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post #9301 of 10173
Thread Starter 

That's nice.

 

Guess I was too genuine for caring about a living thing.

 

Default back to catchphrases.

post #9302 of 10173

(sorry to chop this up so fine, anyone not interested in the minutia of me and Boone's couples therapy can scroll right along)

 

Quote:

Originally Posted by Boone Daniels View Post
 

That's...not what I said. It's so, so, so, far off the mark from what I said I can't even begin to know where to respond. 

 

At no point did I say that Ehrlich is a bad person for making this list. I don't like his style, but I'm not in here calling him a fucking asshole misogynist or something. At no point did I say that his list is flawed because there are four out of 25 films directed by women on that list. In fact, I've been looking at some of the other lists that came out today/recently, and that's pretty good! Like I said, Ehrlich sees everything, and that means he's much better equipped to evaluate the year's films. That's better than most film critics (a population who is overwhelmingly white and male). And as noted, I brought up the fact that there were 4 out of 25 because that's something that interests me, and I thought was worth pointing out for the questions it raises, not just about this particular list, but lists in general, and the making of them. 

 

First of all, at no point did I say you called Ehrlich a bad person or anything.  But you said, quite directly, that you found his list deficient because of the type of filmmaker (not film), depicted.  And touted "Make Better Lists" as a slogan for correcting said deficiencies.  To claim this does not amount to dictating the content of said lists based on sociopolitical agendas is...difficult for me to parse.   

 

 

Quote:

At no point was I demanding he change his list to fit "quotas." 

 

 

Quota was my word, chosen to highlight what I saw as the deficiencies of your argument.  Which I took to be "4 female directors out of 25 films is objectively too few."  And there's a fair bit more to unpack there (starting with it being a top-down issue that huge majority of films are directed by men, continuing with whether director is really the be-all-end-all of a film's authorship, probably with a few detours about the proper shape of Batman's ears and what a piece of shit Donald Trump was today).   

 

Quote:

 I was saying that I think critics do have a responsibility, as we all do, to examine our own biases on a regular basis, even moreso when you're in a position of power or cultural responsibility.  And that we, as audiences, should be able to ask (note, ask, not demand) critics to explain their decisions (which they are entitled to say no to).

 

 

Which is all good.  "Make Better Lists" sounds a bit demand-y, is all.

 

Quote:

But I also think that the idea that a film or a work of art should be universal is flawed; there are great works of art that I'll never fully grok because the audience they were intended for is not one I belong to (whether that's time, location, or diverse background). Good criticism should be a conversation, not a lecture. We should be allowed to disagree with lists, but we should also be allowed to say why we disagree. 

 

 

I'm not sure where the universality of art came into things.  I thought I was arguing for privileging the subjectivity of a critic's personal responses over more global concerns. 

 

I agree that criticism should be a conversation rather than a lecture, and I don't think I said we shouldn't be allowed to disagree with a list.  Again, I thought I was arguing for the ability to people to articulate their thoughts completely freely.  Maybe where we're getting signals crossed is that I look at criticism as a form of, if not exactly art, then at least expression which warrants a generally similar approach to consuming.  I don't think a review or a list should be universal either, which is what I meant when I said David Ehrlich's list should reflect his tastes rather than a properly approved and notarized representational cross-section of directors.  

 

Quote:

Finally, as an aside, Schwartz, I think you're a good guy, so please understand there's no offense when I say this: You have this tendency to read into the things I post as some kind of social justice warrior attack on an individual, even when I go out of my way to be as nuanced as possible with this stuff. I'm well aware I'm in the minority here, and so I've tried to get better at articulating my opinion, but you still tend to read things into my posts that aren't there. But you were reading my post as an attack. That's not the case. I've stated before - in this very post even - that I don't think these things are meant as a personal attack, but rather asking questions about the broader cultural biases and lenses that shape our world. I notice this happens a lot when I challenge the idea that an individual should be aware of the world around them, rather than doing what speaks to them creatively, as an individual. You tend to interpret that as me calling for "censorship" or, in this case, "quotas" (which is not a word I would ever use). I'm not advocating for either. I'm not asking of either. What I'm arguing for is awareness, and balance between the two. And for you (and, honestly, others here) to keep misinterpreting my posts in this way, despite my best efforts to frame them in as generous a fashion as possible, is supremely frustrating.

 

No offense taken, and none meant (though if you do find any of the rest of this insulting, that's understandable).  And again, I don't think anything in my post framed your statements as condemning Ehrlich personally*.  What they were doing, imo, was telling him that he should think differently, or like this thing more than that thing, based on your own sociopolitical standards.  And yes, we all kind of do that all the time to some extent, but this is where the distinction between asking and demanding becomes important.  

 

And look, you're not wrong about how I interpret your posts.  Ironically (let's use the term loosely), I think this comes from my taking your posts in a broader context.  I don't read your individual posts in vacuum, but place them in a context of interactions stretching back over a decade.  And within that context a pattern has developed, which I think is fairly simple and rather telling.  More than any other poster I can think of in my entire tenure here, I feel I can most accurately predict your reaction to a particular piece of art or criticism based on how it aligns with your political views.  That impression may be false and it may be unfair, but it does not entirely gibe with the self-styling as the champion of nuance and constant interrogation of one's own biases.  I don't mean that to be hurtful, but in the interest of having all our cards up, it is where my occasional bits of irritation come from.  Which are very occasional, mind you.  To my mind this was a perfectly academic conversation about the ultimately trifling matter of which online film critic's year end lists we preferred to others.

 

 

*also, I'd watched that 2015 video once when it came out, but never learned his name until today, lest you think this stemmed from butthurt that you dared to criticize a personal hero

post #9303 of 10173
Quote:
Originally Posted by Bartleby_Scriven View Post
 

That's nice.

 

Guess I was too genuine for caring about a living thing.

 

Default back to catchphrases.

Well you have learned your lesson, that's all that matters.

post #9304 of 10173

Also, I've been getting over a bout of food poisoning today, so apologies if I was crustier with Bart and Boone than normal.

post #9305 of 10173
it's this toxic culture!
post #9306 of 10173

That Ellis video is great, btw.  My brain seized up a bit at calling Stranger Things' synth score "TV movie-inspired" instead of citing Carpenter, but the cheap shot at BvS made up for it.

post #9307 of 10173

 I just watched Ellis's latest video and I enjoyed it. When I saw the opening for a split second I thought she was Rick rolling her audience. I would disagree with her about the Wolf of Wall Street. When I saw it, I laughed at not with the characters. Despite the money and hot woman, Jordon and his friends where such douchebags that I didn't envy them. Now when I watch Goodfellas, that is a different story. I guess there is a dark ends justify the means part of me that thinks  they are living the good life; or where until Henry got involved in coke.

 

  The appeal of Stranger Things was best summed up, IMO, by Honest Trailers: "The 80's where awesome and being an adult sucks."

post #9308 of 10173
Thread Starter 
Quote:
Originally Posted by Schwartz View Post
 

Also, I've been getting over a bout of food poisoning today, so apologies if I was crustier with Bart and Boone than normal.

I would use a catchphrase to signify we're cool, but you might get crusty with me again.

post #9309 of 10173

Schwartz, we good, and I appreciate the time you took to respond. I don't really have anything I disagree with, but I do try and approach a work of art with as open a mind as possible, flaws and all. I know that doesn't always come across - usually because more often than not here, we talk about films that have been out a while - but understand it is something I try to do. And, again, I like you and respect you, even though we may squabble from time to time. Like I said, it's ultimately water under the bridge here, we've all been around so long that we all know each other pretty well, so stuff like this isn't worth going "fuck you, no, fuck you" over. And I do enjoy when we disagree about this stuff - I just wanted to point out that sometimes I feel like I'm being misinterpreted.

 

Okay, couples therapy is over. Back to lists! Here's Sight and Sound's best of, which brings up the topic of the day on Film Twitter - is TWIN PEAKS THE RETURN a "movie?" (Matt Zoller Seitz put it as number 1 on his best TV of the year list.)

 

post #9310 of 10173
Thread Starter 

Does Silence count as 2017?

post #9311 of 10173
Thread Starter 

Moonlight also? I'm so confused.

post #9312 of 10173

That's a UK based list, we got some of those films a few months after you guys.

post #9313 of 10173
Thread Starter 

Oh! Duh-doy.

post #9314 of 10173

Bart, are you talking about a different list, because I don't see Silence or Moonlight on either of those.

 

Anyway, release dates are weird and I say that if a film doesn't open in your area until 2017, you should be able to count it on a 2017 list. 

post #9315 of 10173
Quote:
Originally Posted by Boone Daniels View Post
 

Bart, are you talking about a different list, because I don't see Silence or Moonlight on either of those.

 

Anyway, release dates are weird and I say that if a film doesn't open in your area until 2017, you should be able to count it on a 2017 list. 

 

The list goes on a fraction longer than that one, not sure if your source cropped it:

 

http://www.bfi.org.uk/features/best-films-2017/

 

Moonlight is 19, Silence 25.

 

And LadyBird is 19 as well and we don't get that till next year, so there are no rules. Just anarchy.

post #9316 of 10173

Oh yeah, I saw that. My source did crop it. 

post #9317 of 10173
Quote:
Originally Posted by Boone Daniels View Post

Schwartz, we good, and I appreciate the time you took to respond. I don't really have anything I disagree with, but I do try and approach a work of art with as open a mind as possible, flaws and all. I know that doesn't always come across - usually because more often than not here, we talk about films that have been out a while - but understand it is something I try to do. And, again, I like you and respect you, even though we may squabble from time to time. Like I said, it's ultimately water under the bridge here, we've all been around so long that we all know each other pretty well, so stuff like this isn't worth going "fuck you, no, fuck you" over. And I do enjoy when we disagree about this stuff - I just wanted to point out that sometimes I feel like I'm being misinterpreted.

Okay, couples therapy is over. Back to lists! Here's Sight and Sound's best of, which brings up the topic of the day on Film Twitter - is TWIN PEAKS THE RETURN a "movie?" (Matt Zoller Seitz put it as number 1 on his best TV of the year list.)



The next rank value after the three #12s should be #15.

This list is invalid.
post #9318 of 10173

Any list with ties is invalid.  Either number them shits, or don't.


Edited by Schwartz - 12/5/17 at 12:27pm
post #9319 of 10173

Haha, ties are part and parcel for Sight and Sound! They do this shit all the time! 

 

I agree. Ties on lists are the worst. 

post #9320 of 10173
Quote:
Originally Posted by Boone Daniels View Post
 

Haha, ties are part and parcel for Sight and Sound!

Damn straight.  If you want your filthy jean jacket with tassels, go back to Rolling Stone.

post #9321 of 10173

Making lists before the year is over is weird but so many people do that. Everyone's afraid of deciding in January. Hell, if I were a critic, I'd drop mine in June next year. That way, I'd have a.) opportunity to see everything I wanted b.) time to better consider my choices and c.) the debate all to myself, instead of being lost among the torrent of lists crawling all over each other like World War Z zombies. Oh, and by then my readers would have actually been able to see half the films I'm listing!

post #9322 of 10173

Fear of the Velvet Curtain

NOTES ON THE LANDLORD AND LEE GRANT

by Dennis Cozzalio
 
 
 
"Hal Ashby’s The Landlord, made in 1970, is probably the best movie of the 1970s not to be widely known by younger audiences, and even by some older audiences whose appreciation of the last great era of American moviemaking needs to be expanded beyond go-to classics like The Godfather and Chinatown and Taxi Driver. It’s Ashby’s first directorial effort, after work as assistant editor and chief film editor on The Diary of Anne Frank, The Cincinnati Kid and In the Heat of the Night, and it finds Ashby delighting in the freedom of fashioning experimental rules of editorial and visual expression in the process of translating a script from Bill Gunn (Ganja and Hess), based on Kristin Hunter’s novel, into what stands today as one of the funniest, most honest, cogent and probing explorations of race and American race relations in movie history. We had it on during dinner at my house last week when it aired on Turner Classic Movies, and several times my daughters sat up, listened, and even expressed shock at some of the things the movie was talking about, and especially the way it was talking about them. As kids in 2017 they’re not used to seeing movies with a true measure of frankness about any subject that’s not meant primarily as simple shock value, but then I’d wager most adults, conditioned to respond to a constant barrage of multiplex stimuli over the course of 30 or more years, might find The Landlord sort of shocking too. Which is one vital reason why it should be more well-known.
 
The Landlord is also notable for its cast, with great turns from undervalued character actors like Walter Brooke, Mel Stewart, Will MacKenzie, Susan Anspach, Marki Bey, and Beau Bridges in the titular role as Elgar, a clueless rich kid who, at 29 years old, rejects the influence of his moneyed parents and decides to turn a Harlem tenement into his personal reclamation project. But as good as Bridges is—and he’s terrific– three women in particular form the beating heart of The Landlord’s satiric and socially conscious heart."
post #9323 of 10173

I just got done binging Ashby's whole 70's output. "The Landlord" is a hell of a movie (though "Harold and Maude" is still my favorite).

post #9324 of 10173
2017 In Review

The Best Movies of 2017

post #9325 of 10173
post #9326 of 10173

A great deep dive from Jeremy Smith about one of the earliest "fake newsmen," the infamous Super Shadow: 

https://www.thrillist.com/entertainment/nation/star-wars-supershadow-spoilers 
 

Also, a title for his upcoming book on online film journalism - When It Was Cool - and a release date (First quarter 2018). 

post #9327 of 10173
Thread Starter 

Oh man, I remember Super Shadow!

post #9328 of 10173
I didn't follow episode one stuff back then, so I don't know about supershadow

how fun
post #9329 of 10173
Supershadow even had his “scoops” for Episodes 10-12, I believe. Him and George were besties even though he was spoiling George’s shit everywhere haha
Edited by Carnotaur3 - 12/11/17 at 2:39pm
post #9330 of 10173

I knew people who swore by Super Shadow, no matter what.  I was in my early twenties during the run up to Episode I, and even I was taken in for a little while.  Fortunately, reality eventually asserted itself.

post #9331 of 10173

wow, supershadow's what-if scoops remind me a LOT of BARRY

 

 

BARRY

 

is you?

post #9332 of 10173

I vaguely remember this guy. Stealing photos of girls online and proclaiming them to be his "hot girlfriend" makes me think this guy might be in jail at this point.

post #9333 of 10173

just finished reading Beaks' piece

 

 

that's just really really sad...

 

and now it's the norm

post #9334 of 10173

That’s Why It’s Destiny: Read Dana Stevens (@thehighsign) on Alexander Payne's ELECTION (1999), a movie whose "resonance has continued to grow and deepen."

 

Election: That’s Why It’s Destiny

By Dana Stevens

 

https://www.criterion.com/current/posts/5189-election-that-s-why-it-s-destiny

 

 

"In retrospect, it seems there was something destined about the release of Election in the year 1999. Though the Tom Perrotta novel the film is based on was inspired in part by the 1992 presidential campaign—with its third-party interloper, Ross Perot—Alexander Payne’s scabrous yet mournful satire, adapted with his frequent collaborator Jim Taylor, presages with eerie clarity the political fortunes and plunging public morale of early twenty-first-century America. Contested election results, a dubious recount, a populist demagogue running on a platform of sheer nihilism, a hyperqualified female candidate punished for her unseemly ambition—all these developments still lay in the country’s future when Election came out, but the movie already felt timeless in a way that only great comedy can.

 

Over the nearly two decades since, Election’s resonance has continued to grow and deepen. Reese Witherspoon’s Tracy Flick has become one of those characters whose names live on outside fiction as shorthand for a popular archetype: in this case, the woman who lets herself be seen wanting too much, exhibiting an excess of desire that is comic in its arrogance and tragic in its inevitable thwarting. Witherspoon has recalled that, when she met Hillary Clinton, the politician told her, “Everybody talks to me about Tracy Flick in Election.” It’s a comparison that must have stung, given the character’s uneasy suspension between trailblazing heroine and scheming villain. And according to Payne, Barack Obama twice named Election as his favorite political film. It’s fascinating to ponder what our forty-fourth president, a politician of consummate polish and ease, might find to identify with in this movie’s world of tightly wound strivers and abject losers. Maybe it’s simply that, as a pragmatic incrementalist, he loves Election’s sly send-up of high-flown campaign rhetoric."

post #9335 of 10173
Quote:
Originally Posted by Boone Daniels View Post
 

A great deep dive from Jeremy Smith about one of the earliest "fake newsmen," the infamous Super Shadow: 

https://www.thrillist.com/entertainment/nation/star-wars-supershadow-spoilers 
 

Also, a title for his upcoming book on online film journalism - When It Was Cool - and a release date (First quarter 2018). 

 

I spent part of that article wondering if they ever outed the guy, and then I had horrible flashbacks when I heard the name Mickey Suttle because I thought that was fake too. I remember reading it back in the day when it seemed that everyone wanted STAR WARS news, but then thought how could anyone believe a guy who was posting 'interviews' with George Lucas or talking about how he has been tasked with overseeing a new trilogy. It is interesting to see though how he's essentially no different from any other modern bullshit peddler. Just keep pivoting whenever you're wrong 

post #9336 of 10173

‘The Brothers Bloom’: The Wrong Time for a Great Film

Matthew MonagleDecember 15, 2017



https://filmschoolrejects.com/the-brothers-bloom-revisited/

 

 

In defense of ‘The Brothers Bloom,’ the ugly duckling of Rian Johnson’s pre-‘Star Wars’ filmography.


 

post #9337 of 10173
Quote:
Originally Posted by Fat Elvis View Post

‘The Brothers Bloom’: The Wrong Time for a Great Film




Matthew Monagle
December 15, 2017


https://filmschoolrejects.com/the-brothers-bloom-revisited/


In defense of ‘The Brothers Bloom,’ the ugly duckling of Rian Johnson’s pre-‘Star Wars’ filmography.



 

Huh? Do people not like The Brothers Bloom? It’s great!
post #9338 of 10173

Using Gremlins to show how to make horror comedy work. Its Bart that introduced me to this dude.

post #9339 of 10173
Quote:
Originally Posted by Curiosity Cosby View Post

Huh? Do people not like The Brothers Bloom? It’s great!

I remember thinking it was neat....and that's about it.
post #9340 of 10173

CineSavant

Night Passage — Die Uhr ist abgelaufen

by Glenn Erickson Dec 12, 2017
 
 
"It’s the great Anthony Mann-James Stewart western that Mann didn’t direct: Stewart goes it alone, over-filling a good western idea with ‘cute’ scenes and conservative messages Mann had no use for. But it’s an exciting picture, and one of co-star Audie Murphy’s best — and it’s the first feature in the splendid oversized format known as Technirama."
 

 

"Universal-International didn’t spare the production values for their big-screen western Night Passage. With big stars James Stewart and Audie Murphy riding and fighting in grand Colorado locations, it gets within shootin’ range of classic status. An excellent story builds up to an exciting midpoint, but corny thematics and a tendency to indulge ‘family entertainment’ values takes a toll.

 

In HD it remains a glorious experience, what with those big-format Technirama vistas in the high country, many of them shot from a moving train. This is the kind of western that Dad loved . . . everyone’s Dad."

 

 

"The tendency among Western addicts is to say that Night Passage could have been great if Anthony Mann had directed it. If ‘entertaining’ and ‘polished’ count for anything, the movie has nothing to be ashamed of. After a long list of collaborations, James Stewart and Mann had outgrown each other. The director would move on to his European epics, while the star divided his efforts between acting for top directors like Alfred Hitchcock, and making his own pictures. They tilted toward conservative content, and recruiting for the armed forces.

 

Mann reportedly passed on the film for script reasons, yet the lively story has a number of similarities with his last Western, the contrastingly pessimistic Man of the West. A criminal gang of misfits is preying on decent society, and the hero finds himself in a no man’s land between respectability and outlawry. Chances are that with its ‘dark’ title, Night Passage was initiated as a more serious story, only to develop in a wholesome direction with the combined participation of Stewart and Audie Murphy. Dark, moody westerns were no longer in vogue — the story has been tweaked to become more suitable for kiddie matinees."

 

"Audie Murphy is given an excellent screen entrance. Everyone talks about the Utica Kid for half an hour before he’s finally introduced galloping after a speeding train. He’s then revealed as a tainted hero, who trades menacing smart-talk with Dan Duryea’s greedier outlaw boss. Murphy made a lot of movie klunkers and a number of cheap Westerns, but his pairing with Stewart in this picture shows him trying for something better. As the most-decorated GI of WW2, the actor carried major appeal for American males. They must have reasoned that, if that baby-faced short guy was the USA’s toughest warrior, then everybody has a chance at hero-dom."

 

"What lets Night Passage down is the corn factor. I’m showing my prejudices, but it’s almost as if James Stewart was looking for a cleaner screen image, and took a bar of soap to the morally conflicted story. The two leading women are in very compromised situations, but there’s barely a kiss or an embrace in the picture. The only female with some normal ideas in her head is the gritty muleskinner played by Olive Carey, a grandmother type who openly suggests to Stewart that he drop by when it gets cold in the winter, so they can keep each other warm!

 

Stewart’s Grant and Murphy’s Utica feel like a stock Borden Chase western hero, split in two. As in the Stewart-Mann films, they exist in a social limbo between virtue and villainy. Stewart plays the defamed McClaine as if he’s expecting to be vindicated any moment; light-hearted and optimistic, he comes off as rather shallow. Murphy’s full-blown baddie has a heart of gold. Utica secretly wants to reform but knows there’s no hope for him. His last-minute noble gesture, changing sides to come to the rescue, completes his character arc. It should be satisfying, but it isn’t directed well enough to achieve maximum impact — we’re expecting just such a twist. The great borrower of classic Western situations Sam Peckinpah may have had this conclusion in mind for his Ride the High Country. In that film, Randolph Scott’s isolation and regret are more deeply felt; when he rides to the rescue, it’s a glorious, heroic atonement."

post #9341 of 10173
I liked this essay by Mike D'Angelo on my pick for the most underrated Coens movie, The Man Who Wasn't Therehttp://musings.oscilloscope.net/post/168545331001/the-deepest-cut-the-hidden-emotion-of-joel-and 
post #9342 of 10173

This is very, very cool - Charlie "Fett" Brigden, long-time Chewer, passionate Star Wars fan, and film score expert, has a piece up at Roger Ebert: 

https://www.rogerebert.com/balder-and-dash/a-composer-for-all-seasons-on-the-range-of-john-williams

Just like it's always wild to see Jeremy Slater's name around The Exorcist, stuff like this always puts a smile on my face. 

post #9343 of 10173
Thread Starter 

Headless Fett?!?!

post #9344 of 10173
Quote:
Originally Posted by Bartleby_Scriven View Post
 

Headless Fett?!?!

 

Different Fett. He used the name Charlie Brigden on here after a while, but he was one of our earliest posters. 

 

http://www.chud.com/community/u/2378/charlie-brigden

post #9345 of 10173
Thread Starter 

Oh. Well, Headless Fett is dead to me then.

post #9346 of 10173
Quote:
Originally Posted by Bartleby_Scriven View Post

Oh. Well, Headless Fett is dead to me then.
It’s not hard to tell the difference. Only one of them has a head.
post #9347 of 10173

Charlie is good people.

post #9348 of 10173

The Inextricable Intertwining of Disco and Movies

There’s probably no musical genre as bound to cinema, in terms of capturing what exactly that music was to those who loved it.

 

http://flavorwire.com/586199/the-inextricable-intertwining-of-disco-and-movies

 

"In retrospect, it’s surprising there weren’t more disco movies. It’s not that there was a shortage – “Dim All The Lights: Disco and the Movies,” a new series at New York’s Metrograph, has plenty, both from that era and looking back on it, and the program is explicitly labeled as “by-no-means-exhaustive.” But considering how eager Hollywood is to leap onto the next big thing and beat it like a dead horse, you’d think disco flicks would have been the superhero movies of their day. After all, before Thriller, the best-selling album of all time was both a disco record and a movie soundtrack.

 

That movie was, of course, Saturday Night Fever, a film whose influence on the music’s iconography can’t be overstated; no single movie was more responsible for the common conception of what disco was, both as a music and as a scene. Ask anyone what they think of when they think of disco, and there’s about a three-in-four chance they’ll do Travolta pointing at the ground, and then pointing at the heavens. That a movie about the music is arguably more beloved than the music itself isn’t as much a slam on the music as it is a tribute to how well it lent itself to film."

post #9349 of 10173

We hear so much about Hollywood people being scum, thought I'd give this a quick share to shine a little light on someone who was amazing:

 

 

Farran Nehme: "Didn't realize that Curt Lowens had passed away until I saw the tcm Remembers montage. Holocaust survivor and Resistance hero as well an actor. Talk about a life well lived."

 

Curt Lowens, Holocaust Survivor and Wartime Hero Turned Actor, Dies at 91

1:22 PM PDT 5/11/2017 by Mike Barnes

 

https://www.hollywoodreporter.com/news/curt-lowens-dead-holocaust-survivor-wartime-hero-actor-was-91-1002760

post #9350 of 10173

LAST DAYS OF DISCO has been getting a lot of play in NYC lately. It screened at Videology over the summer. 

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