8/12/09

Battle of the Normans

The first competition of our director show-down will feature Norman Jewison and Norman Taurog. While initially I had never heard of either of these directors and they seemed to sprout from obscurity from my perspective of limited experience, they are actually incredibly influential, powerful directors with impressive carreers.

Norman Taurog was a director from the earliest days of American filmmaking in the 1920's. He primarily made short films in mass numbers. He became notable for the film Skippy, the adaptation of a comic strip involving impoverished children of the slums. This film won him his best director award in 1931. Unfortunately, we won't be able to watch his first big hit as it is not available on DVD. His next major film nomination came for the film Boys Town, which began Mickey Rooney's carreer. I'm very excited to see him as a teenager. From this point he became more known for comedies rather than hard-hitting dramatic films and his formula for easy-going, family films that involved elements of song was utilized when studios wished to bring Elvis Presley to the screen. Taurog and Presley teamed up for a number of films, all widely successful, including Jail House Rock and Blue Hawaii. Taurog's third most notable credit goes to uniting the comedy team of Dean Martin and Jerry Lewis for the first of many highly successful films. We will be watching Pardners, which is considered by many to be the quintessential Martin-Lewis team-up.

Norman Jewison was a highly successful director in the 60's and 70's working in the genres of light comedy, hard-hitting socially concious films, and musicals. One of Jewison's most notable musicals was Jesus Christ Superstar, which managed to tackle a grand theatrical story and bring the essence of the 1960's to the screen. The musical genre and social consciousness came together in the widely successful Fiddler on the Roof. This film granted him a nomination for Best Director from the Academy. He won Best Picture and Best Director for one of the most important race relation films of all time: In the Heat of the Night, which dared to talk about the highly current issue of race relations amid the riots occurring in the late 1960's. His work with race relations and film has never truly ended; in the late 90's, he produced The Hurricane, a film starring Denzel Washington as a boxer who has been wrongfully convicted of a crime and spends life in prison.

I´m very excited to see how this match-up turns out, but seeing as the victor will be meeting up with Wyler, they probably will only see two rounds.

8/9/09

The Match-Ups


Just one more time for reference, the top 32 directors (listed in a previous post) are not competing at all in the first round. The rest of the directors were divided into two groups, "upper" and "lower" and then randomly drawn out of a hat, so that one "upper" director was paired with a "lower" director for the first round of matches. Whomever wins in the first round will then meet up with one of the top 32 directors in the second round. The first round match-ups are as follows:

1. Norman Jewison vs. Norman Taurog (winner faces William Wyler)
2. The Coen Brothers vs. William Friedkin (winner faces Milos Forman)
3. Steven Soderberg vs. John Woo (winner faces George Cukor)
4. Orson Wells vs. Tony Scott (winner faces Joseph Mankewitz)
5. Quintin Terantino vs. Michael Bay (winner faces John Huston)
6. Sidney Pollack vs. George Hill (winner faces Robert Altman)
7. Peter Jackson vs. Bob Fossi (winner faces King Vidor)
8. Buster Keaton vs. Robert Rossin (winner faces Frank Capra)
9. Charlie Chaplin vs. Wes Anderson (winner faces Woody Allen)
10. Frank Borzag vs. Joseph Von Straussberg (winner faces Michael Curtiz)
11. John Hughes vs. David Lynch (winner faces Clint Eastwood)
12. Roman Polanski vs. Sam Wood (winner faces David Lean)
13. Brian DePalma vs. Paul Anderson (winner faces Sydney Lumet)
14. Gus van Sant vs. Warren Beaty (winner faces Francis Ford Coppola)
15. M. Night Shymalan vs. Robert Benton (winner faces Stanley Kubrick)
16. Tim Burton vs. Fritz Lang (winner faces Billy Wilder)
17. Robert Redford vs. James Ivory (winner faces Martin Scorsese)
18. Spike Lee vs. Mark Robson (winner faces Federico Felini)
19. Robert Zemekis vs. Barry Levinson (winner faces Ridley Scott)
20. Ron Howard vs. David Cronenberg (winner faces Eli Kazan)
21. George Lucas vs. Ernst Lubitsch (winner faces George Stevens)
22. Peter Weir vs. Leo McCarey (winner faces Oliver Stone)
23. Mel Brooks vs. Peter Yates (winner faces Cecil B. Demille)
24. Akira Kurisawa vs. Christopher Nolan (winner faces John Ford)
25. Michael Mann vs. Jim Sheraton (winner faces Frank Zinneman)
26. Lewis Milestone vs. Bernardo Bertolucci (winner faces Frank Lloyd)
27. Mel Gibson vs. Richard Brooks (winner faces Clarence Brown)
28. James Cameron vs. Otto Preminger (winner faces Alfred Hitchcock)
29. Howard Hawkes vs. Steven Dawldry (winner faces Mike Nichols)
30. Ang Lee vs. Arthur Penn (winner faces Frank Wise)
31. Ingmar Bergman vs. Vencente Minelli (winner faces Joel Schlesinger)
32. Carol Reed vs. Gore Verbinski (winner faces Steven Spielberg)

So there it is, folks. This part alone will take us about a century to complete. Then comes round two. Hope you'll be along for the crazy ride.

8/3/09

Laura's "Hippie" Rating System

As it seems that in my absence Eirik has taken it upon himself to portray my rating system as a hippie, go-with-the-wind, flight of fancy, I thought I might post to clear things up. There is definitely an element of "just gonna see how it feels" in the way I plan to process the films we are watching during this epic contest, but I think the reasoning behind this system and a more complete description will make me sound like less of a lazy ass. Not that I am any less of one.

Anyhow, I was trying to determine how much research would be going into the watching of each film, especially since Eirik had revealed to me that he was planning on taking technological advancements and impact into consideration. I am of the opinion that a really high quality film should be impactful whether or not the viewer has done research on the film. Also, great directors can produce timeless work that brings the context along with all of the elements in the film, not requiring someone to research the time in which it takes place or the context of the film in order to fully experience it.

I am coming from the perspective of the everyday movie watcher, as someone who would like to experience the film rather than dissect it. I have no intention of guarding myself against information and will welcome input in general conversation and the processing of a film with others who have seen it; these are things that I do all the time when I see movies. Basically, I am going to include everything that Eirik has in his detailed rubric, but rather than researching and examining a film to determine scores in each category, I plan to let the movie wash over me and see how much it impacts me when I watch it for the sake of watching it.

Also, I'm about to have a bunch of homework so I don't need to add any on myself.