I think this might be the first time for “Scenes I Love” that I’ve chosen from something other than a film, tv show or video game. But then again the scene I’ve chosen this time around surpasses any attempts to shoehorn it into a particular label or genre.
The latest “Scenes I Love” comes courtesy of Old Spice. It has starring in the scene the person who I believe is not just the most interesting man in the world (sorry old Dos Equis Man), but probably the most awesome one out there. I believe him to be the human form the Almighty takes when walking amongst the humans the Almighty created was required (sorry Morgan Freeman). This scene is just awesome and why I love it. There’s nothing much else to say.
If you don’t think this to be scene as not being awesome then you just don’t have it and will never have any of it and people will know.
Earlier today came news that one of the legends of cinema passed away at the age of 93. Ray Harryhausen has been such an influential figure to many of the filmmakers, authors and artists working today. His stop-motion work and films were the fuel that fired up the imaginations of uncounted kids. I am one of those kids and even decades since I first saw my first Harryhausen film I still consider some of his works all-time favorites. His fantastical work will continue to fire up the imaginations of future children to come and maybe someone from those will grow up to be the next great fantasy filmmaker, author and artist.
There are so many scenes created by Harryhausen that it would be difficult to choose one for the latest “Scenes I Love”, but I will go with the scene I love best from the very first Harryhausen film I ever saw. I speak of the now classic “Skeleton Fight” sequence which provides the climactic scene for Jason and The Argonauts.
Lisa Marie were talking tonight and the conversation went from her hurting herself dancing to our love of musical films. Yeah, our minds tend to go off on such predictable tangents. Well, for us at least it makes sense I don’t know about the rest of you people.
One such musical that we both seem to agree on was our love for the Gene Kelly-directed and starred musical film classic, Singin’ In The Rain. It’s from this musical that the latest “Scenes I Love” comes from. It’s a sequence that’s become an icon of a bygone era of Hollywood. Sure, there’s been musical films even up to the last year or so, but never in the same style, extravagance and joy shown in the musical films of the Freed-era of the 50′s and the following Golden Age of the 60′s.
It’s Gene Kelly singing the signature title song while dancing in the rain. There’s not much else to say other than it’s a scene that even the most cynical and elitist film snob can’t deny for it’s utter joy.
I love baseball and I love my Texas Rangers. Josh Hamilton may say that I don’t live in a “baseball town,” but I know that, whether my team is winning or losing, I will always be there cheering them on.
Baseball is known as being “America’s past time” because it’s the oldest sport to have been played in this country. Football may get more attention but baseball, with its emphasis on teamwork and personal sacrifice, is the sport the epitomizes the American ideal.
There have been some great films made about baseball. This scene that I love comes from The Natural. This is a scene that captures the glory and the magic of the game of baseball.
I found out comedian Jonathan Winters died and this scene, from the 1963 classic “It’s a Mad, Mad, Mad, Mad World” came to mind. For this and many other roles, he’ll be missed. My family watched this quite a bit growing up and it always made me laugh. Enjoy.
With the release of the first trailer of Neill Blomkamp’s follow-up to his District 9 I thought it was time to look back at one of my favorite scenes from that film. In fact, I rather think this scene was and, still is, one of the greatest scenes in cinematic history.
District 9 was such a great film with so many scenes and sequences that I consider favorites. Yet, it’s one particular scene that happened very quickly that it left many audiences staring at the big-screen (or small screen) wondering if they just saw what they just saw. I’m talking about a brief sequence during the climactic fight inside District 9 as Wikus tries to provide fire and cover for Chris Johnson and his young son to make it back to the alien shuttle and get back to the mothership.
Even now just watching the clip one really has to watch it more than once to truly appreciate the insanity that went into this action-packed final reel of the film. To put it simply, District 9 and Neill Blomkamp introduced the world not just to live-action mecha action but to the Spider Jerusalem-esque weapon I have simply dubbed: “The Pig Cannon”.
With today’s release of Irrational Games’ latest title, Bioshock Infinite, I look back with some fondness to the first game in the series: BioShock.
It was a game that blew most everyone away with it’s ease of gameplay, unique art direction and, most important of all, a story that made people think that gaming was close to reaching the level of art for the genre. It was a game that dared to use as one of it’s themes Ayn Rand’s own take on the philosophy of Objectivism. It was a game about choices. A game that put the player into making the moral choice of rescuing the creepy Little Sisters or harvesting them for a rare resource that meant killing them.
I’ve played the game so many times and have made choices both good and bad, but it was always difficult even knowing how things already turned out to make that first decision to either “rescue” or “harvest”. Below are the version of this very scene that fully sold the game and it’s story to me the first time I played it way back in 2007.
Some movies are merely good. Some movies are undeniably great. And then, a handful movies are so amazingly brilliant that, every time you watch, you’re reminded why you fell in love with cinema in the first place.
The Third Man is one of those brilliant films.
Directed by Carol Reed and scripted by novelist Graham Greene, The Third Man takes place in the years immediately following the end of World War II. Pulp novelist Holly Martins (Joseph Cotten) comes to Vienna to search for his old friend Harry Lime (Orson Welles). Upon arriving, Holly is shocked to learn that Harry makes his living selling diluted penicillin on the black market.
In the classic scene below, Harry and Holly have a clandestine meeting in a Ferris wheel and Harry justifies both his actions and the lives that have been lost as a result of them.
While Orson Welles’ performance is (rightfully) celebrated, I’ve always felt that Joseph Cotten’s work was even more important to the film’s success. While Welles made Harry Lime into a charismatic and compelling villain, it was Cotten who provided the film with a heart.