Category: Show Notes

 

Poster Design

Design is one of the recurring themes of “We Need to Talk About Kevin”. Eva’s sparse, childless life decisions are by design; her work is big on design in many ways, including the literal; and the movie takes these themes and transfers them to not only the screen, but also the publicity materials used in its promotion. Few recent movies have received quite as many markedly different poster designs as this film, and here are a selection of just a few of the best.

The reviews and awards poster.

The Kevin-centric poster.

This and the next poster use Neue Helvetica 97 Black Condensed, a blockletter variant of the world’s most popular font. Notice the use of colour, and its direct contrast to the next poster. The blue hues are similar to those seen during the film’s climax.

The Eva-centric variant of the same poster.

Notice that the first two quotes are the same as on the last poster, but in this variation the third quote is changed from one about Ezra Miller to one about Tilda Swinton. The colour, obviously, has been altered to the dramatic red tones that run throughout the movie when modern day Eva is on screen.

 

If you want to follow us on Letterboxd as well, we’re always logging and rating films we’ve been watching and occasionally Luke will do some pretty in-depth reviews, too.
Luke Kane: http://www.letterboxd.com/overbreakfast/
Damien Heath: http://www.letterboxd.com/jedikaos/

Thanks again for checking out Celluloid Junkies. We’ll see you next time with a close-up, in depth look at Fritz Lang’s 1931 German-language masterpiece “M”.

 

[to be continued]

 

Read the New West article “My Battles With Barbra and Jon” by director Frank Pierson. A riveting read full of interesting facts with very healthy amounts of rumours and innuendo. Who you believe may come down to where you sit on the Streisand Scale.
http://barbra-archives.com/bjs_library/70s/new_west_battles_barbra_jon.html

Check out Pauline Kael’s full, five-page review of the film. You may disagree, you may agree, but either way you’ll appreciate the way she puts her thoughts into words.
http://celluloidjunkies.com/podfiles/asib-kael.pdf

We’ve spoken a lot recently about gender inequality in Hollywood, and in this episode we specifically discuss changes in the acceptance of gender roles due to Barbra Streisand’s producing, writing and directing. She won an Academy Award for Best Original Song for “Evergreen” from this movie, the first time a female had won that award as a composer. Her role in changing gender stereotypes cannot be understated, but there is still immense work to be done.

Zohar Altman David wrote specifically about Streisand in his research paper for Tel Aviv University, “The star as a Creation and the Star as a creator: The case of Barbra Streisand”.
http://iipc.utu.fi/reconsidered/Ravid.pdf

 

[Click here to see full, high resolution version.]

In 1985 a cartoonist named Alison Bechdel wrote and illustrated a strip from her “Dykes to Watch Out For” series which included a ‘rule’ first posited by her friend Liz Wallace. It became known as the Bechdel Test, and started being used to judge the equality of acting roles for women. There’s three features of the rule, and to pass a film must meet all of them: first, the film must have two named female characters; second, those female characters must talk to each other; third, that conversation must not be about a man.

Does A Star Is Born pass The Bechdel Test? Unfortunately, that’s a big no. There’s only one named female character, and that’s Esther.
https://bechdeltest.com/view/3722/a_star_is_born/

Check out if your favourite films pass The Bechdel Test.
https://bechdeltest.com

Going back through our own archives, here’s how the films profiled so far by Celluloid Junkies performed on the test:

Film Pass/Fail (Score)
John Carpenter’s The Thing (1982) Fail (0/3)
Nicolas Roeg’s Don’t Look Now (1973) Pass
Peter Weir’s Fearless (1993) Pass
John Landis’ An American Werewolf In London (1981) Fail (2/3)
Martin Scorsese’s GoodFellas (1990) Pass
William Friedkin’s The French Connection (1971) Fail (1/3)
Darren Aronofsky’s The Wrestler (2008) Fail (1/3)
Woody Allen’s Hannah and Her Sisters (1986) Pass
Alfred Hitchcock’s Rear Window (1954) Pass
Robert Aldrich’s What Ever Happened to Baby Jane (1962) Pass
John Huston’s Key Largo (1948) Fail (1/3)
Dario Argento’s Suspiria (1977) Pass
George Miller’s Mad Max: Fury Road (2015) Pass
Tobe Hooper’s Poltergeist (1982) Pass
Darren Aronofsky’s mother! (2017) Pass
Ken Russell’s The Devils (1971) Pass

 

If you want to follow us on Letterboxd as well, we’re always logging and rating films we’ve been watching and occasionally Luke will do some pretty in-depth reviews, too.
Luke Kane: http://www.letterboxd.com/overbreakfast/
Damien Heath: http://www.letterboxd.com/jedikaos/

Thanks again for checking out Celluloid Junkies. We’ll see you next month with a close-up, in depth look at Lynne Ramsay’s adaptation of Lionel Shriver’s best-selling novel “We Need to Talk About Kevin”.

He could have been James Bond, but British cinema’s most notorious hellraiser lost focus and died at the age of 61, leaving Ridley Scott to piece together his final performance as the slave dealer Proximo in Gladiator (2000) using outtakes, body doubles and CGI. Such was the affection for Oliver Reed among BAFTA members, however, that he was posthumously nominated for the best supporting actor award. But the public had come to think of him as a drunk making a boorish spectacle of himself on chat shows and Channel Four forums like After Dark. “Let’s face it”, Reed told critic Roger Ebert around the time he made Women in Love (1969). “There has to be somebody like me around. The press can’t write about fruits in paisley shirts. They like somebody like Richard Harris or myself, somebody who’s a boozer and gets in fights and is colourful as hell.”

The British Film Institute wrote this, and a lot more, in their list of ten essential Oliver Reed films. The Devils features, as do two more collaborations with Ken Russell.
http://www.bfi.org.uk/news-opinion/news-bfi/lists/oliver-reed-10-essential-films

The Quietus, on the other hand, wrote a stellar defence of the actor when they celebrated the BFI’s release of The Devils on special edition DVD.
http://thequietus.com/articles/08283-oliver-reed-the-devils-ken-russell-bfi-dvd

Then there’s the modern-day reassessment of the critically panned film, and here’s some of the best:

Dave Evans has been good enough to give us the two amazing missing sequences from The Devils. Here we present to you The Rape of Christ, and the alternate ending.

 

Finally, you must watch Hell on Earth: The Desecration and Resurrection of The Devils, a documentary in which critic Mark Kermode goes on the search for the missing footage. Featuring interviews with many of the key players from the film.

 

If you want to follow us on Letterboxd as well, we’re always logging and rating films we’ve been watching and occasionally Luke will do some pretty in-depth reviews, too.
Luke Kane: http://www.letterboxd.com/overbreakfast/
Damien Heath: http://www.letterboxd.com/jedikaos/

Thanks again for checking out Celluloid Junkies. We’ll see you next month with a close-up, in depth look at the various film versions of “A Star Is Born”, focusing on Frank Pierson’s 1976 version starring Barbra Streisand and Kris Kristofferson.

Check out the work of this month’s special guest Dean Treadway, co-host of the “Movie Geeks United” podcast. Dean has been involved in film criticism, film festival programming, and television performance and programming for more than 25 years.

[To Be Continued]

Want an amazing array of information about Poltergeist? Then go to PoltergeistIII.com! Sounds funny, but it’s true. This is one of the best websites about the Poltergeist films, dealing not only with the original but its two sequels and the recent remake, too. You’ll find everything from marketing materials and press kits, shooting scripts, and even a floor plan of the Freeling house.
http://poltergeist.poltergeistiii.com

There’s a great deal of information available about the supposed ‘curse’ that was to befall the participants in the film, including this article from International Business Times.
http://www.ibtimes.com/poltergeist-curse-real-heres-true-story-behind-classic-1982-horror-movie-1932929

 

AMC’s Filmsite.org has done a great write-up on the film.
http://www.filmsite.org/polt.html

Check out some movie stills and their real-life locations from the movie, including the famous Tree in the Middle of the Road!
http://www.thennowmovielocations.com/2012/06/poltergeist.html

Finally, in the podcast we discussed the original versus its remake. Here’s some more opinions on that matter:

If you want to follow us on Letterboxd as well, we’re always logging and rating films we’ve been watching and occasionally Luke will do some pretty in-depth reviews, too.
Luke Kane: http://www.letterboxd.com/overbreakfast/
Damien Heath: http://www.letterboxd.com/jedikaos/

Thanks again for checking out Celluloid Junkies. We’ll see you next month with a look at Ken Russell’s much-maligned masturbatory masterpiece “The Devils”.

Our first special guest this month is Luke Buckmaster, author of “Miller and Max” first published in 2017. Luke is the film critic for Guardian Australia, and has also written for The Age, the Sydney Morning Herald, and Filmink magazine, as well as appearing on both the ABC and the BBC.

For Namibia and other under-developed countries, burning more fossil fuels offers one path to social cohesion and environmental preservation—the very opposite of collapse. The average Namibian creates just 1.4 metric tons of carbon a year, while the average Australian creates 16.7. In 2010, only 34 percent of Namibians had access to electricity, which means they cut wood or other biomass to cook dinner. Increasing electrification in Africa preserves remaining forests, cuts the time people spend scavenging wood, improves health, and, because of electric lights, creates more opportunities for education.

The environmental impact of the filming of Mad Max: Fury Road wasn’t lost on the country of Namibia. Ecological damage was caused and then left, but Slate did an excellent job of looking at how increasing use of fossil fuels (something the Mad Max series has forewarned against) could in fact help the country.
http://www.slate.com/articles/technology/future_tense/2013/02/mad_max_fury_road_filming_and_environmental_damage_in_namibia.html

Mad Max: Fury Road is now renowned for its amazing on-set stunts. A lot of what you see on screen looks exactly as it was shot, with little to no CGI used in many of the stunt or explosion sequences. Here’s a YouTube video showing what was shot, and how it looked in the final edit:

If you want to follow us on Letterboxd as well, we’re always logging and rating films we’ve been watching and occasionally Luke will do some pretty in-depth reviews, too.
Luke Kane: http://www.letterboxd.com/overbreakfast/
Cameron Crothers: http://www.letterboxd.com/crot00192/
Damien Heath: http://www.letterboxd.com/jedikaos/

Thanks again for checking out Celluloid Junkies. We’ll see you next month with a special Halloween episode on Tobe Hooper’s “Poltergeist”. Or is it Steven Spielberg’s? Hmmm…

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