I’ll be in my trailer… watching trailers: The One With Almost No Trailers

Join us every week for a trip into the weird and wonderful world of trailers. Whether it’s the first teaser for the latest instalment in your favourite franchise, an obscure preview for a strange indie darling, whether it’s good, bad, ugly or just plain weird – your favourite pop culture baristas are there to tell you what they think.

It’s Bergman time again: this week, Matt stopped by one of Bergman’s early films, Port of Call. It may not be the most Bergman (the Bergmanest?) of all the Bergmans, but after a slow start it turned out… surprisingly engaging! Sadly, finding a trailer for Port of Call proved almost impossible.

Meanwhile, Sam used his Six Damn Fine Degrees duties as an opportunity to revisit his early attempts at video gaming – and why he never turned into a gamer. (Editor’s note: And he started with Indiana Jones 3, such a fun game – and yet, and yet…) Since this was before the time when video games regularly got trailers (where would they have been shown, when even a short video would not have fit onto a 3 1/2″ disk?) – so here’s the entirety of Indiana Jones and the Last Crusade in its glorious VGA version instead!

And this takes us to a couple of, hey, actual trailers!

Mege: Meeting strangers is daunting. Mostly it goes well, but if it doesn’t? Horror movies, if done well, are very good to drag our fears into the open. And if Billy the It is part of the game? Shudder.

Matt: I first saw Krzysztof Kieślowski’s Three Colours: Blue (or should I call it Trois Couleurs: Bleu, since apparently I had… let’s see… nine years of French at school, and very little to show for it!!!) back in 2000. I was aware of the three films of the trilogy – Blue, White and Red – when they came out, but at the time I read more about new films than I actually went to see them. I can’t say that I loved Blue, but it definitely stayed with me, and that’s been true of all the films in the trilogy as well as of his Dekalog. Even when rewatching the films, I’ve yet to warm to Irène Jacob, but Kieslowski’s cinematic universe that is metaphysical without being religious and moral without becoming moralistic is a fascinating one – and hey, a new restoration can’t hurt either, can it?

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