Showing posts with label valentine's day. Show all posts
Showing posts with label valentine's day. Show all posts

Tuesday, February 14, 2023

Dada Debaser's Five More Pillars of Love and Happiness

There's a reason why George Roper outlived Mildred by over forty-three years (wonder if he kept the side car, though?): he was able to be himself in life. George could cotch in his bed with Mildred while muching on pickled onions, without an ounce of regret. The zen master of Haywards had achieved the highest state of stress free nirvana, a feat that we should all aspire to in life, in my opinion.

Since it's that time of the year again, here are a five more pillars of love and happiness this humble blogger was taught via film:

The Expendables ("I was worth it!" scene)
Sylvester Stallone, 2010

I Can't be Your Hero, Baby: Unless you're a hench, martial arts expert like Jason Statham, the chances of rolling up to your ex's new fella, in front of his mates, and sharing your disapproval of his mistreatment of her, won't exactly go down too well. To paraphrase a great philospher, "it's kinda hard to be optimistic when you're lying on the pavement dead twisted", especially when you're outnumbered six to one. The classic hero fantasy is exactly what it is - a fantasy. Ex girl to the next girl, wannabe Stathams!

964 Pinocchio (Supermarket scene)
Shozin Fukui, 1991

Drag Me to Hell: The worst way to spend the weekend is being dragged by your significant other to a horrendous mall and spend the entire day there shopping when you would rather chill at home and watch Peter and Roger going shopping in Dawn of the Dead (1978). Fortunately, abandoned sex robot, 964 Pinocchio, provides an invaluable tutorial in avoiding this situation by behaving like a complete nutter and promptly receiving Benny Hill slaps to his bonce while on excursion.

Giallo in Venice (Mussels scene)
Mario Landi, 1979

Love Mussel: Doomed lovers Fabio and Flavia from the notoriously nasty giallo Giallo in Venice taught a valuable lesson in relationship struggles when it's not purely a 50/50 affair. Fabio is about as subtle as a sledgehammer as he ridiculously attempts to entice poor Flavia by suggestively prodding at his seafood. Without resorting to spoiling a decades old movie, the aphrodisiac nosh doesn't exactly work out in the long run. Would also like to add, that I wouldn't personally recommend eating two plates of them at a restaurant when you're very far from home.

Swingers (Phone Call scene)
John Favreau, 1996
 

Don't Answer the Phone: Nothing reeks of pathetic despearation than being too eager in life; especially when its calling someone to arrange for a date after just meeting them. Back in the day, before John Favreau turned obese and hadn't defined the cut and paste formula for every MCU movie, he gave the world one of the most cringeworthy scenes from cinema, with his phone call scene from Swingers (1996). A valuable lesson in adhering to the three day wait rule.

Casino (Ginger's intro)
Martin Scorsese, 1996
 

Never Tell Me the Odds: Martin Scorsese's Casino is a fine example of how a casino owner and mob associate like Ace Rothstein can back the wrong horse and let it turn his life into a living nightmare. Falling hook, line and sinker for a person that never really loved him almost ended him permanently. A poignant message that's as old as time, that's sadly felled many in the process.

These latest examples turned out way more depressing than I originally intended, so here's the bit from the superior version of Breathless (1983) where Richard Gere shares his inner nerd and breaks down the plight of The Silver Surfer to Valérie Kaprisky. Such an intimate and romantic part in the film, Tarantino was more than likely inspired by it when he wrote the comic store scene in True Romance (1993). Both classic films.

Breathless (The Silver Surfer scene)
Jim McBride, 1983

Sunday, February 13, 2022

Dada Debaser's 100 Alternative Valentine's Day Movies

Taxi Driver (Travis & Betsy's date scene)
(Martin Scorsese, 1976)
 

Much like having the right wine with your meal, the same applies with the type of movie you watch with your partner. She wants to see the new J. Lo at the local multiplex; you want to cotch at home and check out that Ebola Syndrome 4K you copped before last Christmas. A compromise is therefore in order.

Below is a list of one hundred mostly unconventional movies, that for me at least, have a far more evocative and what I would define as romantic than the usual dross that's churned out to the masses, or listed by your typical clickbait reliant filmsites. Much like a venn diagram there has to be an overlap of commonality somewhere for both parties involved:


Dada Debaser's 100 Alternative Valentine's Day Movies

The Cabinet of Dr. Caligari (Robert Wiene, 1920)

The Man Who Laughs (Paul Leni, 1928)

King Kong (Merian C. Cooper & Ernest B. Schoedsack, 1933)

The Lady from Shanghai (Orson Welles, 1947)

Vertigo (Alfred Hitchcock, 1958)

Mudhoney (Russ Meyer, 1965)

The Collector (William Wyler, 1965)

Bonnie and Clyde (Arthur Penn, 1967)

Twisted Nerve (Roy Boulting, 1968)

Camille 2000 (Radley Metzger, 1969)

The Laughing Woman (Piero Schivazappa, 1969)

Deep End (Jerzy Skolimowski, 1970)

Mumsy, Nanny, Sonny & Girly (Freddie Francis, 1970)

Daughters of Darkness (Harry Kümel, 1971)

Dr. Jekyll & Sister Hyde (Roy Ward Baker, 1971)

Girl Slaves of Morgana Le Fay (Bruno Gantillon, 1971)

The Abominable Dr. Phibes (Robert Fuest, 1971)

Vampyros Lesbos (Jesús Franco, 1971)

The Blood Spattered Bride (Vicente Aranda, 1972)

The Case of the Bloody Iris (Giuliano Carnimeo, 1972)

Badlands (Terrence Malick, 1973)

Count Dracula's Great Love (Javier Aguirre, 1973)

Immoral Tales (Walerian Borowczyk, 1973)

The Iron Rose (Jean Rollin, 1973)

The Night Porter (Liliana Cavani, 1974)

Story of O (Just Jaeckin, 1975)

Island of Death (Nico Mastorakis, 1976)

Taxi Driver (Martin Scorsese, 1976)

In the Realm of the Senses (Nagisa Ôshima, 1976)

Nosferatu The Vampyre (Werner Herzog, 1979)

Buio Omega (Joe D'Amato, 1979)

The Empire Strikes Back (Irvin Kershner, 1980)

Body Heat (Lawrence Kasdan, 1981)

Possession (Andrzej Zulawski, 1981)

Cat People (Paul Schrader, 1982)

Breathless (Jim McBride, 1983)

Christine (John Carpenter, 1983)

Risky Business (Rick Brickman, 1983)

Body Double (Brian De Palma, 1984)

The Terminator (James Cameron, 1984)

Brazil (Terry Gilliam, 1985)

Manhunter (Michael Mann, 1986)

Sid and Nancy (Alex Cox, 1986)

Near Dark (Kathryn Bigelow, 1987)

Hellraiser (Clive Barker, 1987)

Coming to America (John Landis, 1988)

The Vanishing (George Sluizer, 1988)

Heathers (Michael Lehmann, 1989)

Cry-Baby (John Waters, 1990)

Edward Scissorhands (Tim Burton, 1990)

Nikita (Luc Besson, 1990)

Pump Up The Volume (Allan Moyle, 1990)

Tie Me Up! Tie Me Down! (Pedro Almodóvar, 1990)

Wild At Heart (David Lynch, 1990)

Nekromantik 2 (Jörg Buttgereit, 1991)

Basic Instinct (Paul Verhoeven, 1992)

Candyman (Bernard Rose, 1992)

Bram Stoker's Dracula (Francis Ford Coppolla, 1992)

True Romance (Tony Scott, 1993)

Return of the Living Dead 3 (Brian Yuzna, 1993)

Cemetery Man (Michele Soavi, 1994)

Natural Born Killers (Oliver Stone, 1994)

The Last Seduction (John Dahl, 1994)

Leaving Las Vegas (Mike Figgis, 1995)

To Die For (Gus Van Sant, 1995)

Bound (Lilly Wachowski & Lana Wachowski, 1996)

Crash (David Cronenberg, 1996)

L'appartment (Gilles Mimouni, 1996)

Jackie Brown (Quentin Tarantino, 1997)

Perdita Durango (Álex de la Iglesia, 1997)

Tromeo and Juliet (Lloyd Kaufman, 1997)

Bride of Chucky (Ronny Yu, 1998)

Buffalo '66 (Vincent Gallo, 1998)

There's Something About Mary (Peter Farrelly & Bobby Farrelly, 1998)

Audition (Takashi Miike, 1999)

Cruel Intentions (Roger Kumble, 1999)

Quills (Philip Kaufman, 2000)

Amélie (Jean-Pierre Jeunet, 2001) 

Disco Pigs (Kirsten Sheridan, 2001)

The Piano Teacher (Michael Haneke, 2001)

Irreversible (Gaspar Noé, 2002)

May (Lucky McKee, 2002)

Secretary (Steven Shainberg, 2003)

Perfume: The Story of a Murderer (Tom Tykwer, 2006)

Let The Right One In (Tomas Alfredson, 2008)

Love Exposure (Sion Sono, 2008)

Drive (Nicolas Winding Refn, 2011)

Maniac (Franck Khalfoun, 2012)

Sightseers (Ben Wheatley, 2012)

Blue is the Warmest Colour (Abdellatif Kechiche, 2013)

Nymphomaniac Vol. I &  II (Lars von Trier, 2013)

Alleluia (Fabrice du Welz, 2014)

Spring (Justin Benson & Aaron Moorhead, 2014)

A Girl Walks Home Alone at Night (Ana Lily Amirpour, 2014)

The Duke of Burgundy (Peter Strickland, 2014) 

The Lobster (Yorgos Lanthimos, 2015) 

The Love Witch (Anna Biller, 2016)

Promising Young Woman (Emerald Fennell, 2020)

Apples (Christos Nikou, 2021)

Dinner in America (Adam Rehmeier, 2021)


Dada Debaser Notes:

  • Stuck to the one film per director rule.
  • Realised two things while compiling this list: erotic vampire tales (particularly those based on Sheridan Le Fanu's Carmilla) and psychos in love, are two themes that have been long time stablemates in my viewing habits.
  • Wanted to include Tony Scott's The Hunger (1983) in there as it was perfect for the list, but True Romance unquestionably trumps it. Also, Scott's reusing of The Flower Duet from Delibes' opera Lakmé has far more impact in True Romance than it orginally did in The Hunger.
  • It might be one of the better golden age slashers, but George Mihalka's My Bloody Valentine (1981) has one of my least favourite love triangles in cinema (and one of the least likeable final girls, for that matter). That's why it never made my list.
"I can feel it inside, I can't explain how it feels
All I know is that I'll never dish another raw deal
Playing make believe pretending that I'm true
Holding in my laugh as I say that I love you"

Thursday, February 10, 2022

Dada Debaser's Five Pillars of Love and Happiness

With the soaring cost of living, it's great to have another festive consumer scam on the horizon, especially one so stressful and relatively soon after last year's wallet hemorrhaging Christmas. Valentines's Day is coming, folks, although, if you've been to any shopping centre or supermarket since the start of the year, you noticed all that malarky already. For this blogger, it's a time where many a poor sap is running around like a headless chicken trying to book a reservation at that swanky new restaurant the missus wants to dine in, with the notion of finding it perfectly acceptible you're gonna get bumped for a three course meal that's about as filling as a tictac. Being a film blog and all, it's worth sharing some of my favourite movie moments that schooled me on some important love and relationship driven lessons.

Presentation: We live in an era where a simple swipe right can potentially change your life forever like it's Logan's Run (1976), it's essential to make yourself be presentable. Been to enough film fairs and conventions in the past, to the point that I wouldn't be at all surprised if some of the attendess and stall vendors there were registered sex offenders. Let's be honest, some of them look like they belong in that Only You music video by The Flying Pickets. Not only is personal appearance neglected, but their priorities is completely out of whack, as nerdom outweighs their basic necessity for personal hygine. Hence, the reason why I bounced that time while at the Electric Ballroom film fair. The entire place reeked of bad body odour and stale piss. How that actress who played Warrior Woman with the shoulder pads from Mad Max 2 (1981) could eat her fried noodles in that putrid shithole without retching was beyond my comprehension. Soap, water and a good deodorant should be de rigueur on a daily basis. If you can muster the effort to bathe, then you can also make the effort to dress apporpriately, too. Big respect to my man, Disco Donny from Don't Go in the House (1980) for taking the initiative after his dear old abusive mum passed away, by hitting the clubs with "a dynamite outfit". Unfortunately, looking clean and dapper can only you get so far if you're a complete and utter pyromaniac.

Don't Go in the House (Moss Bros. and Disco scene)
(Joseph Ellison, 1980)
 

Confidence: People admire a person with a strong and direct sense of confidence. It bodes well in both a working and personal relationship. Not everyone exudes classic Sean Connery in Dr. No (1962) swagger, some folks need the odd tipple for some much needed Dutch courage. However, if you're planning to go that one step further to quell those nerves with any medication, do consult your local G.P. for further assistance and not from a med student scoring you some dodgy old tranquilisers that make your urine go green. Take landlord lothario Rupert Rigsby and his quest to woo his equine objet de désir, Miss Jones. How on earth could he fancy a woman that makes Laura Kuenssberg look like Margot Robbie is beyond me, but I do have utmost respect for his persistance. Take note as he masterfully takes charge at the table with his compliments to Miss Jones while exhibiting his worldly man of culture persona with the "Daddies sauce" request as the perfect condiment to his pasta meal. All this while poppin' pills like a hungry hippo, which sadly leads to his eventual burnout. Shine on, you crazy diamond!

Rising Damp (Rigsby's date with Miss Jones)
(Joseph McGrath, 1980)

Respect: This is a big one, which applies to both parties (or more, if that's how you're livin'). It is with the utmost importance to maintain complete respect for yourself, your family and humble abode. If either of those are disrepected by your significant other (potential, or otherwise), then it more than likely will spell doom for a relationship. Complete respect for yourself will help you avoid the inevitable pitfalls of looking like a desperate creep, like May over here. Coming from the Edward Gein school of bad mother syndrome, she carries all the red flags to avoid in a loving relationship: on the one hand, I can almost feel sorry for her, for being burdened by such an awful mother (just like Donny above); on the other, being anywhere near a six foot radius of her could be a fatal mistake for you.

May (Adam's hand scene)
(Lucky McKee, 2002)
 

Composure: There is nothing worse than losing your cool in public, especially when it's witnessed by someone significant in your life. Look at Driver over here. Things are about to go pear shape for him and Irene, hence they share a tender loving kiss together. Unfortunately, our poor protagonist winds up head stompin' an armed thug in an elevator until there is brain matter and bits of skull all over his fine leather boots All this to protect his love. Romantic for sure, but women aren't going to understand this chivalrous and romantic effort and would probably run away at that very sight of all that blood and gore splattering all over and ruining their jimmy choos. Chances of a second date? Zilch.

Drive (Elevator scene)
(Nicolas Winding Refn, 2011)

 
Future: So you've been together for a bit and things are going great. However, the time will come when she wants to hear wedding bells and you want to hear the questions on Mastermind. You've got to plan for the future as you can bet your life she's shared enough information about you to her friends and family that you would half expect Eamonn Andrews to be carrying a big red book and sneaking up on you when you least expect it. Her family are going to be wanting to know how you'll support her and probably her wasteman little brother for that matter. Kick that b.s. to the curb with Sid's tactful explanation of their beloved girl's future.  

Sid and Nancy (Intentions scene)
(Alex Cox, 1986)
 

That's it. Well, there's probably more, but this nonsense eats into my dedicated free time I usually put away for watching movies. I sincerely hope this helps anyone who strayed here (which is miraculous, since this blog doesn't show up on Google). Your welcome.