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 31 
 on: April 17, 2018, 04:52:44 AM 
Started by drinkanddestroy - Last post by greenbudgie
Interesting thoughts about guns in this. Pidge's pacifist mother doesn't want her son to get into guns. Not even his toy pistol. Hayden insists that the boy needs to learn that guns aren't always bad.

 32 
 on: April 17, 2018, 04:51:13 AM 
Started by morrison-dylan-fan - Last post by cigar joe
Watched this one last night... It's a nice noir with a typical convoluted story, with good performances from Paul Lukas and Mary Roberts... Unfortunately the online copy I saw is in rough shape, so what could have been nice shots of 40's Quebec have little charm left. Loved the idea of a 7" transcription disc/record being used for blackmail. Hopefully a nicer/cleaned up copy will show up some day... 7/10

I've seen it on Youtube also and it was rough. I don't feel as if I've actually seen it yet. Wink

 33 
 on: April 17, 2018, 01:06:25 AM 
Started by morrison-dylan-fan - Last post by XhcnoirX
Watched this one last night... It's a nice noir with a typical convoluted story, with good performances from Paul Lukas and Mary Roberts... Unfortunately the online copy I saw is in rough shape, so what could have been nice shots of 40's Quebec have little charm left. Loved the idea of a 7" transcription disc/record being used for blackmail. Hopefully a nicer/cleaned up copy will show up some day... 7/10

 34 
 on: April 17, 2018, 12:47:24 AM 
Started by drinkanddestroy - Last post by drinkanddestroy
RIP Milos Forman

NY Times https://www.nytimes.com/2018/04/14/obituaries/milos-forman-dead.html

Hollywood Reporter https://www.hollywoodreporter.com/news/czech-republic-mourns-milos-forman-1102930

LA Times http://www.latimes.com/entertainment/movies/la-et-mn-milos-forman-foreign-directors-20180416-story.html

Washington Post https://goo.gl/sFBFMa

 35 
 on: April 16, 2018, 11:58:38 PM 
Started by PowerRR - Last post by drinkanddestroy
Some Came Running (1958) 9/10

Performances here all top-notch: Frank Sinatra, Dean Martin, Shirley MacLaine, Arthur Kennedy, Martha Hyer (the latter 3 were Oscar-nominated).
Shirley MacLaine's character is particularly wonderful: a dumb tramp, who knows she is dumb, but as sweet a person as you can find. It was played to absolute perfection.

SPOILER ALERT

I did not like the ending, I didn't think it was appropriate for the story at all. I am sure that the marriage between Sinatra and MacLaine had no chance of ever working out; he woulda dumped her on her ass within a week, so I guess that in a crude way, her getting killed sort of took care of that for him. But it just didn't feel right, the tone of the film never felt like it was headed for murder, it canme out of nowhere, the movie suddenly does a complete 180 in the last three minutes, and leaves you feeling totally different than you felt for teh first 98% of it, I just didn't like that ending. No, I wasn't hoping for Sinatra and MacLaine to live happily ever after either, I don't think Sinatra was the sorta dude who would find peace that easily; maybe it could have ended with him leaving town alone on a Greyhound bus or something.

Also, something just didn't feel right about Sinatra's scenes with Hyer. Considering the kind of character he is, it just doesn't make sense that after meeting Hyer once, he really loves her, and runs after her in the way that he does, somehow, the scenes between Sinatra and Hyer don't seem to have been written that well.

Those are two criticisms I have of a movie that is otherwise a terrific watch. All the scenes filmed on location, there were just a few process shots during driving (which unfortunately is almost always the case).

Good times  Afro

Yiiiiiiikes. I can't believe I gave this movie such a high rating. I just saw it again. I give it a 7/10
The screenplay is a mess. Throws together a bunch of different people and problems, doesn't resolve anything, ugh, just a total mess, the screenwriter has no idea what to do at the end, so make a dumbass ending come out of nowhere. A garbage screenplay, but overall the movie is not a bad watch. Sinatra and Martin are good, nice to look at a real American town in color in the 1950's.

 36 
 on: April 16, 2018, 10:56:03 PM 
Started by cigar joe - Last post by drinkanddestroy
I got a kick out of one line in this movie, "chummy as Leo Durocher with an umpire." Leo Durocher was a famous baseball manager from 1939 until the early 70's, notorious for his umpire-baiting, and an overall bad guy. Among the many things he did that gave the baseball establishment headaches was his close friendship with ... George Raft! and other sordid characters. In 1947 the baseball commissioner suspended Durocher for the entire season. Eventually he was ordered to cut off all ties with Raft. I just read a biography of Durocher, it had lots about Raft.

 37 
 on: April 16, 2018, 05:30:03 PM 
Started by PowerRR - Last post by drinkanddestroy
MoMA has a retro going this month called Kazuo Miyagawa: Japan's Greatest Cinematographer. The great thing about this approach is that it allows for showings of films not directed by the big names, pictures no one has ever heard of, let alone seen. I went to one this weekend with my new Japanese bride who kept telling me, "Those subtitles suck." (Yeah, baby, just watch the pretty pictures, wouldja?)

Nishijin no shimai / Sisters of Nishijin (1952) A woman's picture, but also a film about changing social conditions in Japan. A family tries to save a textile company even as the industry about them is dying. They don't make it. Directed by Kozaburo Yoshimura. Screenplay by Kaneto Shindo. With Kinuyo Tanaka, Yumiko Miyagino, Mitsuko Miura, Yuko Tsumura.

I got a MoMA membership (I was there two weeks ago with my old Hungarian friend, and the ticket line was very long, so I went to the short membership line instead)  Smiley

 38 
 on: April 16, 2018, 03:52:50 PM 
Started by mike siegel - Last post by uncknown
You're correct about that scene coming at the reel change but it still doesn't explain why one format (98 LD) includes that footage but the other format (98 DVD) does not.

Here's a link to Jordan's site that compares the various versions of the hotel scene:

https://vimeo.com/221519241

Thanks!
Nice work J!

btw if you want to improve the picture of the Kino extended cut:
decrease color saturation
increase yellow tint (faces are burnt red)
increase brightness (indoor scenes are too dark)

I made a screen capture of my settings, although that might not be applicable to your monitor.

The 1998 MGM dvd and 2017 Kino US cut have good transfers. Remember no two prints are ever going to look exactly alike and everyone sees things through their own unique eyes!!!
bruce

 39 
 on: April 16, 2018, 02:20:42 PM 
Started by noodles_leone - Last post by Kurug3n
I really didn't know where to post the following clip since there is no thread about Friedkin, Refn, Sorcerer or Only God Forgives. So here it is:

Friedkin's reaction to Refn's claim that Only God Forgives is a masterpiece:
https://www.youtube.com/watch?feature=youtu.be&v=1jPWGEoyJHY
Source: long interview of Friedkin by Refn for the bonus of Sorcerer's 2017 BD


Can always count on Friedkin to entertain. His memoir is a pretty great read if you haven't had a chance.

 40 
 on: April 16, 2018, 11:57:32 AM 
Started by mike siegel - Last post by Lil Brutto
I should mention that any conclusions based on the research etc is a product of lots of back and forth discussions between Lil Brutto and I.

The great part is that the research continues! There's still much to learn about this film. In particular we have many unanswered questions about the Italian cut. Jordan and I are still trying to put together the pieces of a very complex puzzle that are the 2 documented versions of the Italian cut:

1) What version was shown during its initial 1966 theatrical release? Our 1966 Italian print indicates that it's not the version that's been available on home release (e.g. CVC DVD, Mondo BD, etc etc) in that country since the Italians restored the film around 2000.

2) There's also the enigmatic 1969 re-release version that we call the "censorship cut" because the film was apparently edited for violence to reduce the age restriction from 18 to 14. The sole source of info is that documented by the Italian censor board but it is inconsistent and confusing.

I can't speak for Jordan but I have an unsubstantiated theory that the 1969 censor cut is the same as the US theatrical/International cut based on clues from various sources. I won't elaborate because it's speculation at this point but our tireless/stubborn effort to shed more light on the history of this film will hopefully lead to a breakthrough.

As for the colours, Jordan already said that he wasn't focused on perfecting the color timing of the 35mm prints in his fantastic comparison videos. That remains to be done. However, it's pretty damn close to where it needs to be and is certainly gives you a good of how the film looked in theatres in the late 60s. Yes, there's some green and yellow in the image, as well as leathery (but not jaundiced) complexions and lots of blown out skies. NO green skies and NO green teeth!!

Cineteca di Bologna commissioned L'Immagine Ritrovata to restore the film around 2013-14 (Press release link: http://www.cinetecadibologna.it/areastampa/c_1175). This is the restoration seen on the 2014 MGM BD with the excess yellow/green cast. Yet last summer I came across a website that took high quality pics of an IB TECH print in Cineteca di Bologna's possession, which I presume served as a color reference for that restoration: http://zauberklang.ch/filmcolors/galleries/il-buono-il-brutto-il-cattivo-1966/

It sure doesn't look like the final product, does it? Yet it's quite consistent with our prints despite not being color corrected:



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