1981 and Last Art Riders

When a film is released for critical public praise, it receives unreasonable attention from armchair critics. Consider Vertigo (185), which ranked Citizen Kane (111) as # 1 on the list of philosophy and sound films. There was widespread disrespect for Alfred Hitchcock’s psychological thriller. It became fashionable to ding the film for its sexual politics, casting preferences and relative status in contrast to other Hitchcock classics. It did not receive much acclaim after its release. Many critics have noted its slugging pacing, sexual perversion and “weirdness”. The audience was also away because Hitchcock gave up his popular romantic thriller race. It was nominated twice by the Academy Awards তবে but only in the technical category, it was a powered Booby Award.

Movie praise ebbs and flows. The new audience and the new generation respond to the trends of the previous generation. Social media further accelerates response and counter-reaction. The new list creates new controversy. In contrast, a film like Warren BT’s 1981 romantic epic Reds, which received 12 Academy Award nominations (won three) and received widespread acclaim after its release, has become a relative footnote. Who talks about the Reds? I think, if we’re going to be technical, I’m here, but it feels like a low tide for one of the truly exceptional films of the decade.

In more recent praise, the AFI has named it among the top 10 American “epics” – the “large-scale movie genre set in a cinematic interpretation of the past” – and the top 100 love stories. I am not opposed to any announcement when discussing the Reds; However, these two “compliments” won’t work to make his audience expand or create curious viewers. I would argue that calling the Reds a “romantic epic” represses the audience. Without the notoriety outside of such genre labels, the Reds may seem like a cousin from Out of Africa (1985) or Titanic from Relatives (1997), unfortunately ahead of Warren Beatty’s masterpiece in both of the AFI lists mentioned.

The two films share an excellent metaphorical and structural symmetry, and it would be a suitable subject for a truly epic formal study. In one, the ship is literally sinking. On the other hand, an idealist struggles to propagate American socialism in the wake of the Russian Revolution and fails to see that the hull is out of repair.

The time and space allotted to me for the DVD recommendation, I would say is that the Titanic feels featherweight compared to the social and emotional lifting done by Warren BT in the Reds.

BT’s films have taxed me emotionally. It has challenged my spiritual drive to create, change and influence the world as I look around me. Warren BT, Diane Keaton, and Jack Nicholson combine animated characters with distinctive features and scattered frames of reference. They weave into each other’s lives and beyond, creating inconsistent, unpredictable and painful realities of our human existence. Honestly, if you don’t watch the Reds (and if the three-hour movie doesn’t send you into unreasonable cold-sweat hysteria), I’ll remove it to the top of your row.

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