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Author Topic: Rate The Last Movie You Saw  (Read 1833234 times)
The Firecracker
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« Reply #4530 on: October 13, 2008, 03:48:52 PM »

Well, admitting she isn't a vuluptuous individual doesn't preclude her being attractive. In the right role/picture she is ravishingly gorgeous. I quite like her face personally - unlike Keira, who looks like a slack-jawed shark.


I agree with you that one does not have to have large assets to be attractive but Natalie's face (much like Ellen Page's) reminds me of a young boy.
So she pretty much has nothing going for her as far as I'm concerned.

Knightly can be good looking if given the right costume and the right amount of Make-up (The first Pirates) but she usually just looks skeletal

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The Firecracker
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« Reply #4531 on: October 13, 2008, 03:50:01 PM »

The Rutles: All You Need Is Cash (1978) - 6/10
I see I gave it 7/10 last time around...


Stay away from the sequel. It's just a shameless, unfunny re-hash.

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dave jenkins
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« Reply #4532 on: October 13, 2008, 04:09:52 PM »

Jenkins, the 30 some euro (not only spaghetti) westerns that came before Leone were not influential on him. Otherwise this forum just wouldn't exist. Yojimbo may be a western, but it's not euro (or spaghetti). 
About what you label "homo-social milieu" that is only a way to have an action movie move by excluding the sentimental part. Bringing homosexuality into play is just a shortcut to smartedness (now tell me you said that just to be bothersome. Ok, you were.). 
No, no, you misunderstand me. "Homo-social milieu" just means "society of men" or "milieu without women." Nothing sexual (necessarily) implied.

Your point about SL having a big influence on the genre he worked in is certainly worth making, and that fact does stand in contradistinction to Melville's lack of influence on his. The difference perhaps can be accounted for in that the Western was a living form (ailing, perhaps, but very much alive) that could continue to change, whereas film noir was a form that expired at the end of the 50s. Melville would have had to be both a time traveler as well as a director to influence his chosen genre. Of course, the crime film continued to evolve, it is very much still with us, but Melville was working with tropes specific to film noir, and since the genre was no longer extant, there was nothing for him to influence.

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« Reply #4533 on: October 13, 2008, 06:19:25 PM »

No, I agree, there is no quotation going on here. As I said, Melville and Leone were developing their styles at the same time and independently of each other.

You are right about Grisbi (and other films by Becker) providing inspiration for Melville, but it's not true that SL came up with the so-called SW on his own. By his own admission, 30 or so Italian Westerns had come prior to AFOD. True, Grisbi is a great film, and the Italo Westerns prior to Leone were, undoubtedly, crap, but Yojimbo is also a great film. Perhaps all you can really say is that SL's influences were more disparate than Melville's. I do think, though, that it's interesting that both directors were primarily interested in homo-social milieus, with their attendant themes of honor, loyalty, and betrayal.

Well, as much as I like to leave the veterans alone, I have to come in here and ask... Was it just me or did Touchez Pas Au Grisbi feel like it was an influence on Leone too?  I haven't watched in a couple years, so I'm going off vague memories,  but I seem to recall some things reminded of the master.  For instance, the way dramatic actions were punctuated by a brief harmonica sound effect.

Anyways, DJ has done a nice job of getting me worked up to see Le Deuxieme Souffle, I'll have to get it on netflix.

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« Reply #4534 on: October 14, 2008, 01:15:25 AM »

Well, as much as I like to leave the veterans alone, I have to come in here and ask... Was it just me or did Touchez Pas Au Grisbi feel like it was an influence on Leone too?  I haven't watched in a couple years, so I'm going off vague memories,  but I seem to recall some things reminded of the master.  For instance, the way dramatic actions were punctuated by a brief harmonica sound effect.

Anyways, DJ has done a nice job of getting me worked up to see Le Deuxieme Souffle, I'll have to get it on netflix.

In the first case the influence would rather be on Morricone.

No, you have to thank me. Jenkins was rooting for Le Doulos.

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« Reply #4535 on: October 14, 2008, 01:20:36 AM »

No, no, you misunderstand me. "Homo-social milieu" just means "society of men" or "milieu without women."

In which language? Homo in english is short for homosexual, isn't it? 


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« Reply #4536 on: October 14, 2008, 01:39:24 AM »

Your point about SL having a big influence on the genre he worked in is certainly worth making, and that fact does stand in contradistinction to Melville's lack of influence on his. The difference perhaps can be accounted for in that the Western was a living form (ailing, perhaps, but very much alive) that could continue to change, whereas film noir was a form that expired at the end of the 50s. Melville would have had to be both a time traveler as well as a director to influence his chosen genre. Of course, the crime film continued to evolve, it is very much still with us, but Melville was working with tropes specific to film noir, and since the genre was no longer extant, there was nothing for him to influence.

We're in complete disagreement on that. Of course, if you dub Melville's movies noires you could be (could, mind) right. But if you call them (as it is only right) crime movies your whole reasoning goes crap.

P.S. Now don't post me, please, some far-off article explaining the diverse theories some critics have developed to define chronologically and stylistically the noir genre. Stick to your opinion.

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« Reply #4537 on: October 14, 2008, 05:16:32 AM »


Stay away from the sequel. It's just a shameless, unfunny re-hash.
Never knew there was a sequel. Oh... I just checked on IMDb, sounds terrible.

Annie Hall (1977) - 8/10

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« Reply #4538 on: October 14, 2008, 06:12:20 AM »

In which language? Homo in english is short for homosexual, isn't it? 
Sometimes. It's also a prefix simply meaning "man" and can be attached to any number of roots. As for example, homosapien.

As for the idea that Grisbi influenced Leone, that hadn't occurred to me, but I'm willing to give that idea some thought. Certainly  Becker, Melville, and Leone lavished attention on homo-social milieus where women are either insignificant as characters or excluded altogether. Themes related to friendships between males is important to all three directors.

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« Reply #4539 on: October 14, 2008, 06:16:00 AM »

No, you have to thank me. Jenkins was rooting for Le Doulos.
I own to this.

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« Reply #4540 on: October 14, 2008, 06:19:03 AM »

Of course, if you dub Melville's movies noires you could be (could, mind) right. But if you call them (as it is only right) crime movies your whole reasoning goes crap.
Was it really necessary to reiterate the point I was making? Well, if you insist . . .

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« Reply #4541 on: October 14, 2008, 10:50:34 AM »

Sometimes. It's also a prefix simply meaning "man" and can be attached to any number of roots. As for example, homosapien.

Always the same kind of roots?

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« Reply #4542 on: October 14, 2008, 10:52:17 AM »

Nbut Melville was working with tropes specific to film noir, and since the genre was no longer extant, there was nothing for him to influence.

Jenkins, that's what you wrote?

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« Reply #4543 on: October 14, 2008, 10:52:59 AM »

The Mummy 3 - Fun. 8\10

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« Reply #4544 on: October 14, 2008, 10:59:52 AM »

The Mummy 3 - Fun. 8\10

Wow, really?

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