tag:blogger.com,1999:blog-5361087063517934891.post8459993210560332903..comments2024-01-09T05:41:10.873-05:00Comments on The Blue Vial: Tomorrow We Live (Edgar G. Ulmer, 1942)Drew McIntoshhttp://www.blogger.com/profile/07054307044280470117noreply@blogger.comBlogger5125tag:blogger.com,1999:blog-5361087063517934891.post-8793004049218357302024-01-04T22:47:32.384-05:002024-01-04T22:47:32.384-05:00Terrific review! Beautifully observed!Terrific review! Beautifully observed!Stevehttps://www.blogger.com/profile/06616091237919547272noreply@blogger.comtag:blogger.com,1999:blog-5361087063517934891.post-48944503255210574552010-05-15T19:37:26.127-04:002010-05-15T19:37:26.127-04:00Thanks Simon. Would love to hear your thoughts if ...Thanks Simon. Would love to hear your thoughts if you ever get around to this one.Drew McIntoshhttps://www.blogger.com/profile/07054307044280470117noreply@blogger.comtag:blogger.com,1999:blog-5361087063517934891.post-983332572136672402010-05-15T18:44:45.428-04:002010-05-15T18:44:45.428-04:00I will see it, then. Lovely review.I will see it, then. Lovely review.Simonhttps://www.blogger.com/profile/08085105568601878075noreply@blogger.comtag:blogger.com,1999:blog-5361087063517934891.post-84887881794989772402010-05-14T15:56:29.753-04:002010-05-14T15:56:29.753-04:00Thanks for the kind words Erich, and thanks for li...Thanks for the kind words Erich, and thanks for linking your piece! I couldn't agree with you more that the blurry streaks and garbled sound and that whole dirty aesthetic are crucial when experiencing films like this. They are certainly still very much present in the copy I watched (which I grabbed off Karagarga btw), which appears to be significantly better quality than the one you posted screencaps of in your piece.<br /><br />I also love how you bring up the bleached white effect very much present in some of the scenes. Particularly in some shots towards the end, where the high contrast white is so harsh and jarring that it almost gives the appearance of these characters walking out in sunlight for the very first time, like they are vampires or something. One close-up shot of Jean Parker in particular is super reminiscent of key shots of Delphine Seyrig poised in that blinding white from <i>Last Year at Marienbad</i>.<br /><br />The one thing I would disagree with you on is that <i>Tomorrow We Live</i>'s use of actors and sets is superior to those in <i>Detour</i>, where I personally consider Ulmer to be at the height of his power (though as I've said, I've only seen a handful of his stuff so far). But we are definitely on the same page with everything else, especially with the general awesomeness of Cortez's batshit crazy performance. And how about that wallpaper! Awesome stuff.Drew McIntoshhttps://www.blogger.com/profile/07054307044280470117noreply@blogger.comtag:blogger.com,1999:blog-5361087063517934891.post-1304953118507572292010-05-14T12:24:15.745-04:002010-05-14T12:24:15.745-04:00Hey Nice! I'm glad you mentioned the wall-pape...Hey Nice! I'm glad you mentioned the wall-paper in Cortez's office. How did you see this? Online? Alpha? I need a better copy. I wrote about this film a few years back, though didn't cover the same shots or ideas! This movie needs a whole book written about it!. <br /><br />Your writing is awesome. here's my piece:<br /><br /><a href="http://www.brightlightsfilm.com/blog/2009/01/the-tao-of-poverty-row.html" rel="nofollow">The Tao of Poverty Row</a>Erich Kuerstenhttps://www.blogger.com/profile/02850572368098319317noreply@blogger.com