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AS each and every year I watch that wonderful film- And each time I get closer of this wonderful film--

93.194.202.93
Posted on February 5, 2010 at 07:45:59
patrickU
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 No words can be enough praise.
It rank among the best ever, and it reach the density of the novel.
Which is, indeed very rare.

A masterpiece, a diamond.

This film could only have been made..., posted on February 5, 2010 at 11:40:10
Harmonia
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 ...by a master, a master who has lived fully and attained a certain wisdom.

When film fans discuss great American directors, and inevitably someone asks who's the "greatest", I always respond "John Huston". Some might say Ford, or Kubrick, or Coppola, or Scorsese (the French would no doubt say Hitchcock). But I say Huston, and The Dead is his masterpiece. It captures on the screen the way one feels reading the story on the page: all the texture, all the emotion, all the layers. It is an extraordinary film - something very, very rare.

Plus we have these films from the same gifted man:

The Maltese Falcon
The Treasure Of Sierre Madre
Key Largo
The Asphalt Jungle
The African Queen
The Misfits
Fat City
The Man Who Would Be King
Wise Blood
Under The Volcano
Prizzi's Honor

Huston had a flair for bringing novels to the screen (even, perhaps especially, the daunting ones), as the list above atests.

How many filmmakers can say that their first film (Maltese Falcon) and their last (The Dead) were truly great films? Since he worked mainly within the commercial Hollywood system in his long career, Huston had his share of misfires. And he also diected for hire several outright clunkers. But his list of great movies is unsurpassed IMO by any other American born director (yes, I know someone is going to say Stanley Kubrick).
No Spielberg? , posted on February 5, 2010 at 12:15:58
Victor Khomenko
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 Agree with most of what you said about Houston, but I would not discount people like Billy Wilder, for instance.


    • Wilder belongs on any list of great American filmmakers. , posted on February 5, 2010 at 13:03:58
    Harmonia
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    		 One can certainly make a case for Wilder, although he's not American born, not that THAT's particularly important, as Wilder certainly grasped the American ethos and qualifies as a great American director. I simply mentioned Huston as the greatest American born director but I think he's (arguably) the geatest American director period. And we musn't forget Hawks and Welles - Welles was a huge influence on filmmaking despite his small output.

    Spielberg is something else. He is unquestionably a gifted filmmaker.

    However, I don't think anything he's ever made approaches the emotional depth and subtlety of The Dead, Wise Blood, The Misfits, Under The Volcano etc. I have famously recounted my Spielberg issues on this forum before. Just thinking about his place among his contemporaries, IMO SS comes behind Scorsese, Coppola, Lynch, the Coens and maybe a couple others.

    I was jesting, of course! :), posted on February 5, 2010 at 13:22:03
    Victor Khomenko
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    		 Another great one I always like to mention is William Wyler.


    • RE: Wilder belongs on any list of great American filmmakers. , posted on February 5, 2010 at 13:27:55
    patrickU
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    		 Wilder was an Austrian born director and his first films were like " Menschen in Berlin " somthing to reckon with.
    On his way to exile he stayed in Paris where he made a not so good picture.
    An old ( ! ) friend of mine now 102, learn to know him in Brussel, with his dog, she said he was a nice man, but he was also the scholar of the great Lubitsch, and never reach his class.
    But who will ever forget " Sabrina ".
    There are many great American directors, but Huston is outstanding.
    I have now my third DVD of the Dead, looking for the best copy, still not out yet.
    A shame for one of the best film ever.

    RE: Or George Cukor---, posted on February 5, 2010 at 13:33:32
    patrickU
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    		 But there are so many.
    Spielberg is the great loser, his films most of them are un-watchable by today ( my ) standard.

    I would love Wilder if he'd only made..., posted on February 5, 2010 at 13:59:25
    Harmonia
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    		 ...Some Like It Hot. :-) But Ace In The Hole is also a favorite.

    I saw it when it was first released and didn't care for it at all., posted on February 5, 2010 at 17:51:22
    Wendell Narrod
    		 I'll watch it again.
    I remember going comatose after 20 minutes. *, posted on February 5, 2010 at 18:01:25
    mr grits
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    Share a bowl of grits with someone you love tonight.
    You should say Welles. nt, posted on February 5, 2010 at 18:37:23
    tinear
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    		 d

    How about George Stevens, then? Both popular and.... artistic. nt, posted on February 5, 2010 at 18:48:57
    tinear
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    		 fd

    William Wyler before Billy Wilder. I'd say, anyway..... nt, posted on February 5, 2010 at 18:51:15
    tinear
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    		 d

    I did (see below)., posted on February 5, 2010 at 19:28:59
    Harmonia
    		 But for my money, Huston is the great American filmmaker.

    For cinematic brilliance and technical innovation, Welles has no peer among his fellow American contemporaries. For sheer emotional content, mapping the truth of the human heart and sustained excellence over a long period of time, Huston surpasses Welles.

    Just my (not so) humble opinion.

    I wouldn't...and didn't...but I love Wyler's..., posted on February 5, 2010 at 19:44:34
    Harmonia
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    		 ...last western, The Big Country.

    And I truly enjoy the rather minor How To Steal A Million, mainly because of the enchanting performances of Peter O'Toole and Audrey Hepburn. Wyler made weightier films, better films - and more imoprtant films - but I adore the sparkle in O'Tool's eye. Wyler could be perfectly charming when he wanted - Mrs. Miniver is an example albeit in a completely different type of movie.

    I also have a soft spot for the unsettling The Collector, again because of the great performance of Terrance Stamp. That was a gutsy pic for Wyler to make so late in his career.

    I think his "best film" for me would be The Best Years Of Our Lives, followed by The Heiress. Ben Hur is too much of a muchness.

    But gimme The Big Country for pure viewing pleasure.

    RE: The first time...., posted on February 6, 2010 at 01:25:25
    patrickU
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    		 I was with a friend and I felt so cozy that I slept in. Maybe the first time in my life that I did as adult.

    Now I see it as a sign, a sign that told me, Patrick you will see it a lot of time again and again, so take your time and be egoist with your pleasure so that it will last for ever and a day.

    Now just buy this one.
    RE: Did you ever woke up*, posted on February 6, 2010 at 01:26:05
    patrickU
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    		 Hehe..

    RE: Remember we talk about the music in " The Big Country "?, posted on February 6, 2010 at 01:29:27
    patrickU
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    		 I said I really like it.

    Now I just saw " Miracle In Milan " and what did I heard.

    The same leitmotiv!!!!!!!!!!!!!!

    I was baffled.

    RE: Head to head each in his own category. nt, posted on February 6, 2010 at 04:13:21
    patrickU
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    		 nt

    HUGE agreement on "The Big Country." Perhaps the greatest Western of all., posted on February 6, 2010 at 08:13:44
    tinear
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    		 But look at the first four American Wyler films, very good to great works:
    1937 Dodsworth Best Director Nominated
    1939 Wuthering Heights Best Director Nominated
    1940 The Letter Best Director Nominated
    1941 The Little Foxes Best Director Nominated
    1942 Mrs. Miniver Best Director Won
    1947 The Best Years of Our Lives Best Director Won
    1950 The Heiress Best Director and Best Picture Nominated
    1952 Detective Story Best Director Nominated
    1953 Roman Holiday Best Director and Best Picture Nominated
    1957 Friendly Persuasion Best Director Nominated
    1959 Ben-Hur Best Director Won
    1952 Detective Story
    1965 (?) Funny Girl
    And Detective Story is very, very good, too.

    No, I never wake up. *, posted on February 6, 2010 at 11:16:05
    mr grits
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    Share a bowl of grits with someone you love tonight.
    RE: John Ford MADE the best Western, and nobody else. nt, posted on February 7, 2010 at 01:28:06
    patrickU
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    		 nt

    Too Irish for my tastes., posted on February 7, 2010 at 03:15:16
    abel mccain
    		 The Irish fascination with disembodiment was surely highlighted in this well-crafted film. And of course, disembodiment is a personal choice but it really gets to me after a while. I like the film but I can't stand to watch it. Too effective, you might say.

    RE: Too Irish for my tastes., posted on February 7, 2010 at 03:27:21
    patrickU
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    		 Now I am at odd.
    I can not trace what you do really mean with " disembodiment " in relation with this film.
    I beg on more.


    PS: Too much of been confronted with our own to be a shadow?

    Oh boy..., posted on February 7, 2010 at 08:14:32
    abel mccain
    		 ... you must be kidding. Who are "The Dead"? The dead, or the disembodied, are those who live in a state of "thwarted passion", of course. And Huston knew that the Irish do seem to be very proud of their thwarted passions. Oh yes, part of the story revolves around the memory of "the one" who actually died - long ago. But almost everyone else in the film has died too. There are the "emotionally dead" and the "intellectually dead". But mostly, we encounter those who have "DIED FOR THE SAKE OF" - something. Launching themselves into an eternity of disembodiment and grayness as part of a sacrifice to some ideal. They love to "fear god" - always stoking a burning carcass of some kind atop their personal altar of sacrifice. Really, they are made to feel nobler and prouder (in a way) by living the hushed life, powered by unrecoverable memories or unattianable ideals. For the sake of? For the sake alcohol, manners, religion, politics, sentiment, pride - what have you. And as I'm sure you've noticed, the whole look and feel of the movie reeks of "deadness", even though it's supposed to be holiday time. Like I said, way too Irish for my tastes. Geez, Patrick.

    RE: Oh boy..., posted on February 7, 2010 at 09:09:22
    patrickU
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    		 No Geez Patrick.
    I wanted to know, to understand what you meant. The few words you just let go from the corner of your mouth was enough, or better not, for a stranger to get on with what you had on your mind.
    So now as a big boy you told me.

    Your view and understanding of the.. book are by that way, film are intellectually on spot.
    This is an approach from the first viewing, soon other more organic aspect are looming, and I forget about rationalizing, analyzing that can only be in the way to love this picture.

    It's not sentimental but emotional. The Deads refuse to stay buried in their cemeteries.
    They are here to live with us in us between the material and spiritual world.


    And you confirm it.
    So forget about and just let the flow of the non action transport you in a word of unspoken thoughts.
    You may then enjoy this piece of art.

    Huston was Irish and lived many times on his farm.

    Curiously all " Younger actors " have died by now but the older one ( remember that scene with the aunt reposing on her death bed ) are still alive.

    Too Irish? I was there quite a few time, living in a Victorian hose near Bantry bay, there never was, in any way anything near as too Irish.

    A wonderful folk.

    Geez ( too be as stupid as you, and that is a pity that your arrogance took the best out of you )
    yes I said Geez, but what was your name.
    RE: The Dead, posted on February 7, 2010 at 09:47:45
    abel mccain
    		 Thanks for the little "test", Big Boy, but I still have to disagree with you on certain fronts. Believe it or not, I have watched this movie more than once. I certainly don't think it is a literal interpretation of the book. IMO, the film deals with issues involving both sentiment and emotion, as well certain aspects of the Irish people (wryly observed by Huston the Irish-American). I am part Irish myself, and I love the Irish people but I have seen certain things with my own eyes. I have talked to Irishmen who feel the same way I do about this film. Finally, I have hard time understanding your use of English at times. Nevertheless, you often seem to talk as if you have already seen everything there is to see in a movie. If that is indeed what your are doing, then it is the epitome of "stupid".

    RE: Whatīs now my love?, posted on February 8, 2010 at 01:28:19
    patrickU
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    		 " I like the film but I can't stand to watch it ". Now it is " More than once " is this duality pure masochism?

    "Too Irish for my tastes ". Donīt you like yourself?

    Now it is bad very bad to mix your aggressiveness with a good sense of criticism as far movies goes.

    And no, I am no oyster, I am keeping alive to learn through others people eyes and mind.
    Now when it come to more " intellectual " words in English I am in jeopardy, beside the fact that in any language the simpler the more intelligent it is.
    That is the quintessence.
    Think Flaubert.
    Whatīs left?, posted on February 8, 2010 at 14:08:04
    abel mccain
    		 It's common logic: I would have to watch a film carefully before I would have the right to say, "I can't stand to watch it." Think 'Clockwork Orange'. Think "lidlocks". And, of course I hate myself - it's the Irish part of me that I will probably never shake off. And finally, remember me not as the aggressive guy but as the guy with the passion-based morality. Think D.H. Lawrence - who also seemed to dislike James Joyce. Good-bye!

    RE: Whatīs left?, posted on February 9, 2010 at 04:55:43
    patrickU
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    		 Nobody.

    It was a kind of pleasure.
    Take care.

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