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May 23, 2022, 08:39:20 PM

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Messages - noodles_leone

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Off-Topic Discussion / Re: Rate The Last Movie You Saw
« on: May 19, 2022, 08:08:04 AM »
Cry Macho (Clint, 2021) - 3/10
Every flaw from The Mule is expanded. Nobody can act in the entire movie. The dialogues as well as the plot turning points are terrible. For some mysterious reason, every woman they encounter wants to have sex with 208 years old Clint. He doesn't even need to flirt. What a man. It seems like they shot, not even a first draft of the screenplay but a first draft of the sequencer. The cinematography is okish but cannot save the movie. The best thing about Cry Macho could already been fully appreciated in the trailer : cool hats.

Nice video about how Stetson hats are made:
For the record, I do own one Stetson but that's a panama hat. Both cowboyish hats i own are australian (one of them being an Akubra, a brand I would highly recommend to anybody looking for an actual outdoor hat).

Back to the topic of this thread: I think the hats situation in movies has changed for the better, lately. I've noticed absolutely great and realistic hats in recent western movies. On top of my mind:

The hats in this movie are worn off and come into all kind of shapes. City hats repurposed, outdoor hats that have aged... Just like it's supposed to be. And not one of them look like what a modern day hipster or TV singer would wear. They're messy, dirty, lots of open crowns, all kinds of imrpovised hatbands. Also, absolutely terrific movie if you're into "anti-western movies" (in this case anti western means "pro realism").

Good mix of real hats and "fake cowboy hats city people would wear at the time to look like a cowboy".

American Cinematographer asked Deakins "six films that have inspired him as both a film buff and a cinematographer". Among those 6, a film that we tend to appreciate around here was mentioned:

Leone?s ambitious, atmospheric Western is memorably presented in glorious, widescreen Techniscope. Introduced by Technicolor Italia in 1960, the format utilized a two-perforation negative pulldown per frame instead of the standard four-perf frame common to 35mm photography. Its 2.32:1 aspect ratio could easily be cropped to the 2.35:1 widescreen ratio because it used half the amount of 35mm film stock and standard spherical lenses. Distribution prints for theatrical venues were made by enlarging the frame from a two-perf flat ratio to a four-perf anamorphic ratio. According to cinematographer Delli Colli, this choice suited Leone?s style and saved the production a lot of raw film stock, despite the director?s penchant for shooting plenty of takes.

The movie?s central theme is the fading of the Old West amid relentless modernization and greed, but the narrative can also be viewed as an elegy for the Western genre itself. Each of the characters symbolizes an aspect of the main theme, and while the picture is a veritable mixtape of homages to other famous Westerns, the classic tropes are often revised and reconfigured in new and unexpected ways ? like casting Henry Fonda, known for his famous roles as Western heroes, as the baddest of black-hat bad guys. ?Thematically, it?s similar to The Assassination of Jesse James [by the Coward Robert Ford], or The Wild Bunch,? Deakins says. ?All are about characters whose time is passing on. They can?t keep up, and they feel disconnected with the way the world has gone.?

Deakins notes that the elements of Leone?s signature style, further magnified by composer Ennio Morricone?s immortal score, transform the story into grand opera: iconic set pieces rendered in spectacular widescreen compositions; extremely dynamic close-ups, many featuring solidly center-framed faces or an intense focus on eyes; meticulous staging and blocking; masterful use of depth of field to marry foregrounds and backgrounds; and compelling use of zoom lenses to reframe scenes on the fly. Above all, the narrative is presented visually, with a bounty of small details and some sequences that play out with minimal dialogue. ?It?s a film ? it?s not a novel, and it?s not a radio play,? Deakins observes. ?A film works best when it?s images and sound ? it doesn?t have to be done with dialogue, or linear narrative storytelling. When I?m working on a film, I?m always looking for ways to remove dialogue ? if it?s not needed ? and do a scene visually. I love that.? Citing one of his favorite moments in the film, Deakins says,

?I?ve always enjoyed the initial reveal of Henry Fonda as the bad guy. I read somewhere that Fonda never understood why Leone chose him for the role until the camera came around in that shot to reveal his face. He had played the hero in Young Mr. Lincoln and many other films, yet now he?s this villain telling one of his henchmen to kill a young kid!"

?I also love the sequence where Claudia Cardinale arrives at the railway station and gets into a wagon, and then the camera cranes up majestically. I don?t usually like those kinds of grand, elaborate shots, but Leone is really creating an opera, so that kind of larger-than-life camera movement works. Throughout the movie, he shoots Monument Valley in such a huge way that it?s nowhere near realism ? it?s almost over-the-top. When you combine that kind of style with the magnificent score, it goes beyond simple narrative storytelling and becomes a kind of poetry. It?s magical what film can do sometimes, and no other medium can do that, really.?

Since I know you guys are fond of lists, the full Deakins list can be found right there:

Ennio Morricone / Re: Ennio (2021)
« on: April 24, 2022, 09:58:11 AM »
This page says Morricone ?wrote over 500 scores for film & television and sold over 70 million records - from his cinema debut with Sergio Leone, to winning an Academy Award for The Hateful Eight in 2016.?

Morricone?s cinema debut was certainly not with Sergio Leone

It is also well known some unused bits from Morricone's previous work for movies were used in FoD.

Off-Topic Discussion / Re: Rate The Last Movie You Saw
« on: April 21, 2022, 11:19:02 AM »
The Nightingale (2018) - 6/10
As a period piece, it works very well. As an antiracist/antisexist movie, it's ok but would work much better if the bad guy wasn't 100% evil beyond redemption like nobody ever is in real life. As a revenge story, it works for a while but doesn't manage to transcend the genre (although it kinda tries).

Off-Topic Discussion / Re: Rate The Last Movie You Saw
« on: April 13, 2022, 12:01:33 AM »
Yes it?s mostly a list of details on how it was to live in these suburbs in the 60?s as a kid. The surprising part is that despite how much ? beaten to death ? nature of that concept, they manage to always stay involving and interesting. It is due to the very precise quality of the details they?re telling you about. They??re a bit less precise on the music parts but they still work. Also the way the moon things are integrated into something so realistic is surprising too at first but actually pretty smart and coherent with the whole thing.

Off-Topic Discussion / Re: Rate The Last Movie You Saw
« on: April 12, 2022, 07:32:46 AM »
Apollo 10 1/2 (Richard Linklater, 2022) - 7+/10
Identity (James Mangold, 2003) - 5/10
Ghost Dog (Jim Jarmush, 1999) - 7.5/10 (can someone removes the cross dissolve option from Jim's computer PLEASE?)

Other Films / Re: Pat Garrett & Billy the Kid (1973)
« on: April 10, 2022, 01:13:36 PM »
So which one are you usually watching?

Other Films / Re: Pat Garrett & Billy the Kid (1973)
« on: April 07, 2022, 02:56:50 PM »
I was gonna say: don't speak too loud, Stanton may hear you. It was nice knowing you, uncknown.

Off-Topic Discussion / Re: Rate The Last Movie You Saw
« on: April 07, 2022, 06:04:17 AM »
Indeed, Ennio did a lot to save flawed French movies between the mid sixties and the mid eighties. We need him back.

Off-Topic Discussion / Re: Rate The Last Movie You Saw
« on: April 07, 2022, 01:09:52 AM »
Body of My Enemy (1976) - 6/10. Belmondo gets framed for a double murder, and when released from prison returns looking for revenge. An elaborate flashback structure initially hides what is a fairly prosaic plot, but as the pieces of the puzzle began coming together, I found myself losing interest in the story. Belmondo is fun to watch (he wears some cool ties) and he's given plenty of witty one-liners by Michel Audiard to spout. I thank noodles for pointing me to this film (he's a much better friend than, say, that bathtub stanton) but having watched this once I don't feel the need to ever see it again.

The movie is heavily flawed. It presents both terrific sequences (I absolutely love the 2 scenes that follow the political meeting of the father: Belmondo opens the door, "How are you dad?", dad under a blanket: "I'm cold!", cut, following scene, Belmondo's girlfriend asks him "how is your dad?", Belmondo: "He started dying.") and lame ones (most of what happens at that terrible looking night club). What will always stay with me is how it captures a very specific time in remote areas of France: the arrival of modernity and its impact (economy, architecture, clothing, societal stuff...). I also really like how the movie feels nostalgic but doesn't show that "before" was that great. And while it shows the evolution of the life of people, it's impossible to say if the movie is rightwing or leftwing (of course the general vibe is a bit the one frome The Leopard, "everything had to change so that nothing changes" and all). I like that a lot. It's so strong it's a shame they felt like they had to add layers and layers of different plots on the whole thing to keep the viewer's interest. It doesn't help that the actual answer to "how did he end up in jail?" is the weakest part of the plot and is explained in the weakest segment.

Other Films / Re: Pat Garrett & Billy the Kid (1973)
« on: April 06, 2022, 11:09:46 AM »
Afaik the version released in theaters was prepared by Sam.
So, yes it's the DC.

That argument isn't valid. He released it but his vision had been compromised in the editing room by the studio. So this is the very definition of "not a director's cut". There is no DC for Pat Garrett & Billy the Kid. We only have lots of different versions that:

(1) get more or less close to/far from what Sam wanted
(2) are more or less good (IMO they're all flawed masterpieces anyway - that movie can be hurt, but it's just too good and too powerful to lose its masterpiece status by tampering with 10% of the edit)

Let's discuss those two points instead of wasting energy on a phrase that is, in our case, absolutely meaningless.

Off-Topic Discussion / Re: Babylon (2022)
« on: April 02, 2022, 12:42:59 PM »
I probably would, but I wasn't too hyped yet. I am now! Thanks, you're better at doing Chazelle's propaganda than I am.

Off-Topic Discussion / Re: Rate The Last Movie You Saw
« on: March 31, 2022, 12:58:20 AM »
Coda (2020) - Not to be confused with Coda (2021). I can't improve on the review given by a poster on amazon, so: "So I rented this movie because I thought that it was a different movie about people who were hard of hearing and I watch the whole thing right before class to write a paper about it. I was really confused why nobody was hard of hearing and I was waiting for it to show up but he never showed up and it really confuse me but it was a really good movie anyway about a piano man who was old. Then I realize that it was the wrong movie and that I had to watch another movie in like 30 minutes which is like No Way so I had to Google search a summary of a movie to write a paper and it was honestly not a good vibe. So I only got a C+ on my paper. Patrick Stewart, you suck! Why is your movie have same name as the one I was to watch? The movie itself was really good all things aside. But you fooled me, so 3/10."

I once bought the DVD of this:

... only because it was branded the following way:

CARLITO'S WAY rise to power, by the producers of SCARFACE

I was furious. Worst 5 bucks ever spent.

Off-Topic Discussion / Re: 2022 awards season (for 2021 movies)
« on: March 30, 2022, 04:05:08 AM »
Have you seen Petite Maman?

Not that one, not yet at least. But I'll probably watch "Naissance des pieuvres" beforehand (the other one i haven't seen), because the flaws I've mentioned earlier seem to grow bigger with time. So I'm more partial to her early work.

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