Thursday, April 5, 2018

Roger Ebert (on Tree Of Life)

Many films diminish us. They cheapen us, masturbate our senses, hammer us with shabby thrills, diminish the value of life. Some few films evoke the wonderment of life's experience, and those I consider a form of prayer. Not prayer "to" anyone or anything, but prayer "about" everyone and everything. I believe prayer that makes requests is pointless. What will be, will be. But I value the kind of prayer when you stand at the edge of the sea, or beneath a tree, or smell a flower, or love someone, or do a good thing. Those prayers validate existence and snatch it away from meaningless routine.

Tuesday, February 27, 2018

PTA's Phantom Thread Pre-Show Playlist (70mm Screenings)

  1. “Blue Sands” – The Chico Hamilton Quintet
  2. “Portrait of My Love” – Cyril Ornadel & Starlight Symphony
  3. “You’re So Vain” – Carly Simon
  4. “Dolly Suite, Op. 56: I. Berceuse” – Gabriel Fauré, Katia Labèque
  5. “I’ll Always Be in Love with You” – Helen Forrest
  6. “I’m Making Believe” – Ella Fitzgerald & The Ink Spots
  7. “Hey, That’s No Way to Say Goodbye” – Roberta Flack
  8. “Nobody Does It Better” – Carly Simon
  9. “Impression of a Princess” – Danish State Radio Orchestra & Robert Farnon
  10. “My Ship” – Oscar Peterson and Nelson Riddle
  11. “Razor Love” – Neil Young
  12. “Suspicions” – Bernard Herrmann
  13. “Thirteen (Alternate Mix)” – Big Star
  14. “Coming Around Again” – Carly Simon
  15. “Portrait of Jenny” – Oscar Peterson and Nelson Riddle
  16. “Two Blind Loves” – Jack Teagarden and his Orchestra, Kitty Kallen
  17. “I’m On Fire” – Bruce Springsteen
  18. “Three Little Words” – Jack Teagarden and his Orchestra
  19. “Stay (feat. Mikky Ekko)” – Rihanna
  20. “Lord of the Manor” – The Everly Brothers
  21. “Come Sunday” – Oscar Peterson and Nelson Riddle
  22. “XO” – Beyoncé
  23. “Farewell (from the film The Constant Nymph)” – Erich Wolfgang Korngold

Tuesday, February 20, 2018

Altman in 2018/1975

I think Altman is, like F. Scott Fitzgerald, one of the great poets of failure. His real attraction is to that secret underside of the American dream: humiliation, embarrassment, loss of status, and the abiding anxiety the fear of these produces. 
-- Molly Haskell on NASHVILLE