/kino/ general

Then it must be something better than Bridge on the River Kwai.

Maybe if it was more accessible. Would love to stray away from the popular classics and move to hidden gems

OP here, i agree with Classic Hollywod is only small part of /film/ and i think it deserves it's own thread.

not op but the few times I've been in /film/, it's just been circlejerking about the most obscure foreign films that people can mention. There's no discussion of Welles, you'd be laughed out if you mentioned PTA and don't even try to talk about a film made in the last few years
i wanted to chat about the park's vengeance trilogy and was basically just ignored

>circlejerking
Unfortunately true, but that eventually happens in every general. It's the nature of generals.
>circlejerking about the most obscure foreign films that people can mention
Not really. Curious about what you consider obscure.
>There's no discussion of Welles
People were talking about The Trial yesterday.
>don't even try to talk about a film made in the last few years
Completely untrue.

Even if there is already some discussion of Classical Hollywood on /film/, I think it is generally more oriented towards stuff that came after the FNW and that Classical Hollywood is rich enough to warrant its own general. especially as it could get more people into it past the basics.

>Not OP

But you ARE him.

>I think it is generally more oriented towards stuff that came after the FNW
Plenty of talk about silents, Dreyer, Bresson, etc. All of which are pre-FNW.

Do you think there's only one person on this board who wants to see more discussion of stuff made before The Godfather? My first post was the Caine Mutiny post.

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The Godfather is stupid dago shit. You think the Founding fathers wanted subhumans and mongrels in this nation? Wrong. If you are not of our volk you have to go back.

That's fair and true, Ozu and Kurosawa are also brought up a decent amount to be completely fair. I was probably being too general, I'm mainly thinking about about Classical Hollywood; Welles is often brought up and occasionally Ford, but stuff by Howard Hawks, Raoul Walsh, Nicholas Ray etc. is rarely brought up, and I think it would be worth having a dedicated general for that period.
Unlike OP I'm not trying to attack /film/, its one of the only places on this board you can have a decent discussion about non franchise stuff anymore.

amerigoblin fingers typed this post

Is this Hitchcock's best film? I've seen a handful of his movies but this is the one that really clicked with me. The cropduster scene is rightly iconic, but scene after scene this movie is just ridiculously awesome, it's almost bursting at the seams with great moments.
Having Cary Grant as the lead certainly helps, was there ever a greater male lead in Hollywood?

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Vertigo is.

/film/ spans arthouse and classics, you're just a brainlet who can't keep up.

Both are discussed on /film/, no need to split.

One comment every 5 or so threads about classics doesn't mean you faggots discuss them.

Make some comments about classics then you whiny fag

In this thread we should only discuss recent films. Otherwise, there is no point. So recommend me something.

It really is Hitchcock's best. On my second best i think i would pick The Birds. It starts slow, but second half is really great.
Although i don't actually get why people think Vertigo is that great. It was good, but it's not even his top5 movie.

The Birds has terrible lead performance. Vertigo, Rebecca, Rope and Strangers on a Train is where it's at.

It's very well crafted has some brilliant scenes like the one you posted but it lacks the thematic depth that some of his other films like Rear Window and Vertigo have. Hitchcock said that it was supposed to be light entertainment and after seeing it again that seems to be the case. Or maybe it just went over my head.

I think How Green Was My Valley is unfairly mostly known as the film that beat Citizen Kane for Best Picture, when it should be recognized as one of the great John Ford movies and one of the great films of the era. People rag on it for being sentimental, but sentimentality is not the same thing as being saccharine when you have good characters and a serious concern for their situations.
Has anyone else noticed an overarching concern in John Ford's work with the dynamic of one man standing up to mob justice/social shaming attempts? It is wonderfully done here, when the departing reverend criticizes his flock for their treatment of the divorced woman, but there are many examples: the attempted lynchings in Young Mr. Lincoln and The Sun Shines Bright, the false accusation of espionage in The Long Voyage Home, the social situation of the prostitute in Stagecoach, the funeral scene in The Sun Shines Bright (possibly the greatest scene in Ford's canon), the racism that Braxton Rutledge faces in Sergeant Rutledge, and so on. Even though he never made as harsh a condemnation of mob justice as Fritz Lang did with the end of M and especially Fury (and underseen movie in its own right), I find it interesting that Ford was so clearly concerned with that issue; as much as he is seen as a sort of macho conservative figure, he shows a real sense of compassion in his work towards people who would be considered marginalized (overused as the term may be).
Can we also talk about how he may be the greatest visual stylist to ever pick up a camera? He was not as flashy as many subsequent directors, but his sense of visual poetry is rivaled perhaps only by Ozu in its subtlety and brilliance.

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This is a based idea. For once OP was not a faggot.

/film/ is nothing but homosexuals.

Generals are all fucking gay. Hang yourself.

>There's no discussion of Welles

I posted a thread about the first Transformers movie the other day. Where were you?