powell (and pressburger)

craner

Beast of Burden
What he's doing here @Corpsey and @version is trying to annoy me by referring to a completely non-existent feud that never existed between me and Owen Hatherley which long predated you (if it had ever happened, which it didn't).
 

version

Who loves ya, baby?
Luka said you used to wait outside his house then terrorise him over the phone like the beginning of Scream.
 

Corpsey

call me big papa
Owen Hatherlay is one of those names I see on here all the time that I just skim over without any intent to look into or understand - like Nick Land, Deleuze, Prynne and Pynchon.
 

Corpsey

call me big papa
Could you record one of your essays as a podcast craner? Then I might listen to it on my morning walk to buy self-serve coffee from co-op.
 

craner

Beast of Burden
Luke spent years trying to ferment a feud between us. He failed, however, so now pretends that there was a feud all along. It was the forerunner to what Trump did after the 2020 election.
 

version

Who loves ya, baby?
I thought Black Narcissus was really good. Great colours. That shot of the bell. The misty mountains. Sister Ruth was really unsettling. The way her expressions gradually changed and intensified throughout the film until she completely lost it at the end was brilliant. Terrifying eyes. You get all that red and orange lighting around her too, the red dress and lipstick. Hellfire. That shot of her watching Deborah Kerr and Farrar from the shadows...

 

version

Who loves ya, baby?
Luke spent years trying to ferment a feud between us. He failed, however, so now pretends that there was a feud all along. It was the forerunner to what Trump did after the 2020 election.
Who was Blur and who was Oasis?
 

luka

Well-known member
Staff member
Me and Craner are completely defined and consumed by failure bitterness and boiling resentment.
 

craner

Beast of Burden
I thought Black Narcissus was really good. Great colours. That shot of the bell. The misty mountains. Sister Ruth was really unsettling. The way her expressions gradually changed and intensified throughout the film until she completely lost it at the end was brilliant. Terrifying eyes. You get all that red and orange lighting around her too, the red dress and lipstick. Hellfire. That shot of her watching Deborah Kerr and Farrar from the shadows...


Yeah, it turns into a psychosexual horror movie towards the end. It's absolutely brilliant, like prime Argento.
 

version

Who loves ya, baby?
Yeah, it turns into a psychosexual horror movie towards the end. It's absolutely brilliant, like prime Argento.
It was building, but I kept wondering whether it would ever tip over into it. I thought they might keep a lid on it due to the age of the film and it would just simmer. It's pretty obvious from the start though that someone's going off the cliff.
 
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