Roger Ebert Dead At 70

Off Topic
21

[quote]Big Kahuna wrote:
Every time I read one of those reviews it warms my heart, I love how he never put himself on a pedestal above everyone else and he was humble enough to take into account each and every opinion of his fans and let them help form his own. He’s the kind of funny old man I wish could have been my grandpa growing up, the kind of person you could sit in with every night and talk for hours about a single great scene and never get tired of it.

Tirelessly fought his cancer for eleven years, even losing part of his jaw and his ability to speak, yet throughout all that he persevered so he could continue doing the thing he loves and continue being an inspiration to all the film lovers that spent their lives looking up to the kind of brilliance that he exuded.

I shall take the rest of the night to watch Citizen Kane, in memory of Roger Ebert. See you at the movies, Roger.[/quote]

He used to personally answer his fans in the forums of his website all the time. I have no idea how the man had any free time.

Here was a great article I read last night about his panning of Vincent Gallo’s Brown Bunny (I have not seen Brown Bunny, but absolutely love Buffalo '66).

“Imagine long shots through a windshield as it collects bug splats,” Ebert wrote of the film’s tediousness in his initial Cannes review.
Gallo fought back, insulting Ebert for being overweight and even, strangely, put a curse on his colon.
Ebert adeptly responded, “It is true that I am fat, but one day I will be thin, and he will still be the director of ‘The Brown Bunny.’”

Haha!

Ebert’s written acknowledgment of Gallo’s insults included the unforgettable line, “I had a colonoscopy once, and they let me watch it on TV. It was more entertaining than ‘The Brown Bunny.’”

22

[quote]Cortes wrote:

[quote]Big Kahuna wrote:
Every time I read one of those reviews it warms my heart, I love how he never put himself on a pedestal above everyone else and he was humble enough to take into account each and every opinion of his fans and let them help form his own. He’s the kind of funny old man I wish could have been my grandpa growing up, the kind of person you could sit in with every night and talk for hours about a single great scene and never get tired of it.

Tirelessly fought his cancer for eleven years, even losing part of his jaw and his ability to speak, yet throughout all that he persevered so he could continue doing the thing he loves and continue being an inspiration to all the film lovers that spent their lives looking up to the kind of brilliance that he exuded.

I shall take the rest of the night to watch Citizen Kane, in memory of Roger Ebert. See you at the movies, Roger.[/quote]

He used to personally answer his fans in the forums of his website all the time. I have no idea how the man had any free time.

Here was a great article I read last night about his panning of Vincent Gallo’s Brown Bunny (I have not seen Brown Bunny, but absolutely love Buffalo '66).

“Imagine long shots through a windshield as it collects bug splats,” Ebert wrote of the film’s tediousness in his initial Cannes review.
Gallo fought back, insulting Ebert for being overweight and even, strangely, put a curse on his colon.
Ebert adeptly responded, “It is true that I am fat, but one day I will be thin, and he will still be the director of ‘The Brown Bunny.’”

Haha!

Ebert’s written acknowledgment of Gallo’s insults included the unforgettable line, “I had a colonoscopy once, and they let me watch it on TV. It was more entertaining than ‘The Brown Bunny.’”[/quote]

Ebert was too hilarious for his own good, the man’s life is and forever will be an example to us all.

In my opinion, The Brown Bunny is a pretty bad movie, it’s no Uwe Boll production, but it’s by no means good in any department. Buffalo '66 is a hell of a lot better than Brown Bunny was, for almost every reason you could think of.
That long shots through a windshield joke cracks me up, every time, Ebert was as eloquent as he was humourous. I love the grand admiration that’s been shown since his death, the city of Chicago itself must be mourning in his absence.

23

I’m sad, even though he didn’t like David Lynch

24

I remember S&E’s James Bond 25th anniversary special like it was yesterday.

25

I remember watching “At The Movies” when I was younger.

RIP Ebert.

Remember when he said Jurassic Park wasn’t that good? Haha

Siskel and Ebert give cancer two thumbs down.

26

RIP, his end of decade best ofs/reevaluations were great stuff

27

[quote]RampantBadger wrote:
RIP, his end of decade best ofs/reevaluations were great stuff[/quote]

Want to become a better person overall?

Work through his list of Great Movies., reading the review and watching the movie (or, if you like, reverse the order). Some of the titles on there that I never, ever would have watched if not for his recommendation, ended up being practically life changing in their power. There were more than a few movies of this caliber.

Roger Ebert helped me to see movies from outside the confines of mere entertainment, and to appreciate them as art. Because the great films really are art, for what they give to us, what we can take away from them and keep. For how they represent us: As human, timeless, good, bad and ugly.

28

I agree, Jurassic Park sucked for the most part, it was the ground breaking special effects,
the emotional John Williams score, and the scary Tyranosaurus scene that were the brief moments of film that were it’s shining moments, but the rest of it sucked balls.
The fact that Gen X’ers like it because of ‘nostalgia’ doesn’t mean shit,
JP sucked.

29

[quote]Cortes wrote:

[quote]RampantBadger wrote:
RIP, his end of decade best ofs/reevaluations were great stuff[/quote]

Want to become a better person overall?

Work through his list of Great Movies., reading the review and watching the movie (or, if you like, reverse the order). Some of the titles on there that I never, ever would have watched if not for his recommendation, ended up being practically life changing in their power. There were more than a few movies of this caliber.

Roger Ebert helped me to see movies from outside the confines of mere entertainment, and to appreciate them as art. Because the great films really are art, for what they give to us, what we can take away from them and keep. For how they represent us: As human, timeless, good, bad and ugly. [/quote]

Care to elaborate? It was by his list that I took the time to see Miyazaki’s “Spirited Away” as an early teen, not expected to be very drawn in by japanese animated films at all. I’m incredibly thankful Ebert introduced me to that, as since I’ve seen all of Miyazaki’s films, but Spirited Away will always hold a special top spot for me. Ingmar Bergman’s “The Seventh Seal” was another, the philosophy of that film is astounding, very introspective and delightfully meaningful. I’m sure there are still a hundred of his recommendations I have yet to see, I’ve barely scratched the surface with silent films, but thankfully they’re immortalised and readily available when I need them.

30

Two thumbs down :frowning:

31

[quote]Big Kahuna wrote:

[quote]Cortes wrote:

[quote]RampantBadger wrote:
RIP, his end of decade best ofs/reevaluations were great stuff[/quote]

Want to become a better person overall?

Work through his list of Great Movies., reading the review and watching the movie (or, if you like, reverse the order). Some of the titles on there that I never, ever would have watched if not for his recommendation, ended up being practically life changing in their power. There were more than a few movies of this caliber.

Roger Ebert helped me to see movies from outside the confines of mere entertainment, and to appreciate them as art. Because the great films really are art, for what they give to us, what we can take away from them and keep. For how they represent us: As human, timeless, good, bad and ugly. [/quote]

Care to elaborate? It was by his list that I took the time to see Miyazaki’s “Spirited Away” as an early teen, not expected to be very drawn in by japanese animated films at all. I’m incredibly thankful Ebert introduced me to that, as since I’ve seen all of Miyazaki’s films, but Spirited Away will always hold a special top spot for me. Ingmar Bergman’s “The Seventh Seal” was another, the philosophy of that film is astounding, very introspective and delightfully meaningful. I’m sure there are still a hundred of his recommendations I have yet to see, I’ve barely scratched the surface with silent films, but thankfully they’re immortalised and readily available when I need them.[/quote]

Spirited away, and so many of Miyazaki’s movies, are just perfect. They are moving paintings, flush with fantasy that feels like reality, and brimming with emotion and, well, spirit.

I never, ever would have watched an Ozu film, had it not been for Ebert. I would have stuck with my Kurosawa and Takeshi Kitano and been happy with it. Tokyo Story was one of the single most moving, soul wrenching movie experiences I have ever known. I have now seen it five times and, just like Kapra’s It’s a Wonderful Life almost makes me explode with joy every time I see it, Tokyo Story, and also almost every one of his movies with the exquisite Hara Setsuko, just rips me apart in a completely different way. Floating Weeds (Ukigusa, the later of the two, not the silent, which I have yet to see) is probably as good as Tokyo Story.

Others I have seen recently from his list that I might otherwise have missed (well, some, anyway), in no particular order (all are VERY worth watching).

Dark City
Come and See (you need a VERY strong stomach for this one)
Days of Heaven
El Topo (saw this on my own long ago but WOW what a movie!)
Through a Glass Darkly
The Seventh Seal (saw this and loved it years before, but deserves repeating)
Atonement (not on his Great movies list but 4 stars)

This just baaaarely scratches the surface and are only mainly representative of movies I might not otherwise have watched.

And it bears repeating: for the real “movie people” out there (and you strike me as one, Big Kahuna), I really, really, really cannot recommend Tokyo Story and Ukigusa highly enough, in that order. Tokyo Story is easily one of the five best movies I have ever seen. If you can watch that movie from start to finish without crying, you’d probably make a first class war criminal.

32

[quote]Cortes wrote:

I never, ever would have watched an Ozu film, had it not been for Ebert. I would have stuck with my Kurosawa and Takeshi Kitano and been happy with it. Tokyo Story was one of the single most moving, soul wrenching movie experiences I have ever known. I have now seen it five times and, just like Kapra’s It’s a Wonderful Life almost makes me explode with joy every time I see it, Tokyo Story, and also almost every one of his movies with the exquisite Hara Setsuko, just rips me apart in a completely different way. Floating Weeds (Ukigusa, the later of the two, not the silent, which I have yet to see) is probably as good as Tokyo Story.

And it bears repeating: for the real “movie people” out there (and you strike me as one, Big Kahuna), I really, really, really cannot recommend Tokyo Story and Ukigusa highly enough, in that order. Tokyo Story is easily one of the five best movies I have ever seen. If you can watch that movie from start to finish without crying, you’d probably make a first class war criminal. [/quote]

I’ve just finished watching Tokyo Story, I whole-heartedly agree with you, it’s one of the most poignant and arduous stories I’ve witnessed in a very long time. It’s such a simplistic background of events, but the personality of it is so alive and deeply present. Having seen this, I almost feel that anyone regardless of background could feel a connection to Ozu’s message here and take into account their flaws and imperfections, learning to make the most of their loved ones while they can.

The kind of subtle sorrow from the grandparents trying to hide their sheltered loneliness near breaks my heart. To watch them politely struggle through a world and society that have long since grown away from them is unsettling at the kindest of descriptions, being drawn through the selfishness of the doctor and his immediate family angers me so deeply inside that I have fostered a slow resentment for them myself.

I would also like to touch upon a perhaps lesser discussed point, Ozu’s usage of filming and the location of his cameras. The shots from beginning to end are impeccable, the juxtaposition of the long, scenic, landscape shots and the close, personal, emotional draw to the faces of the actors accompanied by such beautiful music is inspiring. Had this been a silent film, I do not hesitate to think Ozu could have imbued just as much distress and anguish with scenes like those alone. The impression of the mid-century Tokyo landscape is wonderful and offers such serene nostalgia, well accompanied by the authenticity of an ever-changing post-war Japan.

Setsuko was brilliant in her portrayal of the widowed daughter, a stand out performance if ever I’ve seen one, her expressions and display of emotion are unparalleled. Each and every actor played their roles incredibly well, but hers is on another level for me, her charming smile in the midst of painful memories and an arduous livelihood plucks me deep in my heartstrings.

I won’t even get into the ending, perhaps a flawless closing scene to round off an equally immaculate masterpiece, that needs to be seen to be truly admired.

I almost feel like taking the time to review the film, as deeply and as thoroughly as I could, still does no justice to what an amazing environment I’ve been lucky enough to find myself immersed in with Tokyo Story. This review, and no review, will be enough. Tokyo Story has to be experienced first-hand for one’s intrigue to be wholly satisfied.

I will also be sure to watch both Floating Weeds films, in quick succession as soon as I find time to do so, I do not hesitate to think that both will have another lasting impact, to compliment well my introduction to Yasujiro Ozu’s faultless craft.

33

Big Kahuna, you get it, you get it, you get it, you get it, you get it, you get it, you get it, man do you ever get it.

My assumption was indeed correct. You are movie people. I am so thrilled you enjoyed the movie as much as I did. I’m particularly impressed by your mentioning Setsuko Hara’s smile. That perfect, beautiful, serene, ecstatic, tragic smile that can convey the entire range of human emotions without ever changing a single iota. THAT is acting. I fell deeply in love with her after watching that movie the first time. I mean it. The scene of her finally “breaking character” is just too much emotionally. That both she and Ozu could save all of that emotion for the entire film and only release it at that one moment, and even then to keep her emotions and expression of it restrained. Wow. Wow.

Now, go read her biography (wikipedia and internet fansites will suffice) and get ready to REALLY be impressed.

You have seriously made my day. I’m going to have to start working through my Ozu films again starting tomorrow night, I think.

34

Well in Ebert’s passing, there can be no doubt that he didn’t forget to leave some of us behind.

The ending was perfect, her character is so soulful and genuine that Ozu could not have planned a better outcome for the final scenes than the one he filmed. I look forward to seeing her in Late Spring also, it interests me to see the earlier pre-married life of Nariko’s character and later married in Early Summer, she seems to definitely be an actress that gave all her heart to the cinema, there are very rare photos on the internet of (apparently) her at ninety, still alive and still smiling vividly. To be out of the public eye for so long is incredible, it seems she is as humble in reality as she was in character.

I should also recommend a film called Ugetsu, apparently not quite so popular in Japan as it was outside of it. But of all films, Ugetsu has among it some of the best cinematography I’ve ever seen in a film, in particular the opening and closing scenes, they leave a mark on me so profound that I find them mostly unable to compare to other great works. It takes place in 16th Century Feudal Japan, a cultural time period I find incredibly intriguing. I would urge you to see it if you haven’t already, the premise sounds rough and brutal, but I promise that the film is ceaselessly beautiful from beginning to end.

And please, call me Sam.

35

Well Cortes, I figure if a guy that wrote the immoral, trashy but enjoyable “Beyond The Valley of the Dolls” makes it to heaven like you believe he will, I think we’re all a shoe in to paradise by comparison.
Roger never was unrepentant about making that film, in fact 'last I heard he was still pretty proud of it.
I liked Roger anyway, he was cool.

36

I used to watch “Sneak Previews” backin the early 80s on PBS Saturday nights when I was a kid.

Roger Ebert was great in how he knew how to watch a movie like a regular movie-goer would and could have fun with the blockbusters he’d see.

About him changing his original rating for Blade Runner I can see where he’s coming from.

It’s a hard thing to explain but when a movie is brand new and in a genre like sci-fi/action…the viewer’s first desire is to be entertained. When you go see a movie like Blade Runner on a Friday night in June of 1982 you have NO nostalgia for the Vangelis music and that it looks so retro/futuristic and all that…it’s at that point a new movie.
Blade Runner is a great movie but not what I would call entertaining and not what many of us would expect from a HArrison Ford sci-fi that came out in the 80s.

There are other movies that this same thing has happened where they were derided when they came out bu time makes them classics. Some that you simply would not believe if I told you.

37

Ebert was the best! His way with words and sense of wit in general was one of a kind. I always got a kick out of watching “Siskel and Ebert”, especially when they had their annual “Worst Movies Of The Year” show.

For a good laugh watch them review and destroy Sly’s “Stop Or My Mom Will Shoot”.

RIP Roger Ebert, your legacy will live on…

38

[quote]Karado wrote:
R.I.P. Roger Ebert. I’m glad Ebert retracted on BLADE RUNNER, but IMHO he was wrong
not recommending FULL METAL JACKET, and Gene Siskel was right back then, because FMJ is considered a classic
now as well.

[/quote]

Amen! My number one disagreement with Ebert was FMJ.

39

They also would do a show every year about movies that they thought were missed by too many people and didn’t get a fair shake…and again these weren’t artsy foreign movies.

I rented The Hidden because of their recommendation and I love that movie.

40

[quote]Karado wrote:
Well Cortes, I figure if a guy that wrote the immoral, trashy but enjoyable “Beyond The Valley of the Dolls” makes it to heaven like you believe he will, I think we’re all a shoe in to paradise by comparison.
Roger never was unrepentant about making that film, in fact 'last I heard he was still pretty proud of it.
I liked Roger anyway, he was cool.[/quote]

I don’t pass judgement on anyone. I don’t know nor am I so vain as to pretend I know the state of anyone’s soul. I pray for him and hope he makes it there, anything else is between him and God.