- Most religious books that have stood the test of time have lived up to the hype. The Bible (especially certain books like Ecclesiastes or Proverbs), The Quran, The Upanishads, to name a few. Again, don’t just go in blind, or you’ll walk away thinking none of it makes any sense.
- Lifting weights is indeed worth the hype, and its benefits are more diffuse than just “being able to lift heavy things.”
- In terms of old books that are made into modern sci-fi films, I’ve found Philip K. Dick to be absolutely worth the hype. Don’t think I’ve read a bad story by him.
Interesting. About 10 years ago I was tired of modern cinema and completely stopped watching new films. After some pause I decided to start watching classic cinema from 1930 onward in more or less chronological order (in the last year i've stopped at ~1800 movies, up to 1995).
In general, the quality of 1932-1942 american cinema (and, to a lesser degree, 1945-1950) far exceeded my expectations. And, while Citizen Kane is a very good film and deserves to be seen (it was actually one of the few "critically acclaimed" classic films that I've actually enjoyed), but when seen in context of what was filmed at the time, Citizen Kane doesn't really stand out among its contemporaries that much. A lot of technical details (but not all) that are praised by modern critics were more or less a common thing back at the time. I'd argue that Kane wasn't even the best film of the 1941 year (Sullivan's Travel was better and H.M. Pulham, Esq its equal) and definitely not the best film of the 1930-1950 "golden age" that ended at a very high point with Sunset Blvd. before plunging into the abyss in 1950s.
That's all of course only my opinion.
On a related note, if you enjoyed Citizen Kane, I'd highly recommend to see a soviet film from 1962 Nine Days in One Year. One of the most visually stunning b/w films in my experience. Thematically different, but stylistically very similar.
I’m not sure what a modern equivalent would look like, but imagine a $200 million studio film that eloquently attacks the heads of CNN, The NY Times, and another half-dozen top media firms. That sort of thing would never get made today.
Thanks for the other suggestion though, I’ll look into it for sure!
Most critics would, though. And I've never heard that its importance is in any way tied to its production. Welles took film from "filmed stage plays" and literally opened up the genre. He ripped up floorboards to get the right perspective. He innovated direction right and left.
The only aspect of the film being about Hearst was that its debut was canned, distribution was shot, and he would never (really) be allowed to make another film again.
Survivorship bias? I'm sure there was as much schlock produced back then as there is now, it's just we elevated the best and have forgotten the rest.
Revisiting the bad stuff is the entire premise of MST3K:
* https://en.wikipedia.org/wiki/Mystery_Science_Theater_3000
I don't have enough cinema culture to comment on cinema specifically, but I believe this is pretty obvious in music. Comparing things like Beethoven's 5th and 9th symphonies to any modern music (especially if comparing only the main themes, given today's preference for very short form music), it's obvious that there is nothing similar, and even modern audiences generally recognize the superiority of the older one.
As a more focused comparison, it's also obvious and largely uncontroversial that the amount of good rock music being produced has plummeted since at least the 1970s-1980s. There are still a few good bands (Rammstein has been an unexpected highlight for me), but compared to a period when you had Pink Floyd, Led Zeppelin, David Bowie, Black Sabbath, Queen, Deep Purple, Metallica, The Rolling Stones and a good many others, it's obvious that something has gone down in the highest highs of music.
1. The best films of this period far surpassed my expectations from the technical point of view. And there were a lot of decent-to-exceptional films produced at the time; I could name at least 50 american films worth watching from 1930 to 1950. In comparison, I could hardly name 10 films from 1951 to 1960 that are at least decent (and yes, Paths of Glory, named below, is the best).
I think it was mostly due to the fact that all personnel, connected with the creation of a film at the time were still largely pioneers at the field and they had all possible expertiese in it (films in the 60s and especially in the 70s became noticeably more amateur; 50s suffered due to McCarthy). Movies were still relatively new and there were a lot of innovation in it each year. On top of that, it was a time of the Great Depression and high unemploymend. Hollywood were one of the better off industries and so were able to easlily atrract best of the best.
2. Even B-movies from rich studios had high production values. From the same 1941 I could easily recommend for example The Gay Falcon - Irving Reis - RKO/Nothing But the Truth - Elliott Nugent - Paramount/Charley's Aunt - Archie Mayo - 20 Fox. All are relatively simple, but well worth the watch.
3. What's more important, the 30s and 40s cinema had its own unique style and dynamic, very different from later decades. I'd say it was closer to Imre Kalman and Franz Lehar operettas, rather than more convential movies we are used today. It was, if I may say so, a thing-in-itself, hardly comparable with what came later.
Anyway, here's some from my list from the last year (the list of ones I didn't like is MUCH longer and includes many that are highly rated on IMDB)
"Now, Voyager" (1942)
"Boom Town" (1940)
"The Best Years of Our Lives" (1947)
"The Little Princess" (1939)
"Destry Rides Again" (1939)
"Baby Face" (1933)
"Adam's Rib" (1949)
"In a Lonely Place" (1950)
"It Happened One Night" (1934)
"The Woman of the Year" (1942)
"The Awful Truth" (1937)
"Broken Arrow" (1950)
"The Lady Eve" (1941)
"His Girl Friday" (1940)
"12 O'Clock High" (1949)
"You Can't Take It With You" (1938)
"The Far County" (1954)
"Random Harvest" (1942)
"The Bad and the Beautiful" (1952)
"The Philadelphia Story" (1940)
"Cry Danger" (1951)
"This Gun For Hire" (1942)
"Casablanca" (1942). I didn't get it at 23 where as I shook from crying at 50. Basically I needed to truly feel Rick's loss and what he was going through (Bogart's character). At 23 I didn't. At 50 I did. I suppose you could have similar experiences to Rick at a younger age or you could never have them and then not have it do anything for you.
I don't think any of them are "lesser known". Basically I just look up IMDB. If it's rated > 7 and sounds mildly interesting I'll take a look. Tons of them don't work for me. Those above did. As recent examples of ones that didn't "The Strange Love of Martha Ivers" (1946), "Dark Passage" (1947), "Waterloo Bridge" (1940), "The Bishop's Wife" (1947), "Spellbound" (1945), "Fort Apache" (1948). Those are just from the last 2 weeks (^^;)
Anyway, If you are interested in classic movies I think the best way to start is with Frank Capra (1932 - American Madness, 1933 - Lady for a Day, 1934 - It Happened One Night, 1936 - Mr. Deeds Goes to Town, 1938 - You Can't Take It with You, 1939 - Mr. Smith Goes to Washington), Preston Sturges (1940 - The Great McGinty, 1940 - Christmas in July, 1941 - Sullivan's Travels), some of Myrna Loy & William Powell films (1934 - Thin Man, 1936 - After the Thin Man, 1936 - Libeled Lady) and possibly Charlie Chaplin later films (1931 - City Lights, 1952 - Limelight). Continue to
Dramas: 1957 - Le notti di Cabiria - Federico Fellini; 1957 - Il Grido - Michelangelo Antonioni; 1957 - Paths of Glory - Stanley Kubrick; 1952 - Ikiru - Akira Kurosawa; 1954 - A Big Family - Iosif Kheifits; 1951 - The Browning Version - Anthony Asquith; 1959 - Les quatre cents coups - Francois Truffaut; 1959 - Room At The Top - Jack Clayton; 1962 - The Loneliness of the Long Distance Runner - Tony Richardson; 1962 - Nine Days in a Year - Mikhail Romm; 1960 - The Lady with the Dog - Iosif Kheifits; 1962 - Il Sorpasso - Dino Risi; 1961 - La Ragazza con la valigia - Valerio Zurlini; 1948 - Ladri di biciclette - Vittorio De Sica; 1945 - Les Dames du Bois de Boulogne - Robert Bresson; 1936 - Dodsworth - William Wyler; 1937 - La Grande Illusion - Jean Renoir; 1940 - City for Conquest - Anatole Litvak; 1941 - Citizen Kane - Orson Welles; 1941 - H.M. Pulham, Esq - King Vidor; 1946 - The Best Years of Our Lives - William Wyler; 1942 - Now, Voyager - Irving Rapper; 1942 - Random Harvest - Mervyn LeRoy; 1960 - The Apartment - Billy Wilder; 1950 - Sunset Blvd. - Billy Wilder; 1962 - Lonely Are the Brave - David Miller; 1964 - The Americanization of Emily; 1965 - The Hill - Sidney Lumet; 1966 - A Man for All Seasons - Fred Zinnemann; 1966 - Nayak - Satyajit Ray; 1968 - The Heart Is a Lonely Hunter - Robert Ellis Miller; 1971 - The Hospital - Arthur Hiller; 1975 - Barry Lyndon - Stanley Kubrick; 1975 - One Flew Over the Cuckoo's Nest - Milos Forman; 1977 - Saturday Night Fever - John Badham; 1979 - ...And Justice for All - Norman Jewison.
Comedies: 1940 - The Shop Around The Corner - Ernst Lubitsch; 1939 - Destry Rides Again - George Marshall; 1950 - Father of the Bride - Vincente Minnelli; 1940 - Pride and Prejudice - Robert Z. Leonard; 1939 - Day-Time Wife - Gregory Ratoff; 1934 - Little Miss Marker - Alexander Hall; 1935 - The Gilded Lily - Wesley Ruggles; 1935 - If You Could Only Cook - William A. Seiter; 1935 - Ruggles of Red Gap - Leo McCarey; 1936 - My Man Godfrey - Gregory La Cava; 1937 - Easy Living - Mitchel Liesen; 1937 - Topper - Norman Z. McLeod; 1938 - Merrily We Live - Norman Z. McLeod; 1940 - My Favorite Wife - Garson Kanin; 1941 - Ball of Fire - Howard Hawks; 1941 - It Started with Eve - Henry Koster; 1941 - Charley's Aunt - Archie Mayo; 1942 - Larceny, Inc. - Lloyd Bacon; 1942 - The Big Street - Irving Reis; 1942 - The Major and the Minor - Billy Wilder; 1943 - The More the Merrier - George Stevens; 1948 - Sitting Pretty - Walter Lang; 1947 - Miracle on 34th Street - George Seaton; 1947 - Mr. Blandings Builds His Dream House - H.C. Potter; 1949 - Little Women - Mervyn LeRoy; 1955 - Marty - Delbert Mann; 1956 - Spring on Zarechnaya Street - Marlen Khutsiev; 1957 - Porte Des Lilas - Rene Clair; 1958 - Mon Oncle - Jascques Tati; 1959 - Some Like It Hot - Billy Wilder; 1960 - Make Mine Mink - Robert Asher; 1963 - Sunday in New York - Peter Tewksbury; 1963 - Il Giovedi - Dino Risi; 1963 - Three Plus Two - Genrikh Oganisyan; 1964 - Walking the Streets of Moscow - Georgiy Daneliya; 1964 - A Hard Day's Night - Richard Lester; 1968 - The Odd Couple - Gene Saks; 1977 - The Goodbye Girl - Herbert Ross; 1978 - Same Time Next Year - Robert Mulligan
Crime/Action: 1969 - The Italian Job - Peter Collinson; 1974 - The Taking of Pelham One Two Three - Joseph Sargent; 1967 - Le Samurai - Jean-Pierre Melville; 1960 - Le Trou - Jacques Becker; 1960 - Un taxi pour Tobrouk - Denys de La Patelliere; 1970 - They Call Me Trinity - Enzo Barboni; 1973 - Papillon - Franklin J. Schaffner; 1973 - The Sting - George Roy Hill; 1973 - The Last Detail - Hal Ashby; 1975 - The Great Waldo Pepper - George Roy Hill; 1975 - Three Days of the Condor - Sydney Pollack; 1976 - The Seven-Per-Cent Solution - Herbert Ross; 1977 - Capricorn One - Peter Hyams; 1977 - Smokey and the Bandit - Hal Needham; 1939 - The Roaring Twenties - Raoul Walsh; 1939 - Beau Geste - William A. Wellman; 1939 - Stagecoach - John Ford; 1941 - The Gay Falcon - Irving Reis; 1941 - I Wake Up Screaming - Bruce Humberstone; 1941 - Johnny Eager - Mervyn LeRoy
I didn't like any film noir but three: 1946 - Nobody Lives Forever - Jean Negulesco; 1946 - The Killers - Robert Siodmak; 1956 - The Killing - Stanley Kubrick. There also were two great spoofs 1947 - My Favorite Brunette - Elliott Nugent and 1971 - Gumshoe - Stephen Frears.
I don't enjoy musicals, westerns and 'epic' historical films, so I can't recommend anything.
This was unexpected, but true. I started a few month ago, because I moved and noticed that carrying the goceries in the 4th floor interrupted my whole day...
Every movement includes moving weight. It basically makes the whole life easier
The sooner one starts the better.
It was also neat to see the film shot just like a play where there are very particular sets each scene. I wish I could have the scene the original play once.
A few things I didn't like though was the flashback. There was no subtlety and poor writing. They could have started the film with their time in France. The real plot point wasn't that the two characters knew each other but _why_ she left him.
And it was also odd to me that the general was in his headquarters when he learned about the escape attempt but then showed up at the airport... without any men.
Anyway, I did enjoy the movie and am grateful to it for introducing As Time Goes By.
To me, the `La Marseillaise` scene[1] is incredibly powerful. The crowd trying to out-sing the German soldiers with the French national anthem, and the sheer raw emotion of the scene. Amazing character moments from Ricky, Victor, and Illsa.
I haven't looked into the veracity, but the legend around the scene is that most of the extras in the bar were French refuges - and the emotion of the scene was very much present on set. Casablanca was filmed during the height of WW2, and came out in 1942, so it does seem plausible.
Louis's brief "I'm shocked, shocked to find that gambling is going on in here!" - Handed a pile of his winnings by the croupier - "Oh, thank you very much." exchange [2] is also a fantastically memorable comedic exchange.
Seeing as how the Quran was "written" over decades and the Bible over millennia, they DON'T make sense. They're both self-contradictory, with various authors pushing various purposes depending on what they wrote and when. There's value in each, but let's not pretend they're towering forks of art with a singular purpose and vision.
Humans started to stay in one location after the invention of agriculture which is quite recent about 10000 years. The mass gathering and agriculture Only after the invention of agriculture some people were able to have leisure time and mass organization became necessary. Bible is roughly 2000 years old. Islam is probably 800 years old. The vedic caste Hinduism is about probably 600 to 800 years old.
Religion is blip within a blip.All art is produced in a specific historical moment.
But like many great works of art context can add even more to their enjoyment and impact.
They really haven't. Not a single one of them. There is, however, organized religion around them that has twisted those book to mean whatever it is that brings the flock.
Are they influential? Yes. Have they stood the test of time? Hell, no
For more garbage please visit https://www.sacred-texts.com/
Listing parts of those books and linking to their texts proves nothing about them standing the test of time.
Its just one of those things that is so popular that people find any way possible to criticize.
Separating the social structures around the bible from the book and trying to talk about it as if it is a product following the same rules as Tom Clancy's next novel is gross and laughable.
And that 5 billion number includes a very significant chunk of bibles which are just distributed through various religious centers (same goes for all other religious texts).
And, of course, the number of books sold says literally nothing about whether a book has stood the test of time.
[1] https://en.wikipedia.org/wiki/List_of_best-selling_books?wpr...