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Author Topic: Most memorable scene in this film?  (Read 46295 times)
Blueberry
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« Reply #30 on: June 15, 2004, 06:49:38 AM »

It's funny that you mention the scene with the man mobbing ... - I thought exactly that... it looked very "artificial" and very intently positioned, especially him  - you know, he puts down the mob and dries some sweat off his forehead with his sleeve, while exhaling in the most elaborate way.

Good to hear from someone who thought it over - with the careful positioning it's probably meant to have some meaning, and I think yours is a fine interpretation.

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« Reply #31 on: June 15, 2004, 02:52:14 PM »

yeh, there are many memorable scenes in the film, but I would llike to bring your attention to one that is not mentioned hitherto.  

it's the one shortly after when Nero, in the 1920s (or 30s?) brought a one way ticket and then went to the counter the purchase something.  There de Nero stands on the left, in front of the counter and facing the vendor.  To the left, for about three to five seconds are three characters positioned in a trangle: one black man mobbing the floor,  behind him sits a woman, probably in her early fifty, eating a piece of bread, and to her right, is a man sleeping on the bench.  

I didn't catch the symbolism until very recently, for the scence I believe epitomizes the life of Noobles in exile, during which a defeated man drags a spiritedless existence for almost thirty years.  Like those three characters, he works, he eats, and he sleeps and nothing else.  This constitutes a big part of his tragedy.  

 Shocked   My!  I would have never imagined such a sophisticated thing! Amazing.  The level of SL has augmented throughout his movies as the level of the use of the symbols. Have you found anything else like that in OUTIA?

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lhoimer2005
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« Reply #32 on: June 15, 2004, 11:12:33 PM »

one more scence I forgot to mention, it's the one at the end after the garbage truck passes by Nero, and then three cars loaded with drunken teens are moving to Nero's direction.  

For a brief moment, the camera focuses on Nero's facial expression as he checks the approaching cars.  Then a beam of light strucks on his face TWICE.  I believe this is another symbolism.  As far as I am concerned, the primary theme in this movie is the passage of time, and the light beams actuualy stand for the two periods -- one is his adolecence, the other his late 20s -- in his life that worth remembering; the rest, including the time he served in prision, or the time in exile, as I said before he drags a spiritedless existence.  not only was he a hunted man, he was also haunted by his past, remorseful of bringing Max and other childhood buddies to their premature death, and probably spends his days in nogstaglia.  but even for all the torments he has endured, those two periods LIGHTS UP (the light beam) his life and makes life bearable, howeverable inbearable in may be.  

This kind of relates to another big debate, as to whether this is a dream.  My intution is that it is NOT a dream.  Things really happened, let's think of the emotional impact, would the story still moves us, and touches our souls, and provoke our sympathy for Noobles if there is nothign but a dream? negative !! also, think of it this way, setting aside what leone really thought for a meoment, ask yourself this, for asthetics purpose what makes the film, and Nooble's story more memorable, that he makes it up or that he really experiences it?    

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lhoimer2005
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« Reply #33 on: June 15, 2004, 11:23:00 PM »

one last thing, after having spent close to four hours watching the movie for the first time, I knew immediately that this is a great movie, there's no doubt about this, but it was until the film's last five minute that I realize that it is not like any other great movies, including the ones Leone produced, that it is a vertible masterpiece.  In the last few minutes of the film, the scence with the light beams, and the ones in the opmium den, highlights the theme(s) of this epic and what is more, provides plenty of food for thought.  
 



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« Reply #34 on: June 16, 2004, 08:23:26 AM »

Thank you for your illuminating explaination of your memorable scene in the film. It is amazing how one can discover new things even after many viewings of this masterpiece.
One of my favourite scenes is when Cockeye spots Carol in the brothel and she come in and starts to survey the gangsters...well you know what. You have that really sexy jazz music playing then when she comes to Max the piano is romantic. It is such a great scenr the way Leone can elevate something quite sordid into an art level. This reminds me also of the scene on the rooftop with the policeman and the way the music starts to indicate Noodles' yearning for Deborah as Max is doing the business with Peggy.

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« Reply #35 on: June 19, 2004, 08:15:21 PM »

hi guy's.  I am just posting my first, and hopefully many thought's on this and all Leone's work's.  Yes, that cake scene.......  Patsy lives in a hell hole, life is tough for a kid with not much of a chilhood to speak of, being surrounded by the harsh realities of life in that place, at the time, yet despite all this, he is still a child........................that scene, says to me "ah, the innocense of youth.......  Moves me to tears thinking about it> Embarrassed

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« Reply #36 on: June 26, 2004, 01:03:21 PM »

the scene between noodles and 'mr bailey'.



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« Reply #37 on: July 17, 2004, 04:21:44 AM »

I really like how the transition to the past is done in the beginning, with the phone-ringing, especially at the end, when de Niro picks up the phone, but the phone keeps ringing and it's not until the police (or something) picks up that it stops.  It's arty stuff.

Best part in the film is when Noodles' gang runs from the other gang (the name escapes me) and a slow motion sets in accompanied with the panflute theme.  Goosebumps all over the place.

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« Reply #38 on: July 17, 2004, 07:24:13 AM »

Yeah, a lot of us like that scene. It's moving, dramatic and ends in tragedy.

Another brilliant scene transition is when Noodles is whacked out on dope. The camera slowly moves away from Noodles dazed face to the lamp beside him, and then blurs into the moving street lamp where the charred remains of the gang are lying on the road.
I love the way the rocking movement of the damaged street lamp signifies Noodles hypnotic state in the opium den.

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« Reply #39 on: July 20, 2004, 10:51:16 AM »

I like 1968 Noodles and Fat Moe talking in the bedroom, when Fat Moe says: "I would have bet everything on you." and Noodles says, "You would have lost."

Obviously, 1968 Noodles and "Secretary Bailey" in the mansion.

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« Reply #40 on: July 22, 2004, 03:19:26 PM »

I like 1968 Noodles and Fat Moe talking in the bedroom, when Fat Moe says: "I would have bet everything on you." and Noodles says, "You would have lost."

Obviously, 1968 Noodles and "Secretary Bailey" in the mansion.
For me, where the older NOODLES opens the suitcase in the station. Pure cinema! Pure Leone!

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« Reply #41 on: July 24, 2004, 04:51:57 PM »

For me, where the older NOODLES opens the suitcase in the station. Pure cinema! Pure Leone!
Also, JAMES WOODS, losing it at the beach.....CLASSIC SCENE! Shocked

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« Reply #42 on: July 24, 2004, 05:34:03 PM »

Yeah, just about all the "you're crazy" scenes are classic  Grin


for me, the most memorable scenes:

- His meeting with Deborah after getting out of jail.

- When he's ordering some food in the bus station and there's a man cleaning the floor, another sleeping, and another eating...someone here noted the symbolism involved, and since then, its a helluva memorable scene

- When Noodles looks at "Secretary Baily's" son.

- When Noodles and Max eye each other for the first time in 35 years.

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« Reply #43 on: July 24, 2004, 06:25:21 PM »

TO me, Noodles in the phone box, outside of FAT MOES place. CLASSIC LEONE!

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« Reply #44 on: August 02, 2004, 01:00:32 PM »

my favorite scene is definitly when noodles goes back to the hole in the wall in the 60's and it flashes back to the first time we see noodles spying on deborah... i love the way we(the camera) travels back and forth slowly through the whole... the cinematography is simply amazing... as with about 50% of all leone shots... the other half are only great

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