WEBVTT - Marathon Awards | Dissident Cinema 0:00:03.840 --> 0:00:05.960 What kind of a show you guys putting. 0:00:05.720 --> 0:00:06.320 On here today? 0:00:06.400 --> 0:00:08.840 You're not interested in armed now? No, look, we're going 0:00:08.840 --> 0:00:09.360 to do this thing. 0:00:09.360 --> 0:00:10.520 We're going to have a conversation. 0:00:13.119 --> 0:00:16.440 Hey, film spotters Adam and Josh here. We wrapped up 0:00:16.560 --> 0:00:20.279 our sixth film Dissident Cinema Marathon last week. That was 0:00:20.320 --> 0:00:24.880 our conversation about The Circle and Adam, I think it 0:00:24.920 --> 0:00:29.520 was clear during that conversation and from all our previous discussions, 0:00:29.560 --> 0:00:31.200 we've not had a dune in the bunch. This has 0:00:31.240 --> 0:00:32.879 been a really great marathon. 0:00:33.240 --> 0:00:36.400 That is absolutely true. I think we both were very 0:00:36.440 --> 0:00:40.400 high on all six films. Would recommend that people see 0:00:40.479 --> 0:00:43.159 all six of those films if they have not had 0:00:43.200 --> 0:00:45.960 a chance to follow along with this marathon. Turns out, 0:00:46.080 --> 0:00:50.080 after our conversation about the Circle and the ending, the 0:00:50.120 --> 0:00:53.960 mysteries of the ending, the ambiguities of Jafar Panahi, he 0:00:54.000 --> 0:00:57.800 tricked us. There there's an alternate reading that probably is 0:00:57.840 --> 0:01:01.200 the accurate alternate reading. We'll link to that in our 0:01:01.240 --> 0:01:05.440 show notes if you are curious. The Dissident Cinema Marathon 0:01:05.520 --> 0:01:09.480 is dedicated to films that depict or openly confront fascism 0:01:09.920 --> 0:01:11.959 in various forums, I'm going to save the reading of 0:01:11.959 --> 0:01:13.800 the titles, Josh, because I'm going to get to them 0:01:13.840 --> 0:01:17.399 when we get to our first awards category here in 0:01:17.480 --> 0:01:20.120 a moment. But I will remind our listeners that you 0:01:20.120 --> 0:01:23.840 can always find the full lineup for any marathon at 0:01:23.840 --> 0:01:26.800 film spotting dot net slash marathons, or just go to 0:01:26.800 --> 0:01:29.040 the main page and click on marathons right there at 0:01:29.040 --> 0:01:32.200 the top. That is where you can find all of 0:01:32.240 --> 0:01:34.240 them we have done. I think this is either number 0:01:34.319 --> 0:01:38.040 fifty one or fifty two. They're all about eliminating our 0:01:38.080 --> 0:01:42.000 cinematic blind spots. You had. All six of these were 0:01:42.000 --> 0:01:44.600 blind spots for you. I think I had seen two 0:01:44.720 --> 0:01:47.040 of them, the first two The Great Dictator in Rome 0:01:47.080 --> 0:01:49.400 Open City, though, as we covered when we discussed those, 0:01:49.640 --> 0:01:52.360 it was like seeing them fresh because it had been 0:01:52.840 --> 0:01:56.520 since being an undergrad that I had watched both of 0:01:56.560 --> 0:01:59.760 those films. Let's go ahead and jump in. We do 0:01:59.840 --> 0:02:03.600 have of at the last minute, a name for these awards. 0:02:03.640 --> 0:02:05.280 Do you want to announce that? 0:02:06.080 --> 0:02:07.760 Yeah, I think we found a good one here. We 0:02:07.880 --> 0:02:12.280 put the word out on our last discussion the Circle, 0:02:12.400 --> 0:02:15.560 but we didn't get a ton right away, so set 0:02:15.560 --> 0:02:19.200 out the call again today on the film Spotting Family Discord. 0:02:19.280 --> 0:02:22.160 Thank you to those family members who weighed in. We 0:02:22.280 --> 0:02:24.320 got some good suggestions there, but I think we're going 0:02:24.360 --> 0:02:27.040 to go with one that showed up on Blue Sky 0:02:27.160 --> 0:02:29.520 when I mentioned it just a couple of hours ago. 0:02:29.760 --> 0:02:33.600 And this comes from mjs over on Blue Sky. You 0:02:33.600 --> 0:02:37.799 can find mjs as at the movie Vampire. And we're 0:02:37.800 --> 0:02:42.080 going to go with the Partisans, which, of course you 0:02:42.120 --> 0:02:44.480 know that phrase has a lot of meetings, but in 0:02:44.480 --> 0:02:47.080 the context of this marathon, and particularly in the context 0:02:47.160 --> 0:02:52.080 of Rome, Open City refers to the Italian resistance movement 0:02:52.280 --> 0:02:55.399 in World War Two. So I think we both sort 0:02:55.440 --> 0:02:59.000 of instinctively gravitated towards the Partisans, and we're going to 0:02:59.040 --> 0:02:59.359 go with that. 0:03:00.120 --> 0:03:03.600 Like it very much. So let's hand out our first partisan. 0:03:03.680 --> 0:03:08.520 It is for supporting Performance. We don't separate by gender here. 0:03:08.600 --> 0:03:12.560 We just hand out one supporting performance award, one lead 0:03:12.800 --> 0:03:16.280 performance award. That's what makes it so tough. The Great 0:03:16.320 --> 0:03:19.960 Dictator you might be looking at Jack Oaki, who played 0:03:19.960 --> 0:03:23.680 the Dictator of Bacteria. He was actually Oscar nominated for 0:03:24.080 --> 0:03:28.320 that performance. Josh Reginald Gardner was Commander Schultz Henry Daniel 0:03:28.520 --> 0:03:32.480 Garbage in Rome Open City. You've got Veto and Nikki 0:03:32.480 --> 0:03:36.880 Eurico as Marcello. There's the gentleman who played man Freddie 0:03:36.920 --> 0:03:41.080 as well, Marcello Pagliero. No Regrets for Our Youth has 0:03:41.320 --> 0:03:44.760 three candidates, at least the man who played Nogi. I 0:03:44.840 --> 0:03:48.320 think you'd have to consider Professor Yagahara, that character, the 0:03:48.360 --> 0:03:50.840 actor who played him, and Itokawa as well. 0:03:51.760 --> 0:03:51.880 Ze. 0:03:52.240 --> 0:03:56.240 How about Marcel Bozoufi as Vogo. We talked about him 0:03:56.320 --> 0:03:59.800 quite a bit during our performance. The photo journalist maybe 0:03:59.840 --> 0:04:03.880 as well, played by Jacques Perin. I could see you, Josh, 0:04:03.920 --> 0:04:06.800 pulling a bit of an end around here and selecting 0:04:06.800 --> 0:04:09.360 a character from the Sorrow and the Pity, even though 0:04:09.560 --> 0:04:12.800 it's a documentary. Wouldn't be surprised at all if that's 0:04:12.840 --> 0:04:16.599 what's coming here, but would be a bit of an 0:04:16.640 --> 0:04:22.200 odd choice. Finally, the Circle, there's a Rezu, very very 0:04:22.240 --> 0:04:27.000 major character, though a supporting performance, played by Mariam Parvin 0:04:27.279 --> 0:04:30.800 ALMANI did you select from any of those that I 0:04:30.880 --> 0:04:34.919 named who did get your partisan for supporting performance? 0:04:35.600 --> 0:04:35.800 Man? 0:04:35.880 --> 0:04:38.680 I wish I had even entertained the notion of going 0:04:38.760 --> 0:04:41.599 with a quote unquote performance in a documentary. I just 0:04:41.640 --> 0:04:46.520 immediately I immediately set that aside. But in terms of riveting 0:04:46.600 --> 0:04:49.840 figures from this marathon, oh yeah, certainly this hour on 0:04:49.880 --> 0:04:52.760 the Pity had you know a number of them. No, 0:04:53.000 --> 0:04:55.080 I went to a more traditional route, and I'm going 0:04:55.120 --> 0:04:57.040 to give you an honorable mention and a winner. Here. 0:04:57.360 --> 0:05:01.280 The honorable mention the close runner up, Marcel Bozoufi as 0:05:01.320 --> 0:05:04.520 vago in Z. We did spend a fair amount of 0:05:04.520 --> 0:05:07.960 time trying to figure that guy out. I feel like 0:05:08.160 --> 0:05:11.599 a little bit this was the dim bulb predator who 0:05:11.720 --> 0:05:16.279 was manipulated essentially into being muscle for the military regime. 0:05:16.360 --> 0:05:19.920 And yeah, we tried to dig into his psychology and 0:05:20.080 --> 0:05:22.720 what he was really after. And I think that all 0:05:22.720 --> 0:05:27.160 speaks to the strength of the performance, the slipperiness of 0:05:27.160 --> 0:05:31.320 that disturbing performance that Bozoufi gave. So my runner up 0:05:31.360 --> 0:05:34.080 slot goes to him. But the winner does come from 0:05:34.080 --> 0:05:39.400 the circle at a maybe recency bias. This is Miriam 0:05:39.520 --> 0:05:43.920 Parvin Almani, who plays our Zoo and I described her 0:05:44.839 --> 0:05:47.880 as sort of the feisty one. We meet her fairly 0:05:47.920 --> 0:05:50.800 early on, one of the three women we meet after 0:05:50.839 --> 0:05:53.600 that first handoff, so they're on the sidewalk outside that 0:05:53.640 --> 0:05:57.360 maternity ward, and she's the one of the three who 0:05:58.040 --> 0:06:01.159 some men walk by say something. Not sure if we 0:06:01.200 --> 0:06:03.480 even catch or if the subtitles let us know what 0:06:03.520 --> 0:06:06.200 the men say, but she's not having any of it 0:06:06.440 --> 0:06:09.400 and follows them down the block to give them a 0:06:09.440 --> 0:06:13.359 piece of her mind. That moment is contrasted with a 0:06:13.400 --> 0:06:16.719 moment we didn't touch on where Narjes, the younger woman 0:06:16.760 --> 0:06:20.320 of the three, who feels, to me felt like the 0:06:20.360 --> 0:06:24.960 most vulnerable of them. She they had plans to go 0:06:25.080 --> 0:06:27.640 on a bus together to get out of Tehran and 0:06:28.160 --> 0:06:31.080 find you know, I think they describe it as their 0:06:31.120 --> 0:06:34.480 fantasy or their paradise. And at the last moment, our 0:06:34.560 --> 0:06:39.400 Zoo tells now just that she's going to go alone 0:06:39.680 --> 0:06:43.400 and for a variety of reasons, but sacrifice is an 0:06:43.440 --> 0:06:46.280 element of it too, We get a sense. And so 0:06:46.560 --> 0:06:51.000 I like that balance where this character. Almani's performance captures 0:06:51.000 --> 0:06:55.359 the fieriness, the sacrificial nature, and I just also like 0:06:55.400 --> 0:06:58.880 you feel in the performance that she knows Ara Zoo 0:06:59.040 --> 0:07:03.279 knows that result of that fiery nature within her, but 0:07:03.360 --> 0:07:07.120 it's her nature and it just comes out anyway. And 0:07:07.200 --> 0:07:10.160 so among all of the you know, fascinating women characters, 0:07:11.120 --> 0:07:14.000 we meet in the circle. I think I was most 0:07:14.080 --> 0:07:15.560 gripped by the performance. 0:07:15.560 --> 0:07:19.640 ALMANI gives great choice, and I'm going to go right 0:07:19.680 --> 0:07:24.760 from such a humane performance to an absolutely inhumane one. 0:07:24.800 --> 0:07:26.720 It was between the two villains. For me, I had 0:07:26.760 --> 0:07:31.320 as my runner up as well, Marcel Bozoofi as Vogo. Okay, 0:07:31.400 --> 0:07:35.720 but it's Henry Daniel as Garbage in The Great Dictator 0:07:35.920 --> 0:07:40.680 that is so ultimately memorable for me. You can say 0:07:40.760 --> 0:07:44.800 the performance is one note it is. You can say 0:07:44.920 --> 0:07:50.000 it's too drolly, cartoonish perhaps, though of course, in both 0:07:50.040 --> 0:07:54.880 cases it is precisely what this movie calls for. 0:07:55.200 --> 0:07:58.120 This man Apoloni is aggressive, dominating before we make our 0:07:58.160 --> 0:08:01.040 demands with us put him in his place. Perhaps that 0:08:01.200 --> 0:08:04.320 means of applied psychology, in other words, that making him 0:08:04.320 --> 0:08:07.520 feel inferior. This can be done in many subtle ways. 0:08:08.000 --> 0:08:11.120 For instance, at this interview, I have so arranged that 0:08:11.160 --> 0:08:14.040 he will always be looking up at you, you looking 0:08:14.120 --> 0:08:17.040 down at him. At all times. His position will be inferior. 0:08:18.520 --> 0:08:19.000 Excellent. 0:08:19.320 --> 0:08:24.360 It's it's inhuman. It is drained of any sense of compassion, 0:08:24.960 --> 0:08:31.080 of empathy, of life. There is not even in him 0:08:32.480 --> 0:08:37.720 a sense of rage. Josh. It's not as if this character, 0:08:39.280 --> 0:08:44.079 it seems, is driven by anything. This is the Secretary 0:08:44.120 --> 0:08:49.360 of the Interior and Minister of Propaganda, essentially Gerbels right 0:08:50.200 --> 0:08:54.120 under Hitler. It it just I want to call it 0:08:54.120 --> 0:08:58.960 it not him, because that's it behaves like a machine 0:08:59.000 --> 0:09:02.440 almost it has it has a directive, and there is 0:09:02.520 --> 0:09:07.839 no humanity to this character whatsoever. As a reminder why 0:09:07.960 --> 0:09:11.080 we're why we're doing this marathon too, we got off 0:09:11.160 --> 0:09:15.960 to a great, if daunting start with this movie and 0:09:16.040 --> 0:09:20.040 with this character, because this character is as I was describing, 0:09:20.360 --> 0:09:24.880 so banal I did invoke the the vampiric visage of 0:09:24.880 --> 0:09:28.959 Steven Miller, wondering if if he perhaps saw this movie 0:09:29.880 --> 0:09:32.120 did not pay attention to any of the other scenes 0:09:32.200 --> 0:09:36.880 except his, and took took extensive notes and said, hey, 0:09:37.160 --> 0:09:41.440 that looks great. I can emulate that this guy's the hero. 0:09:41.840 --> 0:09:44.240 The guy, this guy's the hero. Garbage is the hero 0:09:44.440 --> 0:09:46.760 of this movie. And when you look at it that way, 0:09:47.240 --> 0:09:51.240 it's it's not so cartoonish. That's that's who I'm going with. 0:09:51.320 --> 0:09:52.640 Henry Daniel's garbage. 0:09:52.760 --> 0:09:57.040 Yeah, yeah, garbage is is scary and that's nothing. That's 0:09:57.080 --> 0:09:59.959 not something you say of Chaplain's Hinkle right, the Great 0:10:00.040 --> 0:10:03.480 Dictator himself purposely, this is how they're designed. But I 0:10:03.480 --> 0:10:06.720 think the movie does need, even though it's obviously a comedy, 0:10:07.080 --> 0:10:13.040 that threatening presence as well, you know, eerily calmly threatening presence, 0:10:13.559 --> 0:10:15.680 which is absolutely what Daniel brings. 0:10:16.280 --> 0:10:19.800 We move on to our next partisan four lead performance. 0:10:20.480 --> 0:10:23.439 The Great Dictator does have Charles Chaplin, who was nominated 0:10:23.520 --> 0:10:26.880 for Best Actor Dual Performance as the barber, and Hinkle 0:10:27.080 --> 0:10:31.680 the Dictator of Tomania. Paulette Goddard may be supporting, but 0:10:31.840 --> 0:10:34.559 I think you could put her as Hannah in the 0:10:34.640 --> 0:10:38.280 lead performance category. Rome Open City has Anna Maniani as 0:10:38.320 --> 0:10:42.840 Pina and Aldo Fobrezi as Don Pietro Pellegrini. No regrets 0:10:42.840 --> 0:10:47.520 for our youth, said Sukohara as Yuki Yagahara. In z 0:10:47.920 --> 0:10:52.120 we have Eve Montant as the deputy who is assassinated, 0:10:52.240 --> 0:10:56.040 Jean Louis Trennan as the examining magistrate. No, there's no 0:10:56.120 --> 0:10:58.440 lead characters in The Sorrow and the pity will stick 0:10:58.480 --> 0:11:01.920 with that unless you want to call Marcel Ofls the 0:11:02.000 --> 0:11:05.040 lead character is the director of the film. Finally, in 0:11:05.080 --> 0:11:08.000 the Circle, I think perhaps we could say that in 0:11:08.040 --> 0:11:11.080 our guests Mami Zada as an our guest, is the 0:11:11.200 --> 0:11:14.959 lead in that ensemble film, Josh, who did you give 0:11:14.960 --> 0:11:15.600 your award to? 0:11:16.880 --> 0:11:21.760 I couldn't separate or choose between Anamagnani and Aldo Fabrizi 0:11:21.800 --> 0:11:23.960 in Rome Open City, so I'm afraid they have to 0:11:24.040 --> 0:11:28.720 share my honorable mention Slot. I think what they bring 0:11:28.880 --> 0:11:34.160 here is an experienced sense of conviction as experienced actors. 0:11:34.200 --> 0:11:37.319 You know, there are many novice actors in this film, 0:11:37.320 --> 0:11:41.040 part of the verte element here. And then you get 0:11:41.080 --> 0:11:44.760 Manyani and Fabrezi, who one of them is quiet in 0:11:44.800 --> 0:11:48.439 their performance, one of them is quite loud. These characters 0:11:48.440 --> 0:11:53.160 both surreptitiously aiding that resistance movement, the Partisans, but they 0:11:53.280 --> 0:11:58.720 absolutely have their own distinct emotional power to the roles. 0:11:59.040 --> 0:12:02.240 And yeah, they're the faces I think of when I 0:12:02.240 --> 0:12:05.320 think of Rome Open City. Both of them my winner, 0:12:05.320 --> 0:12:08.160 though to me there was no doubt about it. It 0:12:08.280 --> 0:12:11.680 was satsuk Ohara as Yuki in no regrets for our youth. 0:12:11.760 --> 0:12:15.600 I just think this is a showcase for her talents, 0:12:15.640 --> 0:12:18.240 even though as we discussed, she was just getting started. 0:12:18.280 --> 0:12:21.720 It would be later that she would make her Noriko 0:12:21.840 --> 0:12:26.560 trilogy with director Yasujuro Ozu, and here she's playing a 0:12:26.600 --> 0:12:31.680 similarly a somewhat similar character, a single woman who's gently 0:12:31.720 --> 0:12:36.560 pushing back against the expectations of Japanese society. What I 0:12:36.600 --> 0:12:38.960 love about the performance here, especially in the context of 0:12:38.960 --> 0:12:42.480 those later ones, is you see Yuki maturing into just 0:12:42.559 --> 0:12:45.120 that sort of woman across the course of this story. 0:12:45.880 --> 0:12:48.280 I think of the first scene, or one of the 0:12:48.280 --> 0:12:50.200 early scenes we see here where she's out on that 0:12:50.280 --> 0:12:54.000 hike with the other students, her father students, and they're 0:12:54.000 --> 0:12:55.920 at the top of this mountain and they hear the 0:12:56.000 --> 0:13:01.560 guns going off and it's practicing, you know, the military practice, 0:13:02.200 --> 0:13:05.240 and she says, I love that sound, and we get 0:13:05.240 --> 0:13:08.319 a sense it's she's all in on the patriotism at 0:13:08.320 --> 0:13:14.079 this point, right, the militarism, and Satsukohara is all in 0:13:14.160 --> 0:13:17.360 on that depiction of the character as well. We get 0:13:17.400 --> 0:13:19.319 a variation of that a little later, where her father's 0:13:19.320 --> 0:13:21.559 students are getting to political talk and she just says, 0:13:21.600 --> 0:13:24.360 I'd rather listen to music. But then we get that 0:13:24.480 --> 0:13:27.880 scene we spend time on where she's arranging traditional flowers 0:13:27.920 --> 0:13:30.960 and tears them apart and just says, this isn't me. 0:13:31.160 --> 0:13:35.600 And we see the identity starting to form there. Eventually 0:13:35.600 --> 0:13:38.719 we hear her say something like I'm just so disgusted 0:13:38.760 --> 0:13:42.400 with everything She's her eyes have become open to what's 0:13:42.440 --> 0:13:46.319 happened to her country. And despite some of that dialogue 0:13:46.360 --> 0:13:48.400 that I quoted, you know, so much of this is 0:13:48.440 --> 0:13:51.960 done by silent film acting. We also mention this adam 0:13:52.160 --> 0:13:54.600 the elements of no Regrets for a youth that recall 0:13:55.200 --> 0:13:59.959 silent film techniques, and Harro gets all sorts of almost 0:14:00.200 --> 0:14:04.760 dry esque Joan of Arc portrait shots here from Kurrasawa. 0:14:05.160 --> 0:14:08.560 I also think of the mug shot, which is, you know, 0:14:08.640 --> 0:14:13.240 kind of a startling technique for a movie from this era, 0:14:13.360 --> 0:14:17.559 where we see her just in profile and looking forward, 0:14:17.600 --> 0:14:20.120 but exactly as you would in a mug shot. There's 0:14:20.120 --> 0:14:22.240 a moment where she gets dizzy on the stairs and 0:14:22.280 --> 0:14:25.200 we get a woozy close up. So Hara is just 0:14:25.240 --> 0:14:28.240 doing basically everything you can do in front of a camera, 0:14:28.400 --> 0:14:32.120 whatever era you're working in, She's doing it here and 0:14:32.200 --> 0:14:35.120 doing it beautifully. So she was my pick for us 0:14:35.840 --> 0:14:36.640 lead performance. 0:14:37.640 --> 0:14:40.560 I did mention Paulette Goddard as Hannah and the Great Dictator, 0:14:40.560 --> 0:14:44.320 and I really do respect that performance. And this is 0:14:44.360 --> 0:14:47.520 such a loaded category that she can't rate any higher 0:14:47.560 --> 0:14:52.080 than fifth here, because you've got at minimum the two 0:14:52.120 --> 0:14:57.040 performances you singled out, first Annamanyani and Aldo Fabreezi giving 0:14:57.080 --> 0:15:00.920 two of the most heart wrenching performances in cinema history. 0:15:01.720 --> 0:15:05.920 And then the person I'm giving runner up to, I'm 0:15:05.960 --> 0:15:09.320 going back to the great dictator. I'm in on Charles 0:15:09.400 --> 0:15:15.880 Chaplin giving that dual performance despite perhaps all the speechifying 0:15:16.720 --> 0:15:24.840 and some sentimentalism. I think that this is a difficult performance, Josh, 0:15:24.880 --> 0:15:28.560 because not only do we see two vastly different versions 0:15:28.720 --> 0:15:31.880 of Chaplain here and a side of him we had 0:15:31.920 --> 0:15:35.240 never seen up to that point. But for me, one 0:15:35.240 --> 0:15:37.560 of the faces of this marathon is when we talked 0:15:37.560 --> 0:15:41.480 about and it's it's when Pinkele turns to the camera 0:15:42.560 --> 0:15:47.560 with the ferocity and the rage and the snartling teeth 0:15:47.920 --> 0:15:48.920 talking about the. 0:15:48.920 --> 0:16:09.120 Juden no Chudin with a chuldin kind of a bush. 0:16:09.240 --> 0:16:14.400 That's legitimately terrifying, and for Charles Chaplin, the little tramp, 0:16:14.880 --> 0:16:17.040 to pull that off, I can't imagine what that was 0:16:17.120 --> 0:16:20.040 like for audiences at the time. But also seeing that 0:16:20.240 --> 0:16:24.080 on the big screen, that that's part of it. Then 0:16:24.120 --> 0:16:27.240 there's the physicality. We may talk about at least one 0:16:27.240 --> 0:16:30.000 other scene a bit later. There's the physicality to the 0:16:30.040 --> 0:16:32.360 performance as well in some of the comedic bits that 0:16:32.680 --> 0:16:35.120 I think elevated to at least run her up status. 0:16:35.160 --> 0:16:38.040 But I'm with you. I did go with Susukahara as 0:16:38.080 --> 0:16:40.480 well in No Regrets for Our Youth. And part of it, 0:16:40.560 --> 0:16:45.800 perhaps as well, is that, unlike Manyani, this is just 0:16:45.840 --> 0:16:48.440 based on what happens to her character, she does own 0:16:48.480 --> 0:16:51.920 the movie. This is her film, and you said it. 0:16:51.960 --> 0:16:54.640 She's best known for her collaborations with Tho Zoo. She 0:16:54.760 --> 0:16:57.400 only made two films with Kurosawa. The other one was 0:16:57.440 --> 0:17:01.000 The Idiot, and this is the only one that Kusahwa 0:17:01.040 --> 0:17:04.200 did with a female lead. And this movie is certainly 0:17:04.240 --> 0:17:07.040 good enough, and Horra is certainly good enough that you 0:17:07.119 --> 0:17:10.800 wish that wasn't the case. You described it so well. 0:17:10.960 --> 0:17:13.359 I don't know that I can I can say anything better, 0:17:13.400 --> 0:17:17.119 But it is such a huge arc that this movie 0:17:17.160 --> 0:17:21.320 covers with that character, going from this naive young woman 0:17:21.680 --> 0:17:24.760 who isn't it all interested in getting involved in politics 0:17:24.920 --> 0:17:29.200 to a much more mature woman who has experienced real 0:17:29.320 --> 0:17:34.760 suffering and now chosen to become more politically active, and 0:17:35.440 --> 0:17:40.919 she does play at all, I think with such subtle force. 0:17:41.119 --> 0:17:45.359 And I found film comment commented on her performance. I'm 0:17:45.359 --> 0:17:47.439 going to read a quick part of this. The actress 0:17:47.440 --> 0:17:50.280 plays every step of her evolution in such a straightforward 0:17:50.280 --> 0:17:54.360 manner that even her ever changing hairstyle works towards this end, 0:17:54.640 --> 0:17:57.679 no matter what external appearance she bears. Horra's greatness is 0:17:57.680 --> 0:18:00.679 her ability to project an inner self that prevented her 0:18:00.680 --> 0:18:02.639 from wearing those styles as if she were at a 0:18:02.680 --> 0:18:05.400 costume party. And I don't know if we got into 0:18:05.440 --> 0:18:07.119 it or not, but it was in my notes that 0:18:08.000 --> 0:18:11.840 the scene where and it's a famous scene that may 0:18:11.840 --> 0:18:15.600 come up or not, where she goes to work in 0:18:15.680 --> 0:18:18.240 the rice fields and is determined to work with the 0:18:18.560 --> 0:18:21.520 with the in laws. What does she do? She puts 0:18:21.680 --> 0:18:24.600 she puts her hair up, and that low angle shot 0:18:24.720 --> 0:18:28.280 that Krosawa captures that with it's such force. That's that's 0:18:28.280 --> 0:18:30.959 a bit of silent film acting. Even there, it seems 0:18:30.960 --> 0:18:34.040 like right where the camera and and just the the 0:18:34.080 --> 0:18:37.840 physical part of that, that gesture with her hair is 0:18:37.880 --> 0:18:41.280 doing all the work saying everything about the character that 0:18:41.480 --> 0:18:44.280 we need it to. And and she she becomes an 0:18:44.520 --> 0:18:50.119 entirely different type of worker and person in in that sequence. 0:18:50.880 --> 0:18:54.240 Yeah, I like the phrase subtle force because yes, she's 0:18:54.280 --> 0:18:58.840 not doing she's not pushing anything too hard, yet somehow 0:18:59.280 --> 0:19:04.760 registers so strongly across the whole stretch of this movie. 0:19:05.040 --> 0:19:07.640 So we always hand out an award. We have three 0:19:07.640 --> 0:19:10.879 more categories. We have best Scene, we have the scene 0:19:10.920 --> 0:19:14.760 that's unique to our marathon, we'll get into more detail 0:19:14.920 --> 0:19:18.840 about that in a second, And we have Best Picture. 0:19:19.119 --> 0:19:21.639 Sometimes I wonder whether or not it makes sense to 0:19:21.720 --> 0:19:26.520 do the best overall scene second, like we're building up 0:19:26.560 --> 0:19:28.679 to that. But I actually think, and this is usually 0:19:28.680 --> 0:19:31.720 what we do. I think the scene that's unique to 0:19:31.760 --> 0:19:34.560 the marathon makes a little more sense to build to 0:19:34.840 --> 0:19:38.879 to be the penultimate one before before the best Picture 0:19:39.160 --> 0:19:42.160 award is handed out. So what is the best scene 0:19:42.520 --> 0:19:46.920 for you and the marathon that isn't the dissident gesture 0:19:46.960 --> 0:19:48.400 that we'll get to here. 0:19:48.280 --> 0:19:52.159 Right, Yeah, I like that because my scene is a 0:19:52.160 --> 0:19:56.400 downer in my dissident gesture is a little more inspiring, 0:19:56.560 --> 0:19:57.399 So I like that. 0:19:58.240 --> 0:20:01.560 I'm definitely the opposite, actually the opposite. Both of mine 0:20:01.600 --> 0:20:02.680 are depressing as hell. 0:20:03.240 --> 0:20:07.879 Well you know that's yeah, that's reasonable. That's how things 0:20:08.160 --> 0:20:11.880 went a lot in this marathon. Well for seeing I'm 0:20:11.960 --> 0:20:15.800 going with I'll start with and maybe the downer of 0:20:16.160 --> 0:20:21.440 the marathon in terms of how the filmmaking just punches 0:20:21.480 --> 0:20:23.480 you in the gut, and that's the murder of Pina 0:20:23.560 --> 0:20:26.800 from Rome Open City. We did spend some time with this, 0:20:27.000 --> 0:20:32.520 but she protesting Francesco being arrested, the soldiers shooting her, 0:20:32.560 --> 0:20:36.200 and we witnessed this from the back of the truck 0:20:36.240 --> 0:20:39.560 where he's been thrown in pulling away, and it's just yeah, 0:20:39.560 --> 0:20:40.840 I mean, you could go you could go back to 0:20:40.880 --> 0:20:46.040 our conversation and we describe just why that works so powerfully. 0:20:46.080 --> 0:20:49.639 But that one an honorable mention for me. And another 0:20:49.640 --> 0:20:52.000 one I'm going back to the circle from just last week, 0:20:52.040 --> 0:20:56.320 and it is completing the circle that finale, which, as 0:20:56.359 --> 0:20:59.760 you said, had had riches beyond the ones we spent 0:20:59.800 --> 0:21:04.760 a long time discussing that you track down later. So 0:21:05.440 --> 0:21:09.480 those are my honorable mentions. The winner for me, it's 0:21:09.520 --> 0:21:12.600 a bit of a wonky one as opposed to the 0:21:12.600 --> 0:21:17.240 emotionality of those two honorable mentions, but I really love 0:21:18.280 --> 0:21:23.159 the meta nature, the ingenious quality of it, even with 0:21:23.240 --> 0:21:26.080 the context of you know, a very political film, and 0:21:26.119 --> 0:21:30.600 it is the fantasy finale of accountability in z This 0:21:30.680 --> 0:21:33.480 is where we think we're getting a happy ending. We 0:21:33.520 --> 0:21:38.119 think that these the military regime, these perpetrators of the 0:21:38.119 --> 0:21:42.240 political violence. We see them being indicted, and we think, 0:21:42.359 --> 0:21:44.840 especially if you don't know, you know, the Greek history, 0:21:44.920 --> 0:21:47.320 the recent Greek history, that this is drawing from this 0:21:47.400 --> 0:21:51.800 account maybe maybe this is maybe they actually the bad 0:21:51.800 --> 0:21:54.560 guys were actually held accountable. And then the movie pulls 0:21:54.600 --> 0:21:56.840 the rug out from under us reveals what happened in 0:21:56.880 --> 0:22:00.919 real life, that these figures were exonerated back in power 0:22:00.960 --> 0:22:05.080 and things got even worse. Doing this via that news 0:22:05.200 --> 0:22:13.160 report that Costa Gavras stages and detailing all of this, 0:22:14.240 --> 0:22:17.000 it made it. It gave it a level of realism 0:22:17.520 --> 0:22:21.400 and echoed how this might go down in our own 0:22:21.440 --> 0:22:27.240 world in a way that was inventive and jarring and unsettling. 0:22:27.560 --> 0:22:31.640 And I just I think that's my scene because it's 0:22:32.359 --> 0:22:34.800 it's it's somewhat on the level of something Panahi from 0:22:34.880 --> 0:22:37.719 the Circle might sure pull off. You know, this this 0:22:37.880 --> 0:22:43.280 melding of real world techniques and that it was happening 0:22:43.320 --> 0:22:47.240 how many years earlier, you know, I appreciate as well. 0:22:47.320 --> 0:22:49.960 So that's my pick for best scene. I'm going with 0:22:50.119 --> 0:22:54.119 Z's fantasy finale of accountability. Josh. 0:22:54.200 --> 0:22:57.320 I thought I was being so clever coming up with 0:22:57.400 --> 0:23:01.240 this one, and it's genuinely my pick. But as it 0:23:01.280 --> 0:23:06.280 turns out, this and I have a slight variation on it. 0:23:06.359 --> 0:23:10.120 This choice is my dissident gesture. So I'm gonna jump 0:23:10.119 --> 0:23:14.159 ahead to my Wow. Yes, okay, I'm viewing it slightly 0:23:14.240 --> 0:23:18.760 differently here. Yeah, it does right. It's the opening title card, yeah, 0:23:18.800 --> 0:23:24.600 plus the PostScript in Z, the active defiance. The active 0:23:24.640 --> 0:23:28.640 defiance here is committed by the filmmaker himself. It's Costa 0:23:28.680 --> 0:23:34.760 Gavras telling us right from the jump, that brilliant opening 0:23:34.880 --> 0:23:39.400 title card. Any similarity to actual events or person's living 0:23:39.520 --> 0:23:45.919 or dead is not coincidental. We've seen it a million times. 0:23:46.240 --> 0:23:48.840 Audiences even then had surely seen it a million times, 0:23:48.880 --> 0:23:53.480 accepted it said, is coincidental. This says, is not coincidental, 0:23:53.560 --> 0:23:57.200 and then it adds it is intentional signaling to you 0:23:57.600 --> 0:24:01.480 as a viewer, do not get comfortable, do not get complacent. 0:24:02.040 --> 0:24:04.840 This film is going to be a reckoning. This is 0:24:04.880 --> 0:24:10.960 going to be a denunciation. And then the PostScript you 0:24:11.160 --> 0:24:16.760 just described where this film seems like everything comes together 0:24:17.400 --> 0:24:21.520 so neatly. It feels it does. We talked about it. It 0:24:21.480 --> 0:24:24.639 feels like a fantasy. You want to believe that life 0:24:25.320 --> 0:24:28.399 works like this, that maybe at one time life worked 0:24:28.440 --> 0:24:31.520 like this, or maybe another in another time and place, 0:24:31.600 --> 0:24:33.879 life worked like this, and and could we have that 0:24:33.960 --> 0:24:36.600 happen in this time and place, and that it turns 0:24:36.640 --> 0:24:39.879 out no, it didn't even happen in this time and place. 0:24:40.320 --> 0:24:42.600 And we do get this element. You're right, it's it's 0:24:42.680 --> 0:24:46.720