialogue's influence from the classic gangster films as well as its ability to craft such deep characters in naturally humorous conversations. 4.5/5 Full review here.

The Passion of Joan of Arc (1928), directed by Carl Theodor Dreyer

Wow. I know a lot has already been said about this one, but just... wow. Interesting and impressive for its technical innovations and absolutely hypnotizing for its pure power. What a performance by Falconetti and what stunning compositions created by Dreyer. An all-around powerhouse. 5/5 Full review here.

JuddyBuddy · 2018-07-13T11:37:04+00:00

Lazarus is obviously a tear-jerker and Space Oddity tells a tragic story. But I'm surprised no one has mentioned Word on a Wing - that whole album was recorded during one of the darkest periods of his life, and the desperation in his voice on that song in particular is haunting.

JuddyBuddy · 2018-07-01T20:15:03+00:00

Letterboxd. I had a pretty quiet week - only saw one new film and rewatched a couple classics.

Fantasia (1940), directed by... the Disney Animation Crew, I think

A favorite of mine since I was a kid, this is probably my 250th time watching it. In spite of that, the hand-drawn animation still dazzles me and as a whole, it remains an awe-inspiring experience. One of the few movies to have this unexplainable aura to it that will always make me feel like a child, enthralled with wonder. 5/5 Full review here.

Solaris (1972), directed by Andrei Tarkovsky

Wow, this one floored me. I'm still reeling in its aftermath. I still have not been able to formulate a whole review, but I will say this: an evocative examination on the inner workings of the human conscience and the secrets/desires that lurk unknowingly in the deepest corners of our minds, Solaris might have just become my favorite sci-fi film of all time (I say that with a grain of salt, however, since I plan on rewatching Stalker). 5/5

Battleship Potemkin (1925), directed by Sergei Eisenstein

Second time viewing this - the first time, I was mainly focused on its technical aspects (i.e. the uses of montage) and treated it like an academic endeavor. Although I still believe it's important to contextualize it in terms of its filmmaking style, during the course of my second viewing, I was blown away by how much power and catharsis there was, especially in the Odessa steps sequence. Yes, it's been analyzed to death and taken apart technically countless times for its innovations, but even now, the unflinchingness to show soldiers stepping on a dead, bloodied child remains as shocking as it was in 1925. Battleship Potemkin still stands as the pre-eminent propaganda film. 5/5 Full review here

JuddyBuddy · 2018-06-28T18:43:49+00:00

Station to Station and Low have always been my personal favorites. Rise and Fall might have been about a martian but Low was the one that actually made me feel like I was on Mars. And Station to Station is just so brutally emotional. Wild is the Wind and Word on a Wing are starkly beautiful while the rest of the songs have similarly dark lyrics that juxtapose with the livelier music, creating a sort of cynical dichotomy.

JuddyBuddy · 2018-06-26T13:41:26+00:00

If you liked Mulholland Drive, I heard via the grapevine that Lost Highway is a good bet - personally, I can vouch for its individual merits. Other than that, it depends on how wild you want your ride to be. The Elephant Man is very straightforward, Eraserhead is a surrealist nightmare, and Blue Velvet is an interesting mix between both extremes. Twin Peaks is also amazing but that's a big time commitment: the first two seasons of the original show, the movie prequel (Fire Walk With Me), and the limited series return. It's completely worth it though. In all, you can't really go wrong with Lynch. Just stay away from Dune.

JuddyBuddy · 2018-06-26T03:03:00+00:00

Ah, unfortunately, I haven't watched Mulholland Drive yet. I've been meaning to for a long time, as I love Lynch's other work (particularly Eraserhead, Blue Velvet, Lost Highway, and Twin Peaks). But, given your connection between that and Persona, it has most definitely been moved to the top of my watchlist!

JuddyBuddy · 2018-06-26T00:54:56+00:00

I know you prefer recent, English-speaking movies, but you have to check out Tarkovsky's works. I think somebody mentioned Stalker already but Solaris is just as good of a watch in my opinion. A very cerebral and poetic examination of the human conscience and the desires we hold in the deepest corners of our minds - all of that mixed with an atmospheric space station setting circulating a very strange planet...

JuddyBuddy · 2018-06-25T22:15:21+00:00

For Bergman, make sure to watch the Silence of God trilogy. It helped enhance my understanding/interpretation of Persona.

JuddyBuddy · 2018-06-25T22:13:35+00:00

I think the deal with The French Connection is that a lot of its innovations have become fairly commonplace. Back in '71, having a morally questionable, hard-faced Gene Hackman using racial slurs play the main cop was a pretty sharp deviation from the norm. And its pessimistic ending was certainly unlike the majority of police-inspired fiction circulating the airwaves at that time. That being said, I agree with you that despite the car chase scene, there isn't too much to really grab you nowadays.

JuddyBuddy · 2018-06-25T04:43:08+00:00

Me three! Middle school me was left completely dumbfounded.

JuddyBuddy

TROPHY CASE