I was discovering list of documentaries on cinema, took out notable and watched them. I still didn’t see “Rated ‘R’: Republicans in Hollywood” whereas I saw other spectacular revealing of cinemas.
Cinema of Vengeance (1994).
Exciting telling of story of martial arts in Hong Kong films through interviews of their hallmark people. Sometimes they say, as it occurs, interesting thoughts. Sammo Hung wanted to do dramatic roles, but decided to don’t take them due to audience had image of him in action and comedy. I can’t accept it, because a great actor breaks patterns and mustn’t care on people perceive if he/she is artist. I keep in one with Sammo Hung on absence of new faces and lack of actors in Hong Kong – I still don’t see them. A wonderful of this documentary is openness of interviewees as saying they work on audience or do for money or their films are self-expression. They talk on fighting in cinema and reality, comparison of flick production in Hong Kong with other countries, discuss martial arts cinema of past and today.
Universal Horror (1998).
A documentary about horror movies period of Universal Pictures. Gloria Stuart, Fay Wray and Curt Siodmak couldn’t but charm by their witnessing and I was astonished by that they don’t look and don’t speak on their age. Presence Ray Bradbury is divine – his invitation was the most grandiose decision. I would get everything in listening only him in how he tells about own experience of visiting of horrors in twenties and thirties. Certainly, other people tell and do interesting in describing personal watching movies in time of release. It’s a magical documentary contain unique materials behind of camera and once it will astonishing home video shooting. It reveals technical secrets of filming. However, not everything perfect. Kenneth Branagh is to whom don’t give to narrate. He is alongside with Gorbachyov’s one-side portrait are misfires of monumental TV documentary series Cold War. His reading pushes to thinking that a man with no of acting abilities was in requirement, because Branagh simply read written sentences. A narrating text in order except little times as “people were grateful for such escapism” in talking on Frankenstein. It can’t describe as “escapism” due to a film itself and that what interviewees tell a fact through own stories about how this movie frightened people. Branagh’s presence in these moments becomes needless and, as I can say, is equal to a commentator in sport event. He doesn’t know how “Victor Hugo” pronounces. Also I can't agree with statement of one person that “Hollywood would be different without horrors”, but it’s personal opinion. A shortcoming of documentary in limited talking on crossover films and not detailed about Abbott and Costello involvement and how it turned into roasting. And I see it would be justified to tell on Rondo Hatton, his movies and trilogy about Gill-man – they all deserve a credit.
Tales from the Script (2009).
Tales from the Script narrates what burden is to be a Hollywood scriptwriter in words of these people. That’s own experience, because, for example, seventies and zeroes were in different stances. Various fates as bullseye was in taking interviews from Michael January wished an other circumstance. A documentary is fascinating in stories, but a little piece of them are strange about point. Interviewees say own thoughts. Ron Shelton can’t write screenplay if hasn’t own experience what for me such person is that who can’t be a good writer if he can’t put himself outside. I didn’t see films written by David S. Ward who said that nothing can be perfect – it makes to assume his scripts has no good, because you willn’t achieve grandiose if you willn’t strive to ideal. Steven E. De Souza is goldmine of documentary who is mine soulmate and discloses the most incredible inside of Hollywood. I like to hear that I’m not alone by listening on nowadays US cinema that is a “tentpole franchise project” and “If you’ve interested in story and human emotion. I wouldn’t recommend to chase those kind of movies”. Billy Ray is incredible with truth by calling movies of seventies and conclude that them is “almost impossible to make now”. The documentary touches contemporary tendencies in comics and sequels took dominance. William Goldman makes to get that a big budget defines high quality by mentioning Butch Cassidy and the Sundance Kid made for 5,8 million dollars and saying that today this movie, where in thin irony he puts “Will Smith”, would cost 150 million dollars and that’s would realized if you’re lucky. Variable words of scriptwriters does portraits of contemporary of people managing studios. Of them Larry Cohen gives a calibrated psychology of these people as that they launch project only if they saw similar before. Wonderful thought in credits where in the last shots John Carpenter will demonstrate rudeness by thinking that he is making this movie.
The Spaghetti West (2005).
Detailed research of Italian western. The Spaghetti West tells many wonderful stories. From them get an explanation of why European western became superior of American western and which in simple. That’s no restrictions. I never was comfort in it’s definition as “Spaghetti Western” and it was tremendous to hear views on that from it’s filmmakers. I find disputable about influence in some places. Nevertheless, a documentary in platinum. And not at first time and I esteem Clint Eastwood for that he agrees to give interviews for documentaries, because many people who got high status – don’t do that due to sickness of arrogance and inferiority complex.