ada the leading man is my tpye

Titreenp SERIOUSLY. This is what the crap Hollywood still puts out?

Janae Milner Easily the biggest piece of Right wing non sense propaganda I ever saw.

Brooklynn There's a more than satisfactory amount of boom-boom in the movie's trim running time.

Vonia The Saddest Music in the World (2003) Funny musical, Depressed, lovelorn, and rich, She hosts a contest. Ingenious concept by Loved author Ishiguro. Mostly black and white, Prosthetic legs filled with beer, Crazy characters. Maddin's faded and grainy world, Rhapsody or creepy? Somonka is a form of poetry that is essentially two tanka poems, the second stanza a response to the first. Each stanza follows a 5-7-5-7-7 syllable pattern. Traditionally, each is a love letter. This form usually demands two authors, but it is possible to have a poet take on two personas. My somonka will be a love/hate letter to a film? #Somonka #PoemReview

ackstasis This was my first film from Guy Maddin, a Canadian director well-known for doing his own thing. Most of his films, I hear, recreate the look and feel of 1920s silent cinema and early talkies – 'The Saddest Music in the World (2003)' is no exception. Not only is the film set in Depression-era Winnipeg, but it actually looks as though it was shot around that time. Maddin shoots his film on washed-out and grainy Super 8 film blown up to 35mm, uses irises and other outdated storytelling techniques, badly-synchronised audio, and lots of Soviet-style montage. Several scenes are shot in colour – and they jar strikingly, like the dream sequence in 'Shock Corridor (1963)' – to imitate the aesthetic of early two-strip Technicolor. Even the use of Isabella Rossellini is a stroke of anachronistic genius: at times you're fooled into thinking that Ingrid Bergman is on screen.The story is bizarre to say the least. A Canadian beer company, under the instruction of baroness Lady Port-Huntley (Rossellini) (who lost her legs in unfortunate circumstances), holds a competition to discover the "saddest music in the world." Competitors arrive from every country to vie for the $25,000 prize, including a smug washed-up Broadway producer (Mark McKinney, of 'Kids in the Hall' fame); his cellist brother (Ross McMillan), a hypochondriac nursing a broken heart (quite literally); and their father (David Fox), an alcoholic war veteran who is in love with Lady Port-Huntley. Not bizarre enough, you say? Well, Lady Port-Huntley gets herself a new pair of legs, made entirely out of glass and beer. As you do. This film is perverse, surreal, and extremely wacky; you can't deny that Maddin's got a quirky sense of humour. I don't know exactly what to make of it, but I didn't mind it.

MisterWhiplash Guy Maddin is a master in at least one respect: he knows how to use 8mm film. Very few filmmakers attempt to use it at the length he does, or to such seemingly limitless invention, and all the while he has in mind an aesthetic somewhere in the middle of an expressionist silent film director and someone looking to break a little ground with a music video. In fact two of his films specifically, Dracula: Pages from a Virgin's Diary and Brand Upon the Brain, work better just as they appear to be: stories told in pantomime, without dialog, but also with all of the heavy emotions that come with. The Saddest Music in the World is a sound film, and must be in order to include such music and some occasionally really funny dialog. But its aesthetic is so bizarre and, indeed, eclectic to tastes of modern and pre-WW2 cinema that it has to be seen and heard to be believed.The premise is that a "Lady" in Winnepeg (Rossellini) is hosting a contest for everyone around the world to come to Winnipeg to sing the saddest songs known anywhere, and the winner will receive 25 grand (in "Depression-Era" money). But there are complications- a devilish entrepreneur (Mark McKinney in a sly and convincing dramatic performance) comes into town to bring back old memories- the legs that Rossellini no longer has due to a horrible accident stacked upon a huge blunder by McKinney's father- and there's other troubles in romantic entanglements (i.e. McKinney's brother sees that Narcissa, played by Medeiros, is with him now and may have a talking tapeworm). There's this and more, plus the brothers' father in his attempt to resolve the situation with glass legs full of, yes, beer, plus the various competitions between countries with their own styles and vibrations and sorrowful melodies (there's even "Africa" at one point).But a lot of this is, in fact, really crazy. So crazy that it takes a guy as smart and dedicated to his own warped craft like Maddin to make it make any kind of sense. But it does make sense, beautiful sense at times, and it's helped a lot out by the striking acting and the sense of morbid comedy that pops up from time to time (even just the announcers, who have that depression-era sensibility to them are funny). And watching the quixotic montage, the dazzling camera angles that sometimes go by in blinks or feverish moments in the midst of despair, make it all the more worthwhile. If I might not recommend it as overwhelmingly as Brand Upon the Brain it's only for a lesser connection emotionally with the material, of being pulled in inexorably to its conclusion. Nevertheless no one who wants to miss a challenge, take on something just this side of insanity and poetry, owes it to watch this- experience the songs, the romance. 8.5/10

david-1976 Like one of the Canadian commentators who wrote about this film, I think it presents a valid argument for a "0" (where "0" equals caca) rating. I don't need to restate the "plot" here and I can't put in any spoilers because the whole thing is spoiled.Maddin thinks that putting Vaseline on a camera lens makes things look retro. Bob Guccione thinks that Vaseline on a camera lens makes naked girls in white stockings look sexy. Maddin thinks that set designs that include a lot of "M" based shapes will make people think of Fritz Lang's "Metropolis." People writing about this film applaud its bow to expressionism. Well, expressionism was better done by the expressionists; the same director who made "Metropolis" spent most of his career making stinkers like "Rancho Notorious," and imitating early cinema "looks" is only interesting for so long. One could only wish it was actually shot on the old nitrate stock so that it could be badly stored.The actors do what passes as acting, in a sort of an imitation of an imitation of grand guignol. The two female leads have interesting faces, but do nothing that resembles acting. Isabella Rossellini demonstrates one thing: she actually looks sort of like her better-looking mom, and that she chooses vehicles like the tiresome movies made by her dad, which today I find painful to watch.The DVD contains three shorts that are much more amusing than the film they accompany (especially "Sissy Boy Slap Fest"), and the two "about the film" features have a "look-at-me-I'm-wonderful" air about them, narrated by some idiot who obviously would like to do a one-man "evening with Vincent Price" show in a bathhouse.Gee: did I like this movie? I was prepared to; I thought the premise was interesting and the thought of Rossellini as a concupiscent double amputee might be funny, but the product ends up looking like something made up by stoned frat boys who think they're really, really, really witty.Yeah: if you like this movie you probably also think Baz Lurhman is a genius, too. Pass the sedatives, please.