I miss my Joe

originally posted by fillay:
originally posted by Tristan Welles:
no wine to hand right now, but enjoying some Darjeeling at Julius Meinl as I await a showing of The Third Man.

I do not know if any of that might have appealed to Joe, but I hope it might have. His posts on the Disorderly were always urbane, thoughtful, delightful and I miss them.

Nice - I'm going to try to hit that show while it's at Music Box. I'm not sure I knew you were in Chicago, Tristan.

Definitely do try. I have seen the movie many times, and this restoration is a revelation. Just glorious. The sharpness of the detail in the B&W photography just jumps out, before it was too easy to accept the blurriness as natural. A few other things have been corrected too, the soundtrack is better. And one thing that always made me cringe is different: the drop-frame technique used to speed up the action as Orson opens the plates to the sewer is no longer quite so cheesy.

I am not sure I have ever advertised being in the Chicago area, mostly because I am Chicago-ish (Bannockburn).
 
originally posted by Sharon Bowman:
originally posted by Tristan Welles:
The Third Man.

Great movie!

Funny factoid: Joe's sister dated Joseph Cotten's nephew when she was in college. He was also named Joseph Cotten.

good stuff! Cotton's range was a bit limited, but when your film credits include 5 or 6 of the greatest ever made, well, I'd take that.
 
Supposed to be a Carol Reed film, but it always looks like Orson Welles to me. But Reed's movie of the Fallen Idol has the same effect on me. Maybe Carol Reed + Graham Greene = Orson Welles (of a kind, not the Welles who made the Magnificent Ambersons or Chimes at Midnight). I've never seen any but the prints that float about, and they were plenty good. I'd love to see a restoration.
 
Welles always made a point of emphasizing to reviewers and biographers that "it is Carol's picture". At the same time it probably wouldn't have looked quite so alluring without the examples of Kane and Ambersons and even The Lady from Shanghai (released in '48).

A paradox results from the new print of The Third Man; more than once the mise en scene, as now revealed, just begs for deep focus photography.

A note about Chimes at Midnight: the print that finally gets the soundtrack right was released recently and The Music Box is scheduled to run it at the end of July. This is a much rarer bird on the big screen, so those in the area might want to make the effort.
 
I really didn't know Joe at all, except via the webs, but somehow I think he would be comforted by the fact that even this thread has drift.
 
originally posted by Tristan Welles:
Cotton's range was a bit limited, but when your film credits include 5 or 6 of the greatest ever made, well, I'd take that.

Oh, I don't know. I kind of like his stylized way. Hitchcock's "Shadow of a Doubt" is really up there.

ETA: Microsoft Office always transforms his last name to "Cotton."

Extra asterisk: After visiting Niagara Falls in the early spring, I watched "Niagara"—there he doesn't really get to expand his persona, but it's still a great watch. Also, Marilyn Monroe is fairly nifty.
 
originally posted by Sharon Bowman:
I miss my JoeAnd I can bet my eye teeth that many others here miss SFJoe.

I miss running home from work and plopping on my knees on the couch next to him and kissing him. He'd say, "How are you?" I'd say, "Happy to see you."

I'd give vital organs to have one more such time.

In lieu, let's talk about things we will enjoy drinking that he would be interested to hear about.

I was very interested by the "final" version of regular 2014 Domaine de la Pépière, after a funny, fun, spritzy earlier version. The finalized version is fine, fine, fine.

Question: did Marc O. release the early one in previous vintages and I'd just never caught on, or is this a different approach?

Someone write something, pls, in any event. Too many quiet tears.
Just for you and Joe: a Pepiere Les Gras Moutons 2009 was very good with a late lunch today. He might also have enjoyed the tasty Sancerre Rose La Cote des Monts Damnes 2012 from the unhip Henri Bourgeois and, perhaps more certainly, the Bernard Baudry, Chinon, Rose 2013 drunk alongside it.
 
originally posted by Jeff Grossman:
originally posted by Tristan Welles:
Definitely do try. I have seen the movie many times, and this restoration is a revelation.
Which introduction is in it?

The Carol Reed intro... natch. Only really old prints still have the Cott*n narration.
 
originally posted by Sharon Bowman:
originally posted by Tristan Welles:
Cotton's range was a bit limited, but when your film credits include 5 or 6 of the greatest ever made, well, I'd take that.

Oh, I don't know. I kind of like his stylized way. Hitchcock's "Shadow of a Doubt" is really up there.

ETA: Microsoft Office always transforms his last name to "Cotton."

Extra asterisk: After visiting Niagara Falls in the early spring, I watched "Niagara"—there he doesn't really get to expand his persona, but it's still a great watch. Also, Marilyn Monroe is fairly nifty.

Yeah, they got me.

I agree with your take on Jo's style. Easy to watch But even in a western he was fated to play the Yankee patriarch trail boss. Jed Leland heads west.
 
originally posted by nigel groundwater:
Just for you and Joe: a Pepiere Les Gras Moutons 2009 was very good with a late lunch today. He might also have enjoyed the tasty Sancerre Rose La Cote des Monts Damnes 2012 from the unhip Henri Bourgeois and, perhaps more certainly, the Bernard Baudry, Chinon, Rose 2013 drunk alongside it.

Fantastic, though I think he would have bristled at the Bourgeois Sancerre. What do you make of the Baudry 2013 Rosé?

us.jpg
(Joe snapping but disapproving of snapping.)
 
originally posted by Tristan Welles:
originally posted by Jeff Grossman:
originally posted by Tristan Welles:
Definitely do try. I have seen the movie many times, and this restoration is a revelation.
Which introduction is in it?

The Carol Reed intro... natch. Only really old prints still have the Cott*n narration.

There are two introductions? I've only seen the Joseph Cotten one. Why did they make another?
 
originally posted by Sharon Bowman:
originally posted by nigel groundwater:
Just for you and Joe: a Pepiere Les Gras Moutons 2009 was very good with a late lunch today. He might also have enjoyed the tasty Sancerre Rose La Cote des Monts Damnes 2012 from the unhip Henri Bourgeois and, perhaps more certainly, the Bernard Baudry, Chinon, Rose 2013 drunk alongside it.

Fantastic, though I think he would have bristled at the Bourgeois Sancerre. What do you make of the Baudry 2013 Rosé?

(Joe snapping but disapproving of snapping.)
Liked the Baudry Rose 2013 very much...and the [obviously] different Bourgeois Rose although not the very heavy, completely opaque bottle it came in which contrasted negatively with the completely clear lightweight Baudry offering.

BTW I wonder at the apparently automatic antipathy towards Bourgeois since many of their huge range of cuvees are made in different ways [oak, steel, oak & steel] from their own grapes from top vineyards farmed organically with specific terroirs clearly in mind. Just because they are a huge producer and some of their wines use bought in fruit surely doesn't mean they don't make some very good wines. I still think Joe would have liked this particular 2012 Bourgeois La Cote des Monts Damnes Rose wine which is a good step up from their basic and rather ordinary Les Baronnes Rose - even if he might have deplored the waste of glass.

Each to their own of course but I am happy to taste and buy several of their wines from the excellent Bourgeois Chavignol facility every year [back in a couple of weeks] along with purchases from Gerard Boulay and Thomas Labaille just down the road en route to Sancerre, Lucien Crochet and Vincent Pinard in Bue, Alphonse Mellot, Vacheron and Pascal Cotat in Sancerre and Andre Dezat in Verdigny. Just as well our hotel near Onzain will store some of our purchases in their cellar for our return in September.

As for others, Francois Cotat and Anne Vatan are difficult to see in Chavignol but we usually find her Clos la Neore in Francois Chidaine's Montlouis shop La Cave Insolite along with several Didier Dagueneau cuvees although we did manage to visit and buy direct from the the Dagueneaus last year. It is perhaps just as well they don't accept credit cards in view of their prices since the unprepared-for cash requirement kept the buying in check. Still it was a charming visit with the family showing us around. I think Joe would have approved of the 6 bottles [2 each] of Buisson Renard, Pur Sang and Silex we left with.
 
On consecutive nights, 2006 Bea Pagliaro and 2006 Bea Pipparello. Both showing elegant aromas, decent enough acidity, substantial 14% mouth weight, strong but unaggressive tannins. I liked the readier Pipparello - a blend of 60% Sangiovese, 25% Montepulciano and 15% Sagrantino - better than the Pagliaro, 100% Sagrantino and 25% pricier. However, despite nothing structurally or aromatically wrong with both, there was a general sense of a robust self-sufficiency, of little interest in meshing with food.

All this to say that at times like these (and others, of course), I wish I had Joe standing across the 66 Leonard counter to ask if he shared my perplexity at this or that producer being such a star of the natural wine welt; if he shared my sense that these two wines in particular didn't sit comfortably within even the imprecise margins of the disorderly esthetic (a fatal flaw, of course); most basically, if he agreed with me that these were not, ultimately, what "we" wanted in a wine.

Because Joe had gone through a phase of heavier wines in the 1990s (I am thinking of the exquisite but ultimately solipsistic smaragds, and perhaps some of the heavier Italians) and might have revised that position. Because Joe had, in depth, the four vectors of the ideal super-ego: intelligence, knowledge, experience, and discernment. These four nouns may read like a grocery list of clichés, but not if you really stop to think about what each of them means. Although I would have preferred to drink with Joe some wine that brought us joy, he was THE guy you'd want to be sharing your impressions with if your broadside needed housebreaking, if your quarrel required equal measures of scientific knowledge and freedom from reductionist impulses.

So, I wish I were drinking these Beas with Joe, so I could remark with disguised self-satisfaction that I am growing less and less interested in the grandstanding Oscars for best actor, and seem to care only for the supporting roles. He could stoke or smother the value of that pulsion; the first would be more welcome than the second, but either would be valuable.
 
originally posted by Jonathan Loesberg:
originally posted by Tristan Welles:
originally posted by Jeff Grossman:
Which introduction is in it?
The Carol Reed intro... natch. Only really old prints still have the Cott*n narration.
There are two introductions? I've only seen the Joseph Cotten one. Why did they make another?
For the original American distribution the film was shortened by 11 minutes and the long moody intro by Carol Reed was replaced by a more matter-of-fact intro by Joseph Cotten. Details
 
originally posted by Jeff Grossman:
originally posted by Jonathan Loesberg:
originally posted by Tristan Welles:
originally posted by Jeff Grossman:
Which introduction is in it?
The Carol Reed intro... natch. Only really old prints still have the Cott*n narration.
There are two introductions? I've only seen the Joseph Cotten one. Why did they make another?
For the original American distribution the film was shortened by 11 minutes and the long moody intro by Carol Reed was replaced by a more matter-of-fact intro by Joseph Cotten. Details

I haven't seen this since I was in grad school (and I'm not telling when that was), so I clearly saw the cut version. I will have to look to see a restored version--really just to see the movie again, though.
 
They're finally making quite a few wines in Spain that Joe would actually like. And now I can't show them to him. Drat.
 
Barranco Oscuro is interesting - but uneven. Par for the course for natural wines, of course. Highest vineyard in Europe, BTW.
 
originally posted by VS:
Barranco Oscuro is interesting - but uneven. Par for the course for natural wines, of course. Highest vineyard in Europe, BTW.

Yes, the altitude is a point of pride there, and helps make the wines less alcoholic, alongside the very short macerations.
 
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