I really enjoyed listening to you and Altaz’s conversation on this overlooked gem from Borzage. As Altaz mentioned, I did a series of videos on the director a couple of years ago and just released one on Man’s Castle from 1933. I re-read the section on I’ve Always Loved You in Herve Dumont’s great study of Borzage’s life and work. He is also an admirer of the film and got to interview Catherine McLeod in his research who provided great insight into Borzage’s technique and ambition. I admit I was pleasantly surprised with your championing of this film. I seem to recall your passion for Fassbinder. I wonder if he ever saw this film or any Borzage. Fassbinder’s love of Sirk leads me think he might have also felt the same about Borzage, especially this film. I have Fassbinder on my mind lately as I’m preparing a video on Effie Briest. I’m also going to re-watch I’ve Always Loved You soon. I checked out the youtube copy and as you mentioned it looks reaaly good.
Thanks, Roger. I watched your video on Man's Castle, I haven't seen that film yet. Another Borzage film that I enjoyed a lot is Moonrise. I need to watch more Borzage soon as I've only seen two films from him. Yes, I'm a big fan of Fassbinder. I'm sure that he loved this film if he saw it, and I could see him being a big fan of Borzage. Hopefully you enjoy rewatching I've Always Loved You.
Thank you for watching and for your comment Roger! When I saw that you posted a video on Man's Castle, I immediately went to watch it on the Criterion Channel, and then proceeded to watch your video discussion. I thank both you and SJS repectively for introducing me to the film maker and this special film. I found your discussions of Borzage so interesting that I vowed to watch all the films you discussed, but that objective seems to have fallen be the wayside. But after watching I've Always Loved You, Man's Castle and hearing your discussion of his biography and beliefs, I am reminded to not forget giving this film maker my due attention. As you point out, Borzage has unique sensitibilities. I will try to catch his film Desire as well, which is also playing on the Criterion Channel. Interesting thought about Borzage. I could see that, though I am no Fassbinder expert. I am now at the Epilogue of Berlin Alexanderplatz, and having read the book before, am fascinated by Fassbinder's pre-occupation with the world of the book throughout his filmography. By having a "Franz Biberkopf" as protagonist in Fox and his Friends, to having the protagonist be a fruit seller in The Merchant of Four Seasons, a job Franz considers early in his journey after prison. He seems to have interest, in these works at least, with the struggles of everyday people. So I can see how Man's Castle would be right up his alley. Yet Fassbinder has remade what he loves with much darker, often cynical tones. In BA, it's Sirk, but not Sirk. And you could say Borzage's belief in love is there too in Franz, but is it really? Or the love leads to major and destructive blind spots. Look forward to your video on Effie Briest, and I will be sure to watch that movie first before watching your discussion. Gosh, if there was more time, I would have loved to do an episode by episode exploration of Berlin Alexanderplatz with the Vulgarian Troglodyte!
Wonderful discussion about a wonderful film. I think this and 'The Red Shoes' are both five-star films, but I think I might prefer 'I've Always Loved You' ever slightly? It seems to me that it goes deep into character psychology even more than the Powell + Pressburger and the subterranean torrents of conflicted feelings and emotional states kind of had me under a spell. I think the ending is definitely optimistic and quite feminist as Myra realizes that the basis of her infatuation with Goronoff wasn't really love (which is selfless), but some strange amalgamation of raw sexual attraction based on domination, possessiveness and passion. Once she realizes this, she can see what love is and looks like and that is George. Really looking forward to rewatching this as it feels considerably forward-thinking for its time.
Thank you, honey-gulash. I'm glad that you loved the film. The main reason I suggested the film for the podcast now was that you had just watched the film, so I figured it would be nice for you to listen to this podcast🤗😘😉. I think I lean more towards an optimistic interpretation of the ending as well, and you summed up why the ending is optimistic really nicely.
I think I will need to rewatch The Red Shoes in the near future to compare and contrast the approaches between these two films. I agree that this film is very impactful in how it deals with individual psychologies and interpersonal realities. I too feel that the ending is optimistic and I felt quite emotional during the final part. I do like that the film still leaves enough breathing room to reflect on these things and ultimately draw your own conclusion. It's not heavy handed. Crom the Vulgarian is the Indiana Jones of Cinema! Oh and I also appreciate the film's more intimate approach to a story that could have been told with greater grandure and pomposity. But then the flesh, blood and frailty, and much of the beauty would have been lost in the process of scaling it up. I recognize that this may not have been entirely by design and perhaps limited budget may have had a part to play. It is nice that vision and circumstance came together in this fortuitous way.
@@Shelf-IndulgentDilettante I have thought about this film a bit longer and I think what it makes it so romantic at the end is that it is actually about faith in love. The title is 'I've Always Loved You' and it seems that George always knew and believed that Myra did love him; he just wanted her to discover that for herself and on her own by meeting/facing Goronof once again. So in the end, when she realizes that she indeed loves George as she understands/realizes what true love is, she goes to George and gives herself voluntarily to him (which is basically the ultimate act of love). So in the end, even if I don't think that she quits playing the piano (I think she'd continue playing AND be George's wife), I don't think it really matters if she does, as she would do it voluntarily and without any coercion choose George, as true love is unforced, voluntary and free. I would really like to rewatch this film this year as it keeps getting better and more interesting in my mind.
I really enjoyed listening to you and Altaz’s conversation on this overlooked gem from Borzage. As Altaz mentioned, I did a series of videos on the director a couple of years ago and just released one on Man’s Castle from 1933. I re-read the section on I’ve Always Loved You in Herve Dumont’s great study of Borzage’s life and work. He is also an admirer of the film and got to interview Catherine McLeod in his research who provided great insight into Borzage’s technique and ambition. I admit I was pleasantly surprised with your championing of this film.
I seem to recall your passion for Fassbinder. I wonder if he ever saw this film or any Borzage. Fassbinder’s love of Sirk leads me think he might have also felt the same about Borzage, especially this film. I have Fassbinder on my mind lately as I’m preparing a video on Effie Briest. I’m also going to re-watch I’ve Always Loved You soon. I checked out the youtube copy and as you mentioned it looks reaaly good.
Thanks, Roger. I watched your video on Man's Castle, I haven't seen that film yet. Another Borzage film that I enjoyed a lot is Moonrise. I need to watch more Borzage soon as I've only seen two films from him.
Yes, I'm a big fan of Fassbinder. I'm sure that he loved this film if he saw it, and I could see him being a big fan of Borzage. Hopefully you enjoy rewatching I've Always Loved You.
Thank you for watching and for your comment Roger! When I saw that you posted a video on Man's Castle, I immediately went to watch it on the Criterion Channel, and then proceeded to watch your video discussion. I thank both you and SJS repectively for introducing me to the film maker and this special film. I found your discussions of Borzage so interesting that I vowed to watch all the films you discussed, but that objective seems to have fallen be the wayside. But after watching I've Always Loved You, Man's Castle and hearing your discussion of his biography and beliefs, I am reminded to not forget giving this film maker my due attention.
As you point out, Borzage has unique sensitibilities. I will try to catch his film Desire as well, which is also playing on the Criterion Channel. Interesting thought about Borzage. I could see that, though I am no Fassbinder expert. I am now at the Epilogue of Berlin Alexanderplatz, and having read the book before, am fascinated by Fassbinder's pre-occupation with the world of the book throughout his filmography. By having a "Franz Biberkopf" as protagonist in Fox and his Friends, to having the protagonist be a fruit seller in The Merchant of Four Seasons, a job Franz considers early in his journey after prison.
He seems to have interest, in these works at least, with the struggles of everyday people. So I can see how Man's Castle would be right up his alley. Yet Fassbinder has remade what he loves with much darker, often cynical tones. In BA, it's Sirk, but not Sirk. And you could say Borzage's belief in love is there too in Franz, but is it really? Or the love leads to major and destructive blind spots. Look forward to your video on Effie Briest, and I will be sure to watch that movie first before watching your discussion.
Gosh, if there was more time, I would have loved to do an episode by episode exploration of Berlin Alexanderplatz with the Vulgarian Troglodyte!
Wonderful discussion about a wonderful film. I think this and 'The Red Shoes' are both five-star films, but I think I might prefer 'I've Always Loved You' ever slightly? It seems to me that it goes deep into character psychology even more than the Powell + Pressburger and the subterranean torrents of conflicted feelings and emotional states kind of had me under a spell. I think the ending is definitely optimistic and quite feminist as Myra realizes that the basis of her infatuation with Goronoff wasn't really love (which is selfless), but some strange amalgamation of raw sexual attraction based on domination, possessiveness and passion. Once she realizes this, she can see what love is and looks like and that is George. Really looking forward to rewatching this as it feels considerably forward-thinking for its time.
Thank you, honey-gulash. I'm glad that you loved the film. The main reason I suggested the film for the podcast now was that you had just watched the film, so I figured it would be nice for you to listen to this podcast🤗😘😉. I think I lean more towards an optimistic interpretation of the ending as well, and you summed up why the ending is optimistic really nicely.
@@VulgarianTroglodyte oh wow! I am very flattered by that gesture. Thank you so much 🥲
Et bonne année 👑
@@vodkatonyq I'm always at your service, my divine🍑.
I think I will need to rewatch The Red Shoes in the near future to compare and contrast the approaches between these two films. I agree that this film is very impactful in how it deals with individual psychologies and interpersonal realities. I too feel that the ending is optimistic and I felt quite emotional during the final part. I do like that the film still leaves enough breathing room to reflect on these things and ultimately draw your own conclusion. It's not heavy handed. Crom the Vulgarian is the Indiana Jones of Cinema!
Oh and I also appreciate the film's more intimate approach to a story that could have been told with greater grandure and pomposity. But then the flesh, blood and frailty, and much of the beauty would have been lost in the process of scaling it up. I recognize that this may not have been entirely by design and perhaps limited budget may have had a part to play. It is nice that vision and circumstance came together in this fortuitous way.
@@Shelf-IndulgentDilettante I have thought about this film a bit longer and I think what it makes it so romantic at the end is that it is actually about faith in love. The title is 'I've Always Loved You' and it seems that George always knew and believed that Myra did love him; he just wanted her to discover that for herself and on her own by meeting/facing Goronof once again. So in the end, when she realizes that she indeed loves George as she understands/realizes what true love is, she goes to George and gives herself voluntarily to him (which is basically the ultimate act of love). So in the end, even if I don't think that she quits playing the piano (I think she'd continue playing AND be George's wife), I don't think it really matters if she does, as she would do it voluntarily and without any coercion choose George, as true love is unforced, voluntary and free. I would really like to rewatch this film this year as it keeps getting better and more interesting in my mind.
I like old black and white…let s see the movie. I watched smth similar, I wonder if I watched it already.