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Author Topic: Rate The Last Movie You Saw  (Read 1838012 times)
noodles_leone
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« Reply #6840 on: September 16, 2009, 10:24:16 AM »

Nous ne vieillirons pas ensemble/We Won't Grow Old Together (1972) - 10/10. A couple in a self-destructive/mutually-dependent dysfunctional relationship keep trying to break up, and finally succeed. Maurice Pialat's second feature, based on his (apparently semi-autobiographical) novel. The woman in this is a doormat, the guy a total jackass (when things get really bad between them, the guy seeks solace by complaining about his girlfriend to . . .  his wife--hey, they're French!) Well-observed character study, mostly of anthropological interest, but done about as well as this kind of thing can be. Highly amusing.

I'd say 6/10, but i only saw it on a very little TV once. It's based on dialogues and acting... and there is at most a couple close ups in the movie... More generally, it is more of a theater piece than a movie: not a single particularity of movies is used in the whole thing as far as i can remember. The only cool thing i'd have to say about the movie is that some parts of it were shot very close from my house.

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« Reply #6841 on: September 16, 2009, 02:14:31 PM »

It's based on dialogues and acting... and there is at most a couple close ups in the movie... More generally, it is more of a theater piece than a movie: not a single particularity of movies is used in the whole thing as far as i can remember.
Quote
Here, in effect, is a film that can never be misunderstood as not being a film. It's customary to bring attention to the repetitive nature, to the countless scenes in the car between Catherine and Jean, to the alternation between break-ups and reconciliations. But taking all of this into account, it's uncertain that we've actually noted how much this structure borrows from the onscreen representation. Catherine and Jean come and go: a drama made entirely of 'entrances' and 'exits', in the scenographic and psychological sense. Seated side-by-side in the idling R8, they could just as well be in the process of rehearsing their next scene, which they'll go act out at a location more appropriate to the emotions at play than this old car. . . The construction of each scene is admittedly minimal--she and he in the midst of discussion, more often than not--but Pialat has enough wherewithal to avoid shot/counter-shot and to find here and there some equivalent of a handrail or a trestle: a balcony, a fence, a guardrail, a parapet, a window. . .  Beneath the guise of asceticism, the wealth of the theatres de fortune rivals that of Pialat's 'old master', Jean Renoir.
from Pialat n'est pa la by Emmanuel Burdeau

If I understand the argument correctly, Burdeau is conceding your point (in advance) but limiting its scope. The theatrical elements the film contains are nonetheless subordinated to cinematic modes of representation, necessarily so. The recurring car scenes could never have been done in the theater, only cinema makes them possible. And if I might add my own observation, it is only the cuts themselves that make the whole work palatable to the viewer, that gives the work its momentum, its rhythm, and thus, ultimately its meaning. I note that Pialat never uses fade-outs, which are a device carried-over from theater. The cut, the very essence of cinema, which makes the juxtapostion of scenes and images possible, is every bit as important to this film as the dialogue and the performances of the actors are.

« Last Edit: September 16, 2009, 02:28:28 PM by dave jenkins » Logged


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« Reply #6842 on: September 16, 2009, 03:35:03 PM »

L'aventure est l'aventure (1973) I saw this in a cinema and, after more than 30 years, I can say it still holds fine. Mostly because of the actors: Ventura is unexpectedly good as a comedian and his duets with Maccione are great. 7\10

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« Reply #6843 on: September 16, 2009, 09:40:28 PM »

Who's Afraid of Virginia Woolf? - 7/10 - Not a bad movie, but it's hard for me to really enjoy watching four obnoxious people yell at each other for two hours. I don't like this sort of thing unless there's some sort of point behind it all, and there didn't seem much beyond sadism here. The script is pretty good but like with Lion in Winter I find it perhaps a bit too rich for my taste; here though the obnoxiousness is deliberate rather than failed wit and cleverness, so it gets a point or two more than Lion. Burton is Burton and Liz is a slightly-more-dowdy-than-usual Liz; I don't like either of them much but they're reasonably suitable for their respective parts so not too many complaints there. Nichols does some nice things directorially though the film is far from cinematic. Alex North's score is meh (though I'm sure DJ will try and argue it's a symphonic masterpiece).

I'm REALLY hankering to watch something fresh and new that's really, blow-my-socks-off good, not just 7/10 good. It's been ages. Maybe Ran will do the trick when I finally get around to it.

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« Reply #6844 on: September 17, 2009, 08:46:28 AM »


Zack and Miri Make a Porno (2008) - 2.5/10

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« Reply #6845 on: September 17, 2009, 08:57:39 AM »

The Thief (1952) - 6/10. An atomic scientist (Ray Milland) passes secrets to enemy agents, but once one of the links in his chain-of-contacts gets hit by a car, the FBI starts closing in. A film with a gimmick: none of the characters speak during the entire running time of the picture. In spite of some well done Hitchcockian suspense sequences, and a stirring score, the gimmick quickly wears thin.

« Last Edit: September 17, 2009, 01:37:45 PM by dave jenkins » Logged


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« Reply #6846 on: September 17, 2009, 02:37:34 PM »

It's Always Sunny... Season 4 - 9/10

Still the best comedy on television. Can't wait for tonight!

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« Reply #6847 on: September 18, 2009, 03:07:40 PM »

A Professional Gun - 7/10 - Pretty good although I watched it on a horrible full-screen DVD transfer. Good story and Franco Nero is really badass, shootouts and battle scenes are very creative and well-staged. It's clear Leone took a lot of inspiration from this film for DYS, although Corbucchi clearly took a lot from Leone's own films here.

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« Reply #6848 on: September 18, 2009, 08:35:33 PM »

Shaun of the Dead-8/10

The Governess-1/10

boring.so boring.

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« Reply #6849 on: September 18, 2009, 10:20:36 PM »

Face to Face - 8/10 - Remember last week how I said The Big Gundown was the best non-Leone Spaghetti? Well, this one's even better. Compared to most Spaghetti Westerns it's extraordinarily subtle, layered and intelligent in its thematic material, unlike Corbucci and Damiani's cartoonishly grotesque/broad politics. Sollima has a great camera eye and the movie is just beautiful to look at; Morricone's score is nicely subdued. The subject matter explored is very interesting, the action remains mostly within the realm of the plausible, and the characters are very sharply drawn; if it weren't for the cast and all-too-obvious dubbing one could hardly tell this was a Spaghetti. Volonte is great, Berger very good and Milian shows a lot of range. Still not on a par with Leone's masterpieces, but a near-great film in its own right.

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« Reply #6850 on: September 18, 2009, 10:27:57 PM »

Face to Face - 8/10 - Remember last week how I said The Big Gundown was the best non-Leone Spaghetti? Well, this one's even better. Compared to most Spaghetti Westerns it's extraordinarily subtle, layered and intelligent in its thematic material, unlike Corbucci and Damiani's cartoonishly grotesque/broad politics. Sollima has a great camera eye and the movie is just beautiful to look at; Morricone's score is nicely subdued. The subject matter explored is very interesting, the action remains mostly within the realm of the plausible, and the characters are very sharply drawn; if it weren't for the cast and all-too-obvious dubbing one could hardly tell this was a Spaghetti. Volonte is great, Berger very good and Milian shows a lot of range. Still not on a par with Leone's masterpieces, but a near-great film in its own right.
Yes. Good call.

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« Reply #6851 on: September 18, 2009, 11:32:10 PM »

Face to Face - 8/10 - Remember last week how I said The Big Gundown was the best non-Leone Spaghetti? Well, this one's even better. Compared to most Spaghetti Westerns it's extraordinarily subtle, layered and intelligent in its thematic material, unlike Corbucci and Damiani's cartoonishly grotesque/broad politics. Sollima has a great camera eye and the movie is just beautiful to look at; Morricone's score is nicely subdued. The subject matter explored is very interesting, the action remains mostly within the realm of the plausible, and the characters are very sharply drawn; if it weren't for the cast and all-too-obvious dubbing one could hardly tell this was a Spaghetti. Volonte is great, Berger very good and Milian shows a lot of range. Still not on a par with Leone's masterpieces, but a near-great film in its own right.


My favorite of Sollima's but not without its flaws.
Milian is never shown to be the "ruthless killer" we're told he is, thus making the trade off between him and Volonte nowhere near as convincing as we're led to believe.
A similar flaw plagues another Milian western (The Ugly Ones)

Milian agrees with me on both.

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« Reply #6852 on: September 19, 2009, 01:54:37 AM »

Yesterday they showed Rambo III and Transformers on the bus I was riding. I slept through half of the former and had to jump out of the bus in the middle of the latter. I guess the loss was equal in both cases. 

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« Reply #6853 on: September 19, 2009, 02:02:26 AM »

For the newer memebers of the board: there's already a thread for Face to Face:

http://www.fistful-of-leone.com/forums/index.php?topic=1319.0

Reviews of SW and AW should be posted in the Other Films forum. Thanx.

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« Reply #6854 on: September 19, 2009, 02:12:08 AM »

McQ (1974) and Brannigan (1975)


John Wayne's answer to Dirty Harry. And a good answer at that. He was about 67 when he shot the first and it shows. Still I like them because they are well plotted, well played (especially Brannigan) and well directed. Eastwood has surely made 3 or 4 better than these ones but the other ones are not up to these two. These also go to show why I preferred at the time (and I still do) the american police movies over the poliziotteschi.

8\10 to McQ (the beach car chase earns it) and 7\10 to Brannigan (I saw it in a theatre and didn't remember a thing about it, not even that it was shot in London).

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