Great episode! I’m glad you got around to doing this theme. Oh and Tyler’s right, I am pretty sure the type-based wizard game is in Big.
I was actually pulling for the greatest framing device being either Lawrence of Arabia or Citizen Kane. I know both of those are pretty obvious, but Citizen Kane would not have nearly the same impact as a film or, I think, in cinema history if not for the framing device. That is one more thing that sets it apart as unique in classic cinema.
The interesting thing about Lawrence of Arabia’s framing device is that it never really returns to that world post-World War I. (In that case, could it even be regarded as a “framing device” specifically?) Lawrence’s death and funeral at the beginning puts us in the mindset of viewing him as a great heroic figure and then the film breaks that down. Without that opening, his arc would not have the same emotional impact.
Very good episode. I just don’t like it when episodes really seems to be picking up steam, and David has an eye to “wrapping it up.” I know the fellas have day jobs, and other podcasts to record, but oh man, I love the long ass episodes!!! Keep the episodes long assed!!!!
A couple of films which I’m surprised you didn’t discuss seeing as how the framing device becomes part of the story are Terry Gilliam’s Baron Munchhausen, Tarsem’s the Fall.
I’m also slightly surprised you didn’t mention Saving Private Ryan as I seem to recall you found the framing device actually diminished the emotional impact of the story itself.
And David, I vehemently disagree with you; as between Life of Pi and Atonement, I find the former gives the audience a “fuck you, this is the movie you’ve actually been watching all this time” much more than the latter. Specifically (and I’ll caveat I having seen either film since they originally showed in theaters) because in the case of the latter, Redgrave’s character doesn’t look to mislead her audience as much as try to work out her own issues, whereas in Life of Pi it’s all about misleading the audience all the way till the end and then hit them on the head with a sledgehammer and shout “FAITH BITCHES!!!!”.
Finally, the way I remember it, winners of a no-prize received an empty envelope in the mail which had printed on the outside something like “your no-prize is inside”.
Definitely should’ve mentioned the Saving Private Ryan clunker. That’s one, like Titanic, that I almost completely forget about until I rewatch the movie.
Great episode! I’m glad you got around to doing this theme. Oh and Tyler’s right, I am pretty sure the type-based wizard game is in Big.
I was actually pulling for the greatest framing device being either Lawrence of Arabia or Citizen Kane. I know both of those are pretty obvious, but Citizen Kane would not have nearly the same impact as a film or, I think, in cinema history if not for the framing device. That is one more thing that sets it apart as unique in classic cinema.
The interesting thing about Lawrence of Arabia’s framing device is that it never really returns to that world post-World War I. (In that case, could it even be regarded as a “framing device” specifically?) Lawrence’s death and funeral at the beginning puts us in the mindset of viewing him as a great heroic figure and then the film breaks that down. Without that opening, his arc would not have the same emotional impact.
Very good episode. I just don’t like it when episodes really seems to be picking up steam, and David has an eye to “wrapping it up.” I know the fellas have day jobs, and other podcasts to record, but oh man, I love the long ass episodes!!! Keep the episodes long assed!!!!
A couple of films which I’m surprised you didn’t discuss seeing as how the framing device becomes part of the story are Terry Gilliam’s Baron Munchhausen, Tarsem’s the Fall.
I’m also slightly surprised you didn’t mention Saving Private Ryan as I seem to recall you found the framing device actually diminished the emotional impact of the story itself.
And David, I vehemently disagree with you; as between Life of Pi and Atonement, I find the former gives the audience a “fuck you, this is the movie you’ve actually been watching all this time” much more than the latter. Specifically (and I’ll caveat I having seen either film since they originally showed in theaters) because in the case of the latter, Redgrave’s character doesn’t look to mislead her audience as much as try to work out her own issues, whereas in Life of Pi it’s all about misleading the audience all the way till the end and then hit them on the head with a sledgehammer and shout “FAITH BITCHES!!!!”.
Finally, the way I remember it, winners of a no-prize received an empty envelope in the mail which had printed on the outside something like “your no-prize is inside”.
Definitely should’ve mentioned the Saving Private Ryan clunker. That’s one, like Titanic, that I almost completely forget about until I rewatch the movie.
– David
Guys, am I crazy or did you not mention Oscar winner, directed by BP darling, Slumdog Millionaire?