#Vistavision

[selynef]

Adrien Brody as László Toth in The Brutalist, 2025

[whatashotx]

Vertigo (1958)

[dontlookback1967]

the brutalist (2024) dir. brady corbet with cinematography by lol crawley

[annoyingthemesong]

SUBLIME CINEMA #692 - THE BRUTALIST

I wasn't as gaga over this movie as many were, I found it overly long, under-edited, and Laszlo (Adrien Brody's) character unlikeable. However - the images were breathtaking, and many sequences were deeply moving and left me hypnotized well after they passed by.

It was absolutely worth seeing in IMAX, and Vista Vision is a rare treat in 2025. Every penny of it is seen up close in a texture that is all too lacking in the cinema these days.

Brady Corbet delivered something that cannot be confused for what passes for a film these days on most streaming services. This is a film - told in grand, operatic images and steeped in a deep nostalgia for world that might never have existed.

[doppleganger-rental]

Can’t wait

[citizenscreen]

I ran into a TCM staff member on Monday who gave me his one recommendation for this year’s #TCMFF , “Do not miss the VistaVision screenings!”

The two rare VistaVision screenings will be WE’RE NO ANGELS (1955) and GUNFIGHT AT THE O.K. CORRAL (1957) on Saturday, presented using VistaVision projectors specially installed at the historic @ChineseTheaters @IMAX

[oldshowbiz]

A lot of the Paramount "VistaVision" films peak the very moment the VistaVision logo comes onscreen.

[cinesludge]

Movie #60 of 2024: Speed

Howard Payne: "Pop quiz, hotshot. There's a bomb on a bus. Once the bus goes over 50 miles per hour, the bomb is armed. If it drops below 50, it blows up. What do you do? What do you do???"

[panosatthemovies]

The Brutalist by Brady Corbet is an ambitious cinema epic, telling the story of a Jewish immigrant from Hungary to the USA in the 1950s, right after WWII. So you could say it's a film that resonates with the current events around immigration in the USA and Europe. The film lasts three and a half hours and has a 15-minute built-in intermission, along with an overture in the beginning and some amazingly designed titles throughout. It's also filmed in VistaVision, for the first time since the 60s, giving viewers an undistorted, captivating image of the tall buildings that Adrien Brody's character designs. So, it's also a film in love with cinema, its history, and the epic form it used to have back in the day. It's also a film about design, an architect, and his artistic vision, and basically, any artist's sacrifices to fulfill that vision while succumbing to the whims of an employer or patron so they can get their message across, engraved in their work, for future generations to see. It has great music, cinematography, performances, and many, many themes. It's masterful, but is it a masterpiece? I think a more engaging story with a more focused script could have cemented its legacy in time. As it stands now, it's a visionary cinematic experience you have to enjoy on the biggest screen possible. But give Anora the best picture of the year at the Oscars!

B+

Trailer: https://youtu.be/GdRXPAHIEW4

[autolabrum]

Watched Vertigo

Spoilers below

Such rich, gorgeous coloration in the first part that the pleasure of the memory is almost enough to fill the hole the second part excavated in my chest. Thematically, the inversion is pretty much perfect, even if I think it hiccups momentarily in the transition. Kim Novak embodies both feigned supernatural, maternal possession (I'm looking at you Psycho) and very real, material, male-chauvinistic possession. Jimmy Stewart does as good a job in his dual role of both the concerned, paternalistic protector figure and the domineering, obliterative force of masculinity.

Careful choice to position Carlotta Valdes' grave at one of two graveyards in San Francisco where the dead were not disinterred and reburied in Colma. One of two places where the pressure of modernity and expansion had not relocated the weight of the dead. The impotent rage that John Ferguson feels at his inability to control the march of the world, in its repetition of death and its imposition of fear on his own body, is palpable as he tries to return to his own local past, just as he believed "Madeleine" needed to return to her familial past. He is unable to escape the deception, even as his rational brain becomes aware of it, and can only believe that there is some access to the past, and therefore to the future, through which he can transcend the weight of death and live forever. Of course, this must be performed by the imposition of his own will upon Judy, a practice his past as a cop and instrument of state violence has prepared him well for. It is not enough. He has no control. Madeleine was killed by a competent, careful murderer; Judy is killed by the past, by the specter of death rising from the darkness of history. John is a cop, and he is a man; he can stop neither.

No one possesses you ... you're safe with me.

[lesbiancolumbo]

we used to be a proper society and have movies that looked like this (shot in technicolor)

[sonflwers]

i’m so happy for the brutalist

[citizenscreen]

VP of Paramount Pictures, Y. Frank Freeman, is showing Paramount Board Chairman Adolphe Zukor the exciting possibilities of VistaVision in 1954. The dotted line shows how the ordinary motion picture screen size compared with the big VistaVision screen.

[oldshowbiz]

VisaVision Negatives

[cinesludge]

Movie #29 of 2024: Aliens

Private Hudson: "Hey Vasquez, have you ever been mistaken for a man?"

Private Vasquez: "No. Have you?"

[fskies32]

Manifesting the brutalist release on my country because that movie was I want to watch