Tag Archives: Criterion Collection

The Graduate’s Future

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It seemed like an eternity since I last posted due to some life circumstances. As we are picking up the pieces and moving forward in a positive direction, I am very proud to say that my son graduated from Grinnell College with a degree in Psychology  with Neuroscience concentration.  To celebrate this event, I picked the first film of Mr. Mike Nichols added to the Criterion Collection.

The Graduate is a 1967 American comedy drama film directed by Mike Nichols. It is based on the 1963 novel The Graduate by Charles Webb, who wrote it shortly after graduating from the same college our main character in the film graduated from. The screenplay is by Calder Willingham and Buck Henry, who appears in the film as a hotel clerk.

The film tells the story of 21-year-old Benjamin Braddock (Dustin Hoffman), a recent college graduate from William College with no well-defined aim in life, who is seduced by an older woman, Mrs. Robinson (Anne Bancroft), and then proceeds to fall in love with her daughter Elaine (Katharine Ross).

Like Grinnell College in Grinnell, Iowa , Williams College is a private liberal arts college located in Williamstown, Massachusetts, United States. Like any current college graduate, there is always going to be that angst on what lies ahead after college life. As I have told my son  ,  ” Pursue your passion with a purpose and do what you love to do best.” During these times of early uncertainty is where you must have a game plan on how to try to systematically map out the steps to take in positioning yourself to the best possible outcome in your career choice. Of course nothing is definite but if you persevere enough, you will eventually get to your destination. You will have some  bumps along the road but it’s how you get back up after you fall  where you gain strength in building the foundation of your life.  ” Life is a marathon and not a sprint. “

I won’t go much into the details about this critically acclaimed and very popular film as it has been ranked #7  in the AFI’s 100 years…100 Movies in the 1998.  The Graduate remains one of the most beloved American films of all time, The Graduate earned Mike Nichols a best director Oscar, brought the music of Simon & Garfunkel to a wider audience, and introduced the world to a young actor named Dustin Hoffman. Visually imaginative and impeccably acted, with a clever, endlessly quotable script by Buck Henry (based on the novel by Charles Webb), The Graduate had the kind of cultural impact that comes along only once in a generation.

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The Criterion Blu-Ray is loaded with special features galore that will cater to any avid film enthusiast.

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Lastly, I would like to share this moment during his senior season that I will remember the most during my son’s journey in college. It came during Mother’s Day weekend last May 2016. The lessons learned in and out of the baseball field will surely help him tackle what life brings  hereafter. We as a family would like to thank everyone who have played a part in our lives  and will continue to support us with love and prayers. Again, thank you very much from the bottom of all our hearts.

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He garnered  All Academic for his conference and helped his team set some athletic records and recognized by ABCA with a national academic honor. He ended up (in his own silent way) being the career team leader in Sacrifice Hits and HBP to cap off his career. He is also the NCAA Division III record holder for most sacrifice bunts in a game with 3  vs Coe College during his freshman year in 2013. 

2016 Grinnell College Baseball Highlights

NEXT UP …The Criterion Collection’s presentation of GILDA

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CCU16: February 2016 New Releases & The #CriterionBlogathon

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The first Criterion Blogathon is over but this celebration of films especially from the Criterion Collection will go on. As long as Criterion continues to release these gems, there will always be a reason for fans to celebrate. I want to personally thank our hosts Aaron ( Criterion Close Up ), Kristina (Speakeasy) and Ruth (Silverscreenings) for all their efforts in making this event a big success including their excellent posts (including Mark’s also of the Criterion Close Up) on this month’s Criterion releases.

This is the best episode thus far  of the Criterion Close Up due to amount of material covered. Thanks to all the host who read all the posts and all the participants ( including our COOL HOSTS) who poured out their passion in writing for this event. It was all worth it. Gained some new friends, strengthened friendships.

Until next time, We Are Groot. You’re Welcome! Thanks for the mention!

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Aaron, Mark, Kristina Dijan (Speakeasy) and Ruth Kerr (Silver Screenings) discuss the February 2016 Criterion Collection line-up and then we delve into the Criterion Blogathon, which was an epic experience for all of us. We talk about some of the behind the scenes info, give out prizes, talk about the social media thrills with the #CriterionBlogathon, and give our thanks to all who participated.

Subscribe: iTunes | Stitcher

Or listen here to it here:

Or direct download/listen to the MP3.

Show notes:

Outline:

0:00 – Intro, Housekeeping
9:20 – News & February Releases
38:40 – Criterion Blogathon

Intro

Kristina – Speakeasy Blog | Twitter

Ruth – Silver Screenings Blog | Twitter

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News

Dont Look Back

Ruth’s Ikiru review

Kristina’s In Cold Blood review

Aaron’s The Apu Trilogy Review

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Kitchen Conservations: Gaspar Noé

February 2016 Releases

Criterion…

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The Criterion Blogathon is Officially Here

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The Criterion Blogathon is officially here and would like to acknowledge our COOL hosts at the Criterion Blues, Speakeasy and Silver Screenings for all their hardwork in preparing and bringing this together . Would also like take this opportunity to thank all participants for all their efforts in making this a succesful week and all fans around the world for reading and re-tweeting the blogs.

My first offering scheduled on November 17, 2015  is a French noir double murder mystery.

ELEVATOR TO THE GALLOWS “ASCENSEUR POUR L’ÉCHAFAUD“ (1957) 

My second offering scheduled on Novemeber 19,2015 is a  baseball story set in Japan in the 50s.

I WILL BUY YOU “ANATA KAIMASU” (1956)

Hope you enjoy reading it and thanks for re-tweeting! #prayforparis #prayforjapan #prayfortheworld

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Elevator to the Gallows “Ascenseur pour l’échafaud“ (1957)

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The only exposure I had with Mr. Louis Malle was his last film in 1994, the experimental Vanya at 42nd street. A stark contrast to his first full feature noir film in 1957, Elevator to the Gallows (Original title:  Ascenseur pour l’échafaud ) “I was split between my tremendous admiration for Robert Bresson and the temptation to make a Hitchcock-like film,” was how director Louis Malle described his debut feature, made when he was just 24. In fact the film stands at a stylistic crossroads between the French cinema of the classic period and the new wave films that were about to usher in a new mode of expression a year later.

Louis Marie Malle (French last name pronounced  “mal”; 30 October 1932 – 23 November 1995) was a French  director, screenwriter and producer. He worked as the co-director and cameraman to Jacques Cousteau on the Oscar and Palme d’Or- winning (at the 1956 Academy Awards and Cannes Film Festival respectively) documentary The Silent World (1956) and assisted Robert Bresson on A Man Escaped (French title: Un condamné à mort s’est échappé ou Le vent souffle où il veut, 1956) before making his first feature, Ascenseur pour l’échafaud (released in the U.K. as Lift to the Scaffold and in the U.S. originally as Frantic, later as Elevator to the Gallows) in 1957.

Having had participated this past summer in the Turner Classic Movies sponsored Canvas Network  On-line course from Ball State University,  “Into The Darkness: Investigating Film Noir” , I gained more appreciation and deeper understanding for the genre and  for this particular film the relationship between film noir and jazz.  It was amazing to know that the great Miles Davis improvised the musical score of the film after watching scenes from the film and provided more layers to Malle’s visual design. To quote Professor Richard Edwards from one of his Daily Dose of Darkness lectures, “Although Davis’ music was for a French film that was not strictly a film noir, in that it did not exist within the established American series of films, this score has often been cited as an example of the relationship between the idioms of jazz and film noir.”

The excellent score by Miles Davis (a soundtrack worth picking up, jazz aficionado or not) heightens the unpredictability of the plot with freeform jazz and grooves while, at its core, provides one of cinema’s most pensive musical themes: a majestically remote trumpet.

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CLASSIC OPENING SCENE

The classic opening scene engages the viewer right away with close-ups of a couple obviously in love and professing their devotion to each other. Within the first minute of the film, we already have an idea about the plan of our femme fatale Florence Carala (Jeanne Moreau) and her flawed lover former French Foreign Legion paratrooper Julien Tavernier (Maurice Ronet) to kill her husband Simon Carala (Jean Wall), a wealthy middle-aged industrialist and arms dealer who also happens to be Julien’s boss. After their conversation ended, the classic haunting music of Davis and his quintet then permeates and sets the mood for the film creating a sense of separation and longing between the two lovers.  Davis’ lonely mournful tones on his trumpet echo the heartbreak of Julien in his work tower and Florence’s isolation in the phone booth.  The panning of Julien from his office window out into the business world of tall buildings emphasizes the physical distance between Florence and him.  The whispered voice of Florence shows her anguish in longing to be with Julien.  Davis’s quintet captures the desperation of these lovers across the distance. So close yet so far.

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After Julien seemed to have committed the perfect crime and a step closer to the lovers’ dream escape, he uncharacteristically realized that he left evidence behind. He hurriedly gets back in the building leaving his coat and belongings including the murder weapon in his car. As it was getting dark and close to closing time he gets trapped in the elevator after power was shut down for the day. This left Florence hanging and waiting in vain for him to show up and eventually convinced herself that her lover deserted her.

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Meanwhile, as Julien struggles to free himself from the elevator. His parked car is stolen by a teenage couple — the braggart Louis (George Poujouly) and his girlfriend Veronique (Yori Bertin). They get into a fender-bender with a German tourist and his wife, and the tourists rather improbably invite them to party with them at a motel.

What occurs next  are chain of events that led to several parallel crimes, mistaken identities involving the young reckless couple, a tightly wound double murder investigation, and some classic noir night shots with the mesmerizing jazz music during those scenes. These crimes were not committed in a vacuum. In this case, murder has a ripple effect, and the fates of the characters were inescapable and unfolding over one seemingly endless Parisian night.

Will the lovers find a way out of their predicament and consummate their rendezvous or face the consequence of their actions.

“Together forever somewhere!”

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MILES DAVIS IMPROVISING THE MUSICAL SCORE OF THE FILM

Mr.Miles Davis and Ms. Jeanne Moreau

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MOVIE SOUNDTRACK LP Cover

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MOVIE POSTERS for Elevator to the Gallows

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This post is part of the Criterion Blogathon, hosted by Criterion Blues, Speakeasy and Silver Screenings

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I Will Buy You “Anata Kaimasu” (1956)

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With the conclusion of the 2015 World Series between the Kansas City Royals and the New York Mets and the coronation of the never say die  Royals as the  2015 World Series champions, what better way to celebrate our national pastime than to write something about the game of baseball.  Baseball has been a very big part of our lives since the Arizona Diamondbacks won the 2001 World Series in dramatic fashion. My son who was eight years old at that time became interested with learning the game and then began our journey into reaching his maximum baseball potential.

Going into his senior year and last year of playing college baseball next spring, I have a bittersweet feeling imagining that he will eventually hang his cleats and call it a day after having played competitively for the last 15 years. Having coached him from Little League, PONY and watching him play Club baseball and High school baseball I have to also learn to navigate the waters of College Prospect Recruiting to guide him in making a decision to find the right college that fits his needs. A fit that I am grateful he found at Grinnell College in Grinnell, Iowa.

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Currently the most memorable moment of his College Career

 

What are the Probability of playing College and Professional baseball ? Very tough! Here are the facts.

  • Less than three in 50, or about 5.6 percent, of high school senior boys interscholastic baseball players will go on to play men’s baseball at a NCAA member institution.
  • Less than eleven in 100, or about 10.5 percent, of NCAA senior male baseball players will get drafted by a Major League Baseball (MLB) team.
  • Approximately one in 200, or approximately 0.5 percent of high school senior boys playing interscholastic baseball will eventually be drafted by an MLB team.
  • Base on above numbers, you can deduce that education and experience will give you a higher probability to advance professionally.

Baseball is often considered to be a typically American sport, but that doesn’t mean other nations don’t have it. In fact, there are countries, such as Japan, where baseball is just as popular as any other big sport, if not more popular. I am pretty sure that the above numbers mirror those in Japan or any other countries where youth baseball is popular or more popular than in the United States.

In Japan, baseball is played on several levels like here. There is the amateur baseball, high school baseball, college baseball and, of course, professional baseball. Baseball was introduced to Japan around 1873, during the turbulent times of the Meiji restoration. Since its beginnings, baseball in Japan was a club sport. The first ever baseball team was Shinbashi Athletic Club Athletics, which consisted of the players associated with the country’s first railroad, from Shinbashi in Tokyo to the treaty port of Yokohama.

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Today, Japanese professional baseball consists of 12 teams, divided into two leagues: the Central League and the Pacific League. As for the minor league baseball, there are two leagues: the Western League and the Eastern League. This pales in comparison the MLB which consists of a total of 30 teams playing in the American League (AL) and National League (NL), with 15 teams in each league.

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With these facts in mind, we can now begin our journey against Kobayashi’s system. A few words on the director Mr. Kobayashi (not to be mistaken to the character Mr. Pete Postlewaithe played in The Usual Suspects). Masaki Kobayashi (小林 正樹 Kobayashi Masaki?, February 14, 1916 – October 4, 1996) was a Japanese film director who embarked on a career in film in 1941 when he entered Shochiku Studios as an apprentice director under the successful and respected director Keisuke Kinoshita. His work with the Shochiku film company was interrupted by becoming a POW during the Sino-Japanese war. One of the most important filmmakers to emerge from Japan’s cinematic golden age, Masaki Kobayashi is remembered in great part today for his three-part epic The Human Condition (1959–61) which is partly based on his life altering experiences as a soldier and POW during World War 2, but that is just one of the blistering films he made in a career dedicated to criticizing his country’s rigid social and political orders.

He began making his own films in the early 1950s, and when he earned the right to choose his own projects, these turned into highly controversial film subjects. Eclipse’s four-disc collection Masaki Kobayashi Against the System groups three of his strongest 1950s efforts with a similarly scathing 1962 film, made amid other celebrated successes as Harakiri and his atypical color ghost story, Kwaidan. With these last two films he came to be known in the 1960’s as a master of both the samurai movie and the supernatural genre.

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I Will Buy You, is Kobayashi’s 8th but  first great film. For its part, I Will Buy You utilizes a fairly simple story of a baseball scout attempting to sign a hotly tipped college prospect to detail the greedy and morally corrupted scouting world  in a profession geared toward entertainment. What results is a subtly dramatic, morally complex tale of loyalty that forgoes the conciliatory in favor of the tragic.

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The film tackles the emergence of cutthroat capitalism in postwar Japanese life, specifically within professional baseball. The anti-hero is the slick, young, ambitious talent scout Daisuke Kishimoto (Keiji Sada). We first see him chasing down an ace pitcher. But when he finds out he has lost a finger in a mining accident, we never hear about the pitcher again. Daisuke turns his attention to Goro Kurita (Minoru Oki), a seemingly innocent college player who reveals a sharp streak once a bidding war breaks out between several major professional teams. Oki is a young man who is a very talented and successful college baseball player.

What was not shown in the film is how Goro got to this level coming from the countryside. It takes talent, drive to succeed, a lot of hard work with consistent on and off the field training during pre and in season as well as luck to even get the chance to play college and professional baseball. In baseball, I have learned that hustle and hard work trumps talent any day. 

With several teams aggressively recruiting Goro Kurita , the story focuses mainly on  Daisuke Kishimoto who plays a young scout from the Toyo Flowers. In the earlier and middle part of the film, we are given a chance to chime in on his interior thoughts in voice-over as he sizes up people and situations he faces. While a relative newcomer and somewhat naive, he’s also quite shrewd and calculating. He’s focused on success and money as are almost everyone he encounters, yet the way that he’s portrayed makes him a relatively sympathetic character that is immersed in a situation where one doesn’t know whom to trust.

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At this point of the story, we can’t avoid to draw comparisons between more recent sports movies like Moneyball and Jerry Maguire. Sports agent Daisuke Kishimoto/coveted player Goro Kurita as compared to Sports agent Jerry Maguire/free agent Rod Tidwell.  Sports movies in Hollywood during present times were more inspirational and wholesome as compared to this movie. Sports agent point of view in I will buy you “What do I have to do to sign him?” as compared to Jerry Maguire “What do I have to do to keep him”

Goro Kurita’s trainer for the past 4 years, Yunosuke Ito, is a very important intermediary. He’s in a position to extract bribes or payoffs to influence Goro and to allow access to him and his family. Goro’s girlfriend, Keiko Kishi, has a very different agenda and values than the scouts, Ito and Kurita. Goro’s family, parents and brothers, appear at first to be naive peasants; but when the bidding war starts, they are right in the thick of it. Goro himself is at first seen as interested only in the game, but as the story develops his innocence is only on the surface.

The story’s main theme is the conflict between humanity and the human being as a commodity. One’s interest is mainly maintained by witnessing how huge sums of money involved affect different persons. There is a good deal of suspense in seeing how people’s behaviors are affected under this pressure and incentive. I am sure Goro Kurita’s final decision will leave more questions than answers as to where his loyalty really was before, during and after the recruiting process.

Was he bought or not?  If he was, when was he bought?

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Will definitely miss these days…

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Coaching Days for the Centerfield Royals

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With Mr. Mark Grace of the 2001 World Series Champions Arizona Diamondbacks

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With Mr. Pete Rose “Hit King” (4256 Hits)

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Grinnell College Florida Spring Trip

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Sophomore year at Salpointe Catholic

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2010 National Classic

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Photoshoot at Centerfield Baseball Academy in Tucson, AZ

Our family would also like to sincerely  thank all the people (Coach Hollibaugh, Coach Cooprider and the rest of the GC Baseball coaching staff, Andy Morales, all his coaches from Little League, Club Baseball and Salpointe Catholic High School as well as all the baseball families we met the last 15 years)  and organizations (Centerfield Baseball Academy, Fallon Sports especially Jeff Fallon, Perfect Game especially Mr. Jerry Ford, Grinnell College, High School Baseball Web ) for giving my son the chance to succeed and helping us through our jouney. Very much appreciated.

This post is part of the Criterion Blogathon, hosted by Criterion Blues, Speakeasy and Silver Screenings.

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Criterion Blogathon – Things to Come

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Less than a month away from participating in my first Criterion Blogathon. I have been preparing for 2 films one a French Noir double murder mystery and the other an Asian film about baseball which will be just in time after the conclusion of the 2015 World Series.

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Hello, fellow film buffs. We have been quiet for a little while, but with the #CriterionBlogathon just under a month away, we are about to roar!

Most importantly, we are imposing a deadline for submissions as of this Friday, October 23, 2015. We have updated the Blogathon roster here, and are currently at 170 topics. If you want to participate, this is the last call for you to secure a topic. After checking the roster, please complete this form to participate.

You may also be interested in the podcast that we recently recorded with Kristina over this past weekend. We discussed not only the blogosphere, blogathons, and online film community, but also this specific blogathon. Hopefully you will find it to be an interesting discussion. We certainly enjoyed it! Kristina blogged about her experience here.

The Blogathon will take place over six-days, from Monday, November 16th until Saturday…

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Honor Thy Father and Thy Mother (Make Way For Tomorrow)

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HONOR THY FATHER AND THY MOTHER… A pretty simple but very powerful phrase. Words are not enough to explain the feelings I had upon watching the Criterion release of Make Way For Tomorrow originally shown in 1937. It definitely struck an emotional chord inside of me. After I immigrated to the United States in 1994, I always wondered when I would be able to re-unite with my parents. I finally had the opportunity to take care of them after my petition for them was granted and they emigrated here from the Philippines to the USA in 2002. My father who had prior experience in living in the US after he was sponsored by the Philippine Navy to train in the US Naval Academy in San Diego for a few years after WWII had an easier time adjusting to the move. He definitely instilled in me a lot of Western influence that shaped how I grew up. My mother who was a teacher on the other hand, had a harder time adjusting to the “Culture Shock” but eventually settled in.

Those were really happy times. Spending time catching up and reminiscing my childhood, and finally meeting their grandson. It will be short-lived and bittersweet though as my “Papa” was stricken by a terminal illness after a year and decided to go back home to the Philippines to spend the rest of his life there. It was a gut wrenching feeling having to bring them back to their flight back home.  He eventually succumbed to his illness and my “Mama” followed him in heaven a few years after from stroke complications. I will be eternally grateful to my sister and her family who took care of them through all this back home and my wife for being so supportive and allowing me the opportunity to give back a little. I wished I had more time with them but in life you sometimes just have to play the cards you are dealt with. God Bless their souls.

Make Way for Tomorrow, by Leo McCarey, is one of the great unsung Hollywood masterpieces, a very moving Depression-era depiction of the frustrations of family, aging, and the generation gap.  An inspiration for Yasujiro Ozu’s Tokyo Story, this is among American cinema’s purest emotionally driven films.

Leo McCarey, made his name with his comedic flair. He was the first to pair Laurel and Hardy, he directed the best Marx Brothers’ movie (“Duck Soup”). In the same year as “Make Way for Tomorrow,” he made Cary Grant a star in “The Awful Truth.” When McCarey won the Best Director Oscar for the latter, Peter Bogdanovich tells us, he stood up and said, “You gave it to me for the wrong picture.”  It was quite a different tone of film he made that Mr. Orson Welles said that,  “This movie can even make a stone cry.”

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The plot concerns an elderly couple Barkley Cooper (Victor Moore) and Lucy Cooper (Beulah Bondi) who was forced to separate after 50 years of marriage when they lose their house during the great depression due to foreclosure and none of their five children will take both parents and so has to be separated.

It’s all supposed to be a temporary arrangement for three months or so until the children can arrange something more permanent. Lucy goes to live with her son George (Thomas Mitchell) but she always seems to be in the way, especially when George’s wife Anita (Fay Bainter) is teaching her bridge class. Barkley goes to live with his daughter Cora (Elisabeth Risdon), who obvious resents his very presence and arranges for him to go live in California with another of his children. Lucy was eventually told by her favorite son George that he also arranged her transfer to a nursing home in what was one of the most touching scenes of this film.

Lucy and Barkley do their best to maintain their dignity all the while but their distance apart and longing for each other was starting to manifest their loneliness.Their children arrange for them to meet in the city before Barkley gets on the train for California. There’s also a family dinner planned for the evening, but Bark and Lucy made their own plans to go out and spend one last afternoon together before having a farewell dinner with the four children. They had a great time strolling around the city and reminiscing about their happy years together, even had a car dealer (while trying to sell them a car) drive them to “The Vogard”, the same hotel in which they had stayed on their honeymoon 50 years prior. Their day is made so pleasant partly because of the kindness of people they encounter, who, although strangers, seem to find them a charming couple, to genuinely enjoy their company, and to treat them with respect, which is in stark contrast to the treatment the two are received from their children.

Eventually Barkley and Lucy decide to continue their wonderful day by skipping the farewell dinner and dining at the hotel instead; when Barkley informs their daughter with a dry phone call, it prompts introspection among the four children. Son Robert (Ray Meyer) suggests that each of the children has always known that collectively they are “probably the most good-for-nothing bunch of kids that were ever raised, but it didn’t bother us much until we found out that Pop knew it too.” George notes that it is now so late in the evening that they won’t even have time to meet their parents at the train station to send off their father. He says that he deliberately let the time pass until it was too late because he figured their parents would prefer to be alone. Nell (Minna Gombell) objects that if they don’t go to the station, their parents “will think we’re terrible,” to which George matter-of-factly replies “Aren’t we?”

At the train station, Lucy and Barkley say their farewells to one another.  This is one of the most heart wrenching scenes I have witnessed on screen. Barkley tells Lucy that he will find a job in California and quickly send for her; Lucy replies that she is sure he will do so. They then offer each other a truly final goodbye, saying that they are doing so “just in case” they do not see each other again because “anything could happen.” Each makes a heartfelt statement reaffirming their lifelong love, in what seems an unspoken acknowledgment that it is almost certainly their final moment together.

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I want to personally thank my parents for bringing me to this world and showing un-conditional love and support for me to reach where I am right now in life. For always placing their children first and foremost before thinking about themselves. I wished we had more time together but I know deep in my heart that we will still see each other again someday.

Love thy parents while thou still have the chance to show them.

This film transcends all generations and is highly recommended to anyone born on this earth. 

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Freshman Recollections

The Freshman

I vividly remember 3 years ago when we travelled 1197 miles and dropped off our only son to Grinnell College and officially became empty nesters.  He was then a bright eyed freshman eager to learn the rigors of college life much like Harold Lamb aka Speedy (Harold Lloyd) was when he entered Tate University with the blessings of his parents. As any college parent would relate, their angst is how their child would adapt and survive in their first year of college.

The Freshman (1925) directed by Sam Taylor and Fred Newmeyer (who also both collaborated with Lloyd in Safety Last! in 1923) was Harold Lloyd’s biggest box-office hit. This silent comedy gem, featuring the great actor at his eager best as a new college student. In 1990,  the film was selected for preservation in the United States National Film Registry by the Library of Congress as being “culturally, historically, or aesthetically significant”, going in the second year of voting and being one of the first 50 films to receive such an honor.

Harold Lamb’s dream was to be popular on campus much like his idol “Speedy” played by actor Lester Laurel in the movie “The College Hero”.  His plan was to emulate Speedy and he did not waste any time by addressing the student body after arriving on campus and being coaxed by the College Cad (Brooks Benedict) to give a speech. In classic Lloyd comedic slapstick fashion, he ended his address by saying “I am just a regular fellow and I want you to step right up and call me ‘Speedy’! “

His road to being popular and accepted won’t be smooth sailing as unbeknownst to him he was made the butt of an ongoing joke in the whole campus.  His only real friend is Peggy (Jobyna Ralston), who turns out to be his landlady’s daughter, described in one of the film’s title cards as “what your mother was like when she was young”.

To prove his mettle, he has to try out for the Football team, host the annual Fall Frolic and try to earn playing time from his unimpressed coach especially in the most important game of their football season against Union State.

Whether Harold remains the laughing stock of the college or able to redeem himself will be tackled more in depth by Hometowns to Hollywood @ The Criterion Blogathon.

Zero to Hero or Hero to Zero…. Coincidentally, The Criterion Collection will release its 3rd Harold Lloyd film on blu-ray Speedy (1928) on December 8, 2015.

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Your Legacy Will Live Forever

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I have not met Mr. William Becker but I feel a lot of sadness from everyone who have known and loved him.

This man whose biography I have just read yesterday deserved all the love and praise from the film community and its fans.

For what it’s worth, he is in a better place and will  always be at peace.

Our loss on earth is Heaven’s gain! He left us enough memories to last a lifetime.

Mr. Becker, You and your legacy will live forever. Thank you very much.

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Arthur William John Becker III

5/23/1927 – 9/12/2015

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NY TIMES ARTICLE on “Essential Art House: 50 Years of Janus Films.”