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1  Other/Miscellaneous / Off-Topic Discussion / Re: What do the Americans on here rate as the best British movie of all time? on: April 17, 2013, 08:49:23 AM
I have to go with my favorite film of all time (at least currently and for the past several years).

Lawrence of Arabia

However, if you don't mind, I'd like to mention a few others.

The King's Speech (perhaps the best film made in the past 10 years in my opinion)
The Remains of the Day
Lock, Stock, and Two Smoking Barrels
The English Patient
2  Other/Miscellaneous / Off-Topic Discussion / Re: Full Screen vs Wide on: April 12, 2013, 02:54:19 PM
Hm... I now have a new computer with a widescreen monitor; I guess I should watch some Leone to put it to good use. Grin

And welcome back, Beebs/Tex, a bit late from me. Afro

Thanks, Marmota!
3  Films of Sergio Leone / Once Upon A Time In The West / Re: were Jill and Brett McBain really married? on: April 12, 2013, 11:46:51 AM
Good observation, I also remember just recently seeing a close up screencap somewhere of Jill's hand and her wedding ring someplace.

Here ya go, Joe. From marmota in a previous thread.

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4  Films of Sergio Leone / Once Upon A Time In The West / Re: An ancient race on: April 02, 2013, 09:46:27 AM
Interesting point, Well. The only clue Harmonica gives is that "Man" is a race that will be killed off by Mortons. Frank is, at lest literally, killed of by Harmonica (is Harmonica a man?).

But what I really want to know is, what is it about Morton that he is not a Man? Is it that he relies so heavily on money, paper, and machine to live? In that sense he is not fully a man, but don't all men have man-made crutches of some kind? Frank sets up the analogy nicely when he compares Morton's desk to his gun ("only much more powerful"). I think Frank realizes he a man of the gun, not of the desk, and if he was right that the desk is mightier than the gun, then perhaps it is right to say that he is killed off by the desk wielding Mortons. After all, Morton shot Cheyenne, right?
5  Other/Miscellaneous / Off-Topic Discussion / Re: Great TV Series Themes on: March 31, 2013, 04:10:19 PM

By the way, I go to a pub quiz every week here in Annapolis, and last week's quiz had this question: What makes 60 minutes different than every other TV show?
Answer: It has no theme music.
6  Other/Miscellaneous / Off-Topic Discussion / Re: Life of Pi (2012) on: March 20, 2013, 10:17:07 AM
my channel is 95% of the time on TCM (no commercials).

7  Other/Miscellaneous / Off-Topic Discussion / Re: Kids films you remember as a child. on: March 18, 2013, 02:20:01 PM
My mom says I would watch Old Yeller over and over in one sitting as a kid.
Sword in the Stone (Disney)
Davy Crockett
Batman The Movie
The Shaggy Dog
Star Wars Trilogy (the special edition in that gold and black box; anyone else have that one? I remember that box fondly)
8  Other/Miscellaneous / Off-Topic Discussion / Re: The Master (2012) on: March 06, 2013, 07:51:52 PM
Definitely need to give this another watch before saying much, but I suspect my experience will be similar to my experience with TWBB. I'll see it, think "Well that was interesting" then have a dream or thought about it a year later and get really into it.

Also, this scene creeped me the hell out.

Speaking of which, did anyone think Amy Adams deserved the Oscar? Or Hoffman or Phoenix for that matter.
9  Films of Sergio Leone / Other Films / Re: The Man Who Shot Liberty Valance (1962) on: March 05, 2013, 09:38:42 PM
Oh, and I have a question!

I just rewatched this, and I was struck (surprisingly for the first time) by the big lie, that is, the fact that Ransom has apparently never told anyone the truth about the man who shot Liberty Valence. Seeing as it's the title, I assume we're prompted to think about this. (Incidentally, see my post on titles if you have a title you'd like to discuss The lie reminds me of the lie in Conrad's Heart of Darkness, regarding Kurtz' last words. It's a tricky thing. What was right to do?

If he had told Hallie the truth, perhaps he would have lost her. I mean, that was the reason Tom kept the secret, to keep Hallie happy. And had he told the public, his career would have suffered. I suppose we are to think that he did a lot for the state. Hallie makes a comment about how the wilderness has become a garden, and "aren't you proud" she says to Rans. So was all this worth the lie? It is clear that the lie bothers Rans. The conductor's line at the end "Nothing is too good for the man who shot Liberty Valence" conjures a terribly moving expression on Ransom's face. One of sadness and perhaps guilt.

What do yall think?

10  Films of Sergio Leone / Other Films / Re: The Man Who Shot Liberty Valance (1962) on: March 05, 2013, 09:28:41 PM
On the issue of crying in movies, I've been reading Mortimer Adler and Charles Van Doren's How to Read a Book. There's a chapter on reading "Stories" in which they recommend that the reader read the story quickly, in one sitting if possible, and with full immersion. I think the same applies to movies. The audience has to live in the world of the author before they can judge it. If one is brought to tears, I imagine this would be a sign that one is on the right track. (Provided they are not bored to tears  Wink)

11  Films of Sergio Leone / The Good, The Bad and The Ugly / Re: Who's the better host - AngelEyes or Stevens? on: February 27, 2013, 12:08:29 PM
Alright then, who's the better guest? Tuco or Angel Eyes?
12  General Information / General Discussion / Re: The Man with No Name has three names on: February 26, 2013, 09:58:10 PM

But I think my question still stands. Did Leone see his characters for Eastwood (three different characters, I know) as nameless, or was this purely an invention of the American market? Or perhaps to ask a slightly different question, did Leone object to the idea of called Eastwood's characters The Man with No Name, ASIDE FROM THE FACT that it suggests that they are the same man?
13  General Information / General Discussion / The Man with No Name has three names on: February 26, 2013, 09:10:30 PM
Now, I'm sure this has been discussed here before, but I couldn't dig anything up in a search so I'll just start anew.

As we all know, the Man with No Name has a name of some kind in each movie. Joe, Manco, and Blondie. In FFDM, the sheriff even says, "His name is Manco," so it's hard to argue that all he had was a nickname. I've heard that the whole Man with No Name thing was an American marketing trick. Is there any instance of Leone intentionally creating a nameless character? It doesn't seem like Clint characters are uniquely unnamed or scarcely called by name. Angel Eyes is just as much of a nickname as Blondie.

Further, what would be the purpose of a nameless hero? I've often heard that the Master Chief from the famous Halo video games was based off of the Man with No Name, and that they didn't give him a name so that the player could identify with him more. I find it hard to believe that Leone was doing anything like this. Thoughts?
14  Films of Sergio Leone / Other Films / Re: "Deadwood" (2004-2006) on: February 26, 2013, 02:56:43 PM
It reminds me of the joke in Blazing Saddles about "genuine frontier gibberish" reflecting the Hayes Code influence.


Auw Shoot
Auw Shucks
Jumpin' Jehoshaphat
What in tarnation
Goll darn it

I'm sure we can come up with more  Wink

Yosemite Sam is a good source.  Afro
15  Films of Sergio Leone / Other Films / Re: "Deadwood" (2004-2006) on: February 26, 2013, 12:03:01 PM
Just rewatched that interview. Here are some of the most interesting points made by Milch.

Origin of the show - Milch's project was to explore the idea that men, when they find themselves without a sovereign system of law and order, impose some sort of order upon themselves. The original pitch to HBO was for a show about city cops in Nero's Rome. Unfortunately for Milch at the time (but fortunately for we western-philes), HBO told him sorry, but they were already working on a Rome show. So he returned with essentially the same show exploring the same themes but in a different venue, Deadwood.

Language, vulgar and eloquent - As for the vulgarity, Milch states that "It's very well documented that the obscenity of the West was striking but the obscenity in mining camps was unbelievable." He goes on to say that just as gorillas beat their chests to avoid having to fight all the time, so did the man of the rough and tough west cuss up a storm. It was a way of announcing his presence as a tough customer without having to tear it up with his fellow man.
The other side of the coin is the eloquent language. Those who were educated at the time were educated by the Victorian novels. The two worlds collide in the West where men of letters rise to power only when they are able to verbally beat their chests, Al being the prime example.

You'll notice that the characters who routinely get violent physically are not the most eloquent characters. And those who get the tar beat out of them are not the most obscene speakers (The dandy from NY, EB, Hugo Jarry the Yankton commissioner). You need both to survive in Deadwood. Wu in an interesting case in this regard. Among the Chinese he is a boss, but among the English speakers, he must rely on Al to supply more than just the obscenity he has soaked up.

Cigar Joe has pointed out that there is a surprising lack of shootouts. This is perhaps due to the verbal chest beating that goes on. However I would add that when things do get violent, man, do they get violent!

The Western genre as we know it - Keith Carradine mentions that it is hard to consider this a Western along side the traditional American Western. On this, Milch says some very interesting things. He says that the old westerns reflected the Hays production code ( much more than they reflected reality. So in the restricting environment of Hollywood, the successful writers were the ones who could build a story, nay a world, within those confines. According to Milch this is exactly what the early American Western did. It's hard to make a realistic gangster movie under such restrictions. You end up with mob bosses who say things like "Gee whiz" "Watch it, mister" and "Go kiss a duck". So Milch says, "If characters can't say anything obscene, you try and conceive a character for whom obscenity is a kind of fallen or pathetic expression of weakness. I believe that was the source of the development of the laconic cowboy." He "didn't have to f*** with the Hays code, 'cause he didn't talk a lot."
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