277 My Own Private Idaho

Discuss releases by Criterion and the films on them. Threads may contain spoilers!
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Michael
Joined: Wed Nov 03, 2004 12:09 pm

#51 Post by Michael » Fri Jan 28, 2005 3:45 pm

New audio conversation between writer JT LeRoy
How fantastic! Can't recommend you enough to read his first book - Sarah. About four Christmases ago, I bought about 20 copies to give away to friends. Amazing book!

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colinr0380
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#52 Post by colinr0380 » Wed Feb 09, 2005 7:49 am

There is an interesting article in the latest Senses of Cinema by Mark Adnum:
In this essay, I will argue that the films of "New Queer Cinema" were generally misread. I will read two films from the period. My Own Private Idaho (Gus Van Sant, 1991) and The Living End (Gregg Araki, 1992), not as defiant and coherent queer responses against the visceral and cultural traumas of the AIDS crisis, but as passive pieces of shrapnel from the epidemic, HIV-positive cinema.

The first section of this essay will map the "state of play" in the early 1990s, containing the atmosphere of AIDS-beset American gay communities and the simultaneous emergence and identification of "New Queer Cinema". After summarising the content, style and reception of My Own Private Idaho and The Living End, I will look at the ways both films display some of the non-medical symptons of AIDS: the way they collapse into the temporal and conceptual schizophrenia of the epidemic they sought to transcend, and the significance and meaning of the road movie genre as container for both films.

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oldsheperd
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#53 Post by oldsheperd » Fri Feb 18, 2005 2:00 pm

Back's up at DVD Empire

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jorencain
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#54 Post by jorencain » Sun Feb 20, 2005 10:50 pm

FYI, they had an assload of these at the Virgin Megastore in Times Square. Don't know if they're on the shelves elsewhere. I picked it up but haven't had a chance to check it out yet. The booklet looks great, though.

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jorencain
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#55 Post by jorencain » Mon Feb 21, 2005 4:39 pm

I just watched this-first time I've seen it. I really loved it, and wasn't expecting it to be as quirky as it is. The scene by the campfire was really wonderful, and the Shakespeare stuff...well, is there a reason for that? The film seemed like a grab-bag of styles; certain moments near the beginning looked like they could have come from Kubrick or Lynch, the Shakespeare sections are obvious enough, and the frozen-sex scenes looked like something out of an early Godard film. I can't imagine that any of that is intentional borrowing or has any deeper meaning, other than the stylized Shakespeare dialogue. Any thoughts, before I inevitably find the answer somewhere in the booklet or in an interview on disc 2?

I have to get through all the extras, but it seems like there is more than enough stuff to satisfy anyone who is a fan of the film. The picture looks really good, but it isn't quite perfect. There are few little flaws here and there (I don't know all the technical terminology), but they are really minor. The solid-color backgrounds behind the credits and "Seattle", "Portland", etc. looked the weakest. Anyway, that's VERY minor; it looks and sounds very good.

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Fletch F. Fletch
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#56 Post by Fletch F. Fletch » Tue Feb 22, 2005 10:43 am

jorencain wrote:I just watched this-first time I've seen it. I really loved it, and wasn't expecting it to be as quirky as it is. The scene by the campfire was really wonderful, and the Shakespeare stuff...well, is there a reason for that? The film seemed like a grab-bag of styles; certain moments near the beginning looked like they could have come from Kubrick or Lynch, the Shakespeare sections are obvious enough, and the frozen-sex scenes looked like something out of an early Godard film. I can't imagine that any of that is intentional borrowing or has any deeper meaning, other than the stylized Shakespeare dialogue. Any thoughts, before I inevitably find the answer somewhere in the booklet or in an interview on disc 2?
Well, the film is a blend of Henry IV, Welles' Chimes at Midnight and Mike's story of finding his mother. If you think about it, Scott is Prince Hal, Bob is Falstaff, etc. And yes, there is an extra, Kings of the Road on the second disc that addresses the Shakespeare influence.
I have to get through all the extras, but it seems like there is more than enough stuff to satisfy anyone who is a fan of the film. The picture looks really good, but it isn't quite perfect. There are few little flaws here and there (I don't know all the technical terminology), but they are really minor. The solid-color backgrounds behind the credits and "Seattle", "Portland", etc. looked the weakest. Anyway, that's VERY minor; it looks and sounds very good.
Some of that may also be the original print. They shot this film pretty fast and loose with the notion of making it look rough around the edges. I thought that the transfer looked excellent. The film has never looked or sounded better. I can finally get rid of my crappy VHS copy!

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colinr0380
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#57 Post by colinr0380 » Wed Feb 23, 2005 5:24 am

DVD Talk review
From the extensive extras, which take an in-depth look at the film from just about every angle, to the classy packaging to the excellent book, MOPI is one of the most film-appropriate DVD sets ever produced about a single film.

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Fletch F. Fletch
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#58 Post by Fletch F. Fletch » Wed Feb 23, 2005 10:18 am

colinr0380 wrote:DVD Talk review
From the extensive extras, which take an in-depth look at the film from just about every angle, to the classy packaging to the excellent book, MOPI is one of the most film-appropriate DVD sets ever produced about a single film.
My only minor quibble with the extras is that there isn't any new interviews with any of the cast. I understand that getting Keanu to do an interview might be difficult but c'mon, Flea? William Richert? Of course, with River's death talking about the film may be something of a sensitive spot with some of these people. But still, a conversation with Laurie Parker and Rain Phoenix is hardly a substitute.

Having said that, it is still amazing and definitely worth picking up.

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TechNoir
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#59 Post by TechNoir » Thu Feb 24, 2005 8:49 pm

Was this released early? I heard that Best Buy already has copies on the shelves.

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Mr Pixies
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#60 Post by Mr Pixies » Fri Feb 25, 2005 6:37 pm

FYE had it today, but not Best Buy, I checked. You think they are pushing this as a big release, and will advertise it in the Sunday ads?

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Michael
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#61 Post by Michael » Fri Feb 25, 2005 8:48 pm

Just finished watching Idaho. 2005 is young right now but I couldn't hesitate to wait to scream to the world - Idaho is the best Criterion treatment of the year! Criterion, bravissimo! =D>

The extras are TO DIE FOR. I was around 20 years old when I took a 6 hour train journey to catch Idaho's premiere at the NY Film Festival. Gus Van Sant was there. Watching this film again on DVD brought me back to this magical night. The transfer is so beautiful and rich. Every ooze of this entire DVD package must be exerpienced to believe. A total knockout.

Watching this film, I was once again electrified by River Phoenix's brilliance. He continues to be missed greatly. I'm going out tonight to cruise bars and drink in his memory...again.

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Mr Pixies
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#62 Post by Mr Pixies » Sat Feb 26, 2005 11:33 pm

Well, Best Buy will be advertising this in their weekly ad for $28.99. That will be their regular price, I wish it would be a liitle cheaper on sale for this week, since they are advertising it. I don't think they will sell that many at about 30 bucks, it would move better at $25...

I got this thing in the mail for their Reward Zone thing to give them my e-mail address for future offers, and in exchange you get a free 30.000 points= $10, which I should get this week and use it to buy this.

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skuhn8
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#63 Post by skuhn8 » Wed Mar 02, 2005 3:18 am

A brief review found on cnn.com (Entertainment Weekly contribution):

http://www.cnn.com/2005/SHOWBIZ/Movies/ ... index.html

ecschmidt
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#64 Post by ecschmidt » Wed Mar 02, 2005 10:47 am

A brief review found on cnn.com (Entertainment Weekly contribution):

http://www.cnn.com/2005/SHOWBIZ/Movies/ ... index.html
Looks like it's neck and neck with The Brady Bunch.

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cdnchris
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#65 Post by cdnchris » Wed Mar 02, 2005 11:40 am

Was pleasantly surprised when I found this in the mail for me yesterday, and despite the fact I was supposed to be working from home (Ha!) I popped it in immediately and watched it. God I love this movie. It was sort of trippy, too, since I haven't seen it since High School and it brought back all those feelings from the time (watching the trailer was even trippier since I remember the exact time I first saw it, well, kinda.)

I love the indie movies from the 90's (I'm so glad I was a movie loving teen during this time), and this film is a good example as to why (though I don't know if it is technically indie, didn't the studio finance it?). Wonderful use of imagery, music, and editing, as well as an energy that had been missing from the movies since the 70's. I remember this movie won me over in the first 10 minutes when I first saw it and it was great coming back to it after so long. I always regretted not picking it up on tape, but now I'm glad I didn't as it made yesterday's experience that much better. The Shakespeare stuff also bothered me less (I remember when I originally saw it I found it way too distracting, and only mildly annoying the next couple of times I saw it.)

The image looks fantastic, the last time I saw it was on a movie channel and it looked very dull (closer to the quality of the trailer on the DVD). The colours are gorgeous and the image is very crisp. I haven't gotten around to the supplements really and will probably do that tonight after I finish my "The Office" marathon. But I'm hoping everyone in the supplements has plenty to offer. I also love the packaging and covert art. Actually holding it in my hand it works a lot better.

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ben d banana
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#66 Post by ben d banana » Sun Mar 13, 2005 5:39 am

It's just a Canadian bare bones (or relatively so) release. The same has been done recently w/ Fat Girl and Naked Lunch.

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oldsheperd
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#67 Post by oldsheperd » Tue Mar 22, 2005 4:33 pm

Is the shot of Reeves holding Phoenix infront of the "Coming of the White Man" statue Van Sant trying to model off of that famous painting of Mary holding Jesus? That's what I think of every time I watch this.

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neuro
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#68 Post by neuro » Tue Mar 22, 2005 4:45 pm

Is the shot of Reeves holding Phoenix infront of the "Coming of the White Man" statue Van Sant trying to model off of that famous painting of Mary holding Jesus? That's what I think of every time I watch this.
Yes...well, sort of. It's a definite reference to a sculpture - Michelangelo's Pieta:

Image

The more you look, the more movies you'll find with visual references to this sculpture; it's almost become a cliche. Off the top of my head, check out Cries and Whispers or the ending of The Roaring Twenties...
Last edited by neuro on Tue Mar 22, 2005 4:53 pm, edited 1 time in total.

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oldsheperd
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#69 Post by oldsheperd » Tue Mar 22, 2005 4:47 pm

That's the one. So is Phoenix the architypal christ figure.

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zedz
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#70 Post by zedz » Tue Mar 22, 2005 5:14 pm

Yes...well, sort of. It's a definite reference to a sculpture - Michelangelo's Pieta
The Pieta image is a generic one (like Christ Crucified of the Madonna and Child) that you'll find referenced throughout art history, including cinema. Michelangelo was one of the contributors to that tradition.

Stig Helmer
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#71 Post by Stig Helmer » Sat May 07, 2005 3:40 pm

So i finally got around to see this one. And oh boy was that film a disappointment! Never have i seen such a boring film! Yes, the images are beautiful, but beautiful images and Shakespeare-references can't save a bad film. And this is truly a bad film...It is truly a mystery to me why Criterion would release this film...

The only thing that's good in this movie is Udo Kier...

analoguezombie

#72 Post by analoguezombie » Sat May 07, 2005 3:44 pm

So i finally got around to see this one. And oh boy was that film a surprise! Never have i seen such a excellent film! Yes, the images are beautiful, but beautiful images and Shakespeare-references alone, can't make a great film. And this is truly a great film...It is truly a mystery to me why Criterion wouldn't release this film earlier...

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colinr0380
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#73 Post by colinr0380 » Tue Jun 21, 2005 7:38 am

There is an easter egg on disc 2. Go to The Making Of My Own Private Idaho and then to the Index. Highlight the Back button and press left to bring up an arrow.

You get a video clip of Trey Shannon, the co-owner of Voodoo Dougnut (their slogan: the magic is in the hole (!)) telling his story about snooping around Van Sant's house! From the story I think John Waters is going to be enlightened about all those phone calls!

I was very impressed by the Paul Arthur discussion of the film - it certainly made me appreciate the film more and I think this might be worth considering as Criterion's take on the road movie as much as Stuart Kaminsky's piece on The Killers could be seen as a comment on the themes of film noir in general before focusing in on a discussion of the specific films and how they fit into this grouping. It was great to see Powow Highway mentioned as part of the early 90's road movie cycle. One film that I would have also suggested for inclusion would have been Richard Stanley's 1992 film Dust Devil.
Last edited by colinr0380 on Thu Nov 17, 2005 6:09 am, edited 1 time in total.

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Fletch F. Fletch
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#74 Post by Fletch F. Fletch » Tue Jun 21, 2005 9:25 am

colinr0380 wrote:It was great to see Powow Highway mentioned as part of the early 90's road movie cycle. One film that I would have also suggested for inclusion would have been Richard Stanley's 1992 film Dust Devil.
And Bruce McDonald's rock 'n' roll road movie trilogy: Roadkill, Highway 61 and Hard Core Logo.

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Galen Young
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#75 Post by Galen Young » Sun Jun 26, 2005 7:59 pm

Recently picked up a cheap DVD of John Schlesinger's Midnight Cowboy, hadn't seen it in years. I was surprised to see how many parallels it has with My Own Private Idaho.
Some random pattern recognition:

Whoopie-Ti-Yi-Yo, Get Along Little Dogies (Woody Guthrie) as sung by Joe Buck at the beginning of Cowboy has a somewhat similar feel to Cattle Call (Eddy Arnold) played over the opening credits of Idaho.

flashback: a young Joe Buck rubbing him grandmother's shoulders, she says "that's nice" and kisses the boy.
Mike Waters having his hair stroked by his mother "don't worry, everything's going to be all right".

another flashback: Grandmother telling a young Joe Buck "bye honey..." while the bus drives past a house with person out front waving.
The house falling out the sky smashing to pieces on the road, has a similar melancholy feeling.

The middle aged women as "customers": Sylvia Miles and Grace Zabriskie

Mickey Cottrell as "Daddy Carroll" performing an over the top bit similar to the outburst by John McGiver's "Mr. O'Daniel".

Todd Haynes makes a quick mention of Midnight Cowboy in his chat with Van Sant on the extras disc, but they don't really discuss it. I wonder if Van Sant was influenced by it at all.

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