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The tag line for Stanley Kubrick’s sixth feature was “How did they ever make a movie of Lolita?” And it’s a good question. Vladimir Nabokov’s infamous novel, first published in 1955, is a delirious account of a middle-aged sophisticate’s obsession with a 12 year-old “nymphet.” The book was both praised and pilloried when it came out. Graham Greene called it one of the best books of the year while an English newspaper called it “sheer unrestrained pornography.” With press like that, Lolita quickly became a best-seller.

So when Kubrick, along with his producing partner James B. Harris, bought the rights to the book in 1958, they first had to prove that it could be filmed in a way that could get past the censors. The Hays code was still in effect in Hollywood, which suppressed any hint of sex between two adults. A love story between a prepubescent girl and a middle-aged pervert was going to be a tall order. “If I realized how severe the [censorship] limitations were going to be,” Kubrick stated later, “I wouldn’t have made the film.”

Read the full article from Open Culture

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1. A Hard Day’s Night (1964) – The Beatles
2. The Sound of Music (1965) – Rodgers and Hammerstein
3. Saturday Night Fever (1977) – Bee Gees/Various
4. West Side Story (1961) – L. Bernstein/S. Sondheim
5. The Wizard of Oz (1939) – Harold Arlen/Cast
6. Superfly (1972) – Curtis Mayfield
7. The Graduate (1967) – Simon & Garfunkel
8. The Godfather (1972) – Nino Rota
9. Purple Rain (1984) – Prince

10. 2001: A Space Odyssey (1968) – Various
11. Oklahoma! (1955) – Rodgers and Hammerstein
12. The Harder They Come (1973) – Various
13. Psycho (1960) – Bernard Herrmann
14. Snow White and The Seven Dwarfs (1937) – Frank Churchill/Larry Morey
15. American Graffiti (1973) – Various
16. Vertigo (1958) – Bernard Herrmann
17. Trainspotting (1996) – Various
18. My Fair Lady (1964) – Various
19. Gone With the Wind (1939) – Max Steiner
20. Mary Poppins (1964) – Richard and Robert Sherman

21. Once Upon a Time in the West (1969) – Ennio Morricone
22. Pat Garrett & Billy the Kid (1973) – Bob Dylan
23. Pinocchio (1940) – Leigh Harline and Ned Washington
24. Goldfinger (1964) – John Barry
25. Singin’ In the Rain (1952) – Arthur Freed and Nacio Herb Brown
26. Star Wars (1977) – John Williams
27. Grease (1978) – Various
28. Pulp Fiction (1994) – Various
29. Doctor Zhivago (1965) – Maurice Jarre
30. The Rocky Horror Picture Show (1975) – Richard O’Brien

31. Easy Rider (1969) – Various
32. Ben-Hur (1959) – Miklos Rozsa
33. Help! (1965) – The Beatles
34. Bride of Frankenstein (1935) – Franz Waxman
35. Performance (1970) – Jack Nitzsche
36. The Band Wagon (1953) – Arthur Schwartz and Howard Deitz
37. Chinatown (1974) – Jerry Goldsmith
38. Cabaret (1972) – John Kander and Fred Ebb
39. King Kong (1933) – Max Steiner
40. Shaft (1971) – Isaac Hayes

41. Lawrence of Arabia (1962) – Maurice Jarre
42. Carousel (1956) – Rodgers and Hammerstein
43. The Pink Panther (1964) – Henry Mancini
44. Anatomy of a Murder (1959) – Duke Ellington
45. Let It Be (1970) – The Beatles
46. Fantasia (1940) – Various
47. The Magnificent Seven (1960) – Elmer Bernstein
48. Meet Me In St. Louis (1944) – Hugh Martin and Ralph Blaine
49. The Adventures of Robin Hood (1938) – Erich Wolfgang Korngold
50. Oliver! (1968) – Lionel Bart

51. The Sting (1973) – Marvin Hamlisch
52. Funny Girl (1968) – Walter Scharf and Julie Styne
53. Jaws (1975) – John Williams
54. Woodstock (1970) – Various
55. The Music Man (1962) – Meredith Willson
56. O Brother, Where Art Thou? (2000) – Various
57. Amadeus (1984) – Various
58. The King and I (1956) – Rodgers and Hammerstein
59. Beat Street (1984) – Various
60. The Man With the Golden Arm (1955) – Elmer Bernstein

61. The Mission (1986) – Ennio Morricone
62. Pretty in Pink (1986) – Various
63. Taxi Driver (1976) – Bernard Herrmann
64. The Last Waltz (1978) – The Band
65. Jailhouse Rock (1957) – Leiber and Stoller/Elvis Presley
66. Singles (1992) – Various
67. Manhattan (1979) – George Gershwin
68. South Park: Bigger, Longer and Uncut (1999) – Trey Parker and Marc Shaiman
69. Magnolia (1999) – Aimee Mann
70. Spartacus (1960) – Alex North

71. Pump Up the Volume (1971) – Various
72. Ragtime (1981) – Randy Newman
73. Tommy (1975) – Pete Townshend/Various
74. The Moderns (1988) – Mark Isham
75. Repo Man (1984) – Various
76. A Clockwork Orange (1971) – Walter Carlos
77. The Sweet Hereafter (1997) – Mychael Danna
78. Out of Africa (1985) – John Barry
79. Stop Making Sense (1984) – Talking Heads
80. Beauty and the Beast (1991) – Howard Ashman and Alan Menken

81. Local Hero (1983) – Mark Knopfler
82. Do the Right Thing (1989) – Branford Marsalis/Public Enemy
83. Crouching Tiger, Hidden Dragon (2000) – Tan Dun
84. Rushmore (1998) – Various
85. Merry Christmas, Mr. Lawrence (1984) – Ryuichi Sakamoto
86. This Is Spinal Tap (1984) – Spinal Tap
87. The Long Riders (1980) – Ry Cooder
88. Waiting to Exhale (1995) – Babyface/Whitney Houston
89. Jackie Brown (1997) – Various
90. To Kill a Mockingbird (1962) – Elmer Bernstein

91. Hedwig and the Angry Inch (2001) – John Cameron Mitchell
92. The Piano (1993) – Michael Nyman
93. The Virgin Suicides (2000) – Air
94. Planet of the Apes (1968) – Jerry Goldsmith
95. Good Will Hunting (1997) – Danny Elfman/Elliot Smith
96. Above the Rim (1994) – Various
97. Nashville (1975) – Various
98. Beetlejuice (1988) – Danny Elfman
99. One From the Heart (1982) – Tom Waits/Crystal Gayle
100. Blue Velvet (1986) – Angelo Badalamenti

her-movie-poster

Her, directed and produced by Spike Jonze, centers on a man who develops a relationship with a female voice produced by an intelligent computer operating system. It’s kind of an interesting love story. One of the reasons I’d like to watch this movie is of course Joaquin Phoenix plus Spike Jonze. In Her, Theodore Twombly (Joaquin Phoenix) is a complex, soulful man who makes his living writing touching, personal letters for other people. Heartbroken after the end of a long relationship, he becomes intrigued with a new, advanced operating system, which promises to be an intuitive entity in its own right, individual to each user. Upon initiating it, he is delighted to meet “Samantha” (Scarlett Johansson), a bright, female voice, who is insightful, sensitive and surprisingly funny. As her needs and desires grow, in tandem with his own, their friendship deepens into an eventual love for each other. 

I’d like to share a recent critic from The Guardian. | Tom Shone

Needless to say, the film is half in love with the loneliness it diagnoses. The whole thing looks like the most expensive ad for urban anomie ever made – Antonioni for the artisanal-cheese set – and for the first hour the conceit is unveiled beautifully, via a brisk series of gags, most of them in the periphery of the main plot. Theo’s workplace is a website called BeautfulHandwrittenLetters.com, where he sits in office composing personal notes for those who can’t be bothered – “Who knew you could rhyme so many words with ‘Penelope’?” says a co-worker, admiringly of his work – while a neighbour, played by a curly haired Amy Adams, designs video games in which mums pick up “Mom points” for feeding the kids or beating the other mothers to the carpool, or else face the ignominious charge “You’ve Failed Your Children!”

The closer we draw to the central romance, the straighter grows the film’s face. “Sometimes I think I’ve felt everything I’m gonna feel,” confides Theo to Samantha, finding in her precisely the sympathetic ear he failed to find in his wife. She is played by Rooney Mara, thus confirming Mara’s position as the ex most men would regret breaking up with, ideally through a happier times montage involving cascades of hair and white sheets seen in chalky sunlight. She gets in the zingiest line in the film, delivered over an exchange of divorce papers – “He couldn’t deal with me, tried to put me on Prozac and now he’s in love with his laptop” – but it doesn’t quite land. It’s like a zinger from one of Woody Allen’s comedies that has somehow drifted into one of his alienation-and-anomie numbers. The script wants things both ways – an obvious outrage to Mara, Phoenix’s love for his computer is seen as entirely normal by others – a penchant for blur that starts with the film’s wispy compositions and seems to spread from there.

Phoenix is as sweet and soulful as we always suspected he might be. Ditching the trail of dysfunction and hiding his scarred lip behind a neat little moustache, spectacles and high-hitched pants, Theo is a portrait of the sad sack as saintly urban eunuch – a great listener and perfect empath whose less attractive attributes are discretely masked from view. An early mention of Theo’s anger issues is never followed up on. A session of phone sex leaves him the bemused victim. Even his consummation with Samantha is discretely blacked out, to spare us the lonely, masturbatory truth. That’s quite a burden of simplicity to put on a figure who must carry a two-hour film; you can detect the strain during some of the date scenes, where Phoenix is required to gurgle with happiness one too many times – he wears the fixed grin of a man on a visit to the dentist.

Her – Official Trailer

Chapter 1 –
The Compleat Angler

How does an ordinary bag of chocolate sweets become a symbol of sexual victory?

As Joe and her experienced friend B embark on a train trip, they bet on how many men they can seduce on the ride.

The grand prize is a delicious bag of chocolate sweets, and it soon becomes clear to Joe that in order to win, she needs to lure the prey into biting the hook like a skilled fisherman.

– the Danish enfant terrible –

Lars von Trier: ‘I’m used to being disliked’

I recommend you to read this article about LVT:

http://www.timeout.com/london/film/lars-von-trier-im-used-to-being-disliked

Nymphomaniac |  Forget About Love

Un petit rappel sur le film:

“Folle et poétique histoire du parcours érotique d’une femme, de sa naissance jusqu’à l’âge de 50 ans, racontée par le personnage principal, Joe, qui s’est autodiagnostiquée nymphomane. Par une froide soirée d’hiver, le vieux et charmant célibataire Seligman découvre Joe dans une ruelle, rouée de coups. Après l’avoir ramenée chez lui, il soigne ses blessures et l’interroge sur sa vie. Seligman écoute intensément Joe lui raconter en huit chapitres successifs le récit de sa vie aux multiples ramifications et facettes, riche en associations et en incidents de parcours.”

Le film sera tourné en deux versions : une version soft pour la distribution en salles, et une plus “hard”.