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: Rate The Last Movie You Saw  ( 2270647 )
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« #4680 : November 05, 2008, 08:38:40 AM »

Oh, come on. The novel is no great shakes. It's just a more cynical Tom Jones, but since Richardson had already adapted that, Kubrick had to have a fresh approach. I think his strategy really paid off: instead of going with the unreliable narrator approach (as in the novel) and playing it all for laughs, K stood back and attempted a God's-eye P.O.V. Barry was not allowed to tell his story to his advantage, and thus he is exposed for the shit he really is. Why should we care about the character, then? Ultimately we don't, but the attentive viewer gradually transfers his sympathies to Lady Lyndon. Quite a feat, as she is presented as a monster in the book. I for one find the stories of seemingly intelligent women falling for complete scoundrels interesting, as it seems so much of civilized life turns on such things. . . .

I don't think I've read many novels better than this. Most certainly my fault. What is lacking in Kubrick's approach is the picaresque attitude toward Barry's existence, maybe coming to the fore only in the adventure with his cousin. The rest looks very much like set pieces, almost like a History Channel documentary. Which is a roundabout way of saying that the movie is lifeless. I'd rather read the novel again than watching it for the 5th time.   Though I'll have to do it again as I always saw the dubbed version of the movie. BTW, the narrator in the italian version is Romolo Valli.


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« #4681 : November 05, 2008, 08:44:02 AM »

Cinema is more than dialogue. That last scene, where she's doing the accounts, and she writes out the check or whatever for Barry, that communicates nothing to you? I've always found that very moving.

You're not really convincing me that I should feel anything towards an underwritten and mostly undeveloped character.



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« #4682 : November 05, 2008, 08:58:42 AM »

You're not really convincing me that I should feel anything towards an underwritten and mostly undeveloped character.
It's virtually a non-speaking part. If you want to call that underwriting, very well. But the part is not under-directed: Kubrick gives us an index into her emotional state throughout. It's all in the gaze.



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« #4683 : November 05, 2008, 12:09:32 PM »

Hollow Triumph (1948) - 7/10
A few scenes are great, otherwise it's mostly OK and then there are some overly stupid plot holes/mistakes. I might be a tad generous with my rating...


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I don't see any method at all, sir.


« #4684 : November 05, 2008, 02:43:12 PM »

The War Within (2005) 4/6
good movie about a very controversial subject these days. I just think it could have gone deeper.
I hear paradise now is a better movie on the same subject. will have to check that out.


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« #4685 : November 05, 2008, 02:49:38 PM »


White Heat (1949)

One of James Cagney's very best and a very influential gangster picture. I love this film.




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« #4686 : November 05, 2008, 03:25:00 PM »

It's virtually a non-speaking part. If you want to call that underwriting, very well. But the part is not under-directed: Kubrick gives us an index into her emotional state throughout. It's all in the gaze.

You read this somewhere, I'd bet. 


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« #4687 : November 05, 2008, 03:28:53 PM »

I have to say Jenkins, I don't see this as much of a counter-argument.

You read this somewhere, I'd bet. 

 ;D



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« #4688 : November 05, 2008, 03:57:27 PM »

Exorcist II: The Heretic (1977) - 4/10
This is everything the original was in danger to be but wasn't.

On the plus side: a rocking Ennio score.

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« #4689 : November 05, 2008, 05:27:00 PM »

You read this somewhere, I'd bet. 
I did not invent the English language. The words "virtually" "index" "emotional" and "gaze" were not coined by me. Nonetheless, the particular use to which they were put in the statement above originated with me.

Grogs, the film is its own argument. When I first saw it in a theater in 1976 I was devastated. I had no idea what I was in for, and the sense at the end of lives and emotions completely squandered hit me hard. I believe you when you say the movie generates in you nothing but ennui, but believe me in turn that other responses to the film are possible.



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« #4690 : November 05, 2008, 05:40:51 PM »

What? You DIDN'T write the first English dictionary? :o



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« #4691 : November 05, 2008, 05:45:13 PM »

Nonetheless, the particular use to which they were put in the statement above originated with me.

Ok, I'll reformulate my question: you quoted somebody else's concept (though using a different lexikon)? Because really, Jenkins, that Marisa Berenson may express something, and just by her gaze (now, don't tell me you meant the camera gaze, please) at that, beats everything you wrote on this forum so far.



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« #4692 : November 05, 2008, 05:46:45 PM »

Decision at Sundown (1957) 5/10 the weakest Boetticher-Scott films that I've seen.


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« #4693 : November 05, 2008, 06:03:14 PM »

I meant both the gaze of the camera as well as Ms. Berenson's mute performance (in the nature of the case, we must gaze upon the gazer). Lady Lyndon hardly speaks, yet her sadness communicates to me very powerfully. What, then, must the medium of that communication be, if not her gaze?



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I don't see any method at all, sir.


« #4694 : November 05, 2008, 06:35:49 PM »

perhaps you should start a barry lyndon topic where you can delve deeply into this woman's gaze.


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