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Author Topic: Rate The Last Movie You Saw  (Read 1768561 times)
drinkanddestroy
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« Reply #9585 on: October 10, 2011, 02:29:35 PM »

at this point, i think it best that we don't grant Richard W (or whoever he is impersonating) any more attention over the signature....

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« Reply #9586 on: October 10, 2011, 07:33:43 PM »

Getting back to Hour Of The Gun . . . .

Just watched it again. It sure has plenty of action. In fact, it just about meets Leone's requirement that a Western have a gunfight every 10 minutes. It also does a pretty good job of laying out the situation and allowing it to unwind. And since it is a revenge story, it builds properly, with Wyatt taking out the little fish first while saving the big one for the end. But there is a dramatic problem: the final gundown is thrown away. After all the build-up, we get very little. It almost seems as though the filmmakers didn't know how to end the picture, or ran out of time and money before they could concoct a more exciting finish. Either way, the film goes flat at the end.

Goldsmith's score is quite good, and the location photography is nicely done. Shame about those indoor sets, though.

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« Reply #9587 on: October 10, 2011, 09:01:55 PM »

Getting back to Hour Of The Gun . . . .

Just watched it again. It sure has plenty of action. In fact, it just about meets Leone's requirement that a Western have a gunfight every 10 minutes. It also does a pretty good job of laying out the situation and allowing it to unwind. And since it is a revenge story, it builds properly, with Wyatt taking out the little fish first while saving the big one for the end. But there is a dramatic problem: the final gundown is thrown away. After all the build-up, we get very little. It almost seems as though the filmmakers didn't know how to end the picture, or ran out of time and money before they could concoct a more exciting finish. Either way, the film goes flat at the end.

Goldsmith's score is quite good, and the location photography is nicely done. Shame about those indoor sets, though.

They all can't have a Leonesque ending I guess  Azn

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« Reply #9588 on: October 11, 2011, 07:12:07 AM »

I didn't have a huge problem with the final duel, it seemed dramatically appropriate to the film. And no, John Sturges is not Sergio Leone, but that shouldn't be held against him.

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« Reply #9589 on: October 11, 2011, 09:40:11 AM »

I wasn't thinking of a Leoneine ending, but it needed something. Also, it seems that Latigo goes free, and that's rather unsatisfying. Then there's the final scene with Doc. Why does Wyatt lie to him? And the decision to give up being a lawman--again, why? Finally, would doing a mind-meld with Spock really have given the Clantons the upper hand? (oops, sorry, that's from Spectre Of The Gun--never mind!)

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« Reply #9590 on: October 11, 2011, 10:12:19 AM »

Fair enough. I'll add that they introduced the idea of Wyatt being groomed for higher office way too late in the film; placing it just before the showdown with Ike throws the dramatic balance all out of whack.

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« Reply #9591 on: October 11, 2011, 10:20:29 AM »

Finally, would doing a mind-meld with Spock really have given the Clantons the upper hand? (oops, sorry, that's from Spectre Of The Gun--never mind!)

The real question is why Morgan switched sides.

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« Reply #9592 on: October 15, 2011, 11:19:10 AM »

Blackthorn (2011) - 6/10. Mostly set in 1927, the film follows the further adventures of Butch Cassidy--"Blackthorn" is his current alias--who, we learn, wasn't killed by Bolivian soldiers in 1908. What's he been doing for 20 years? Going to bed early, apparently. He's been hiding out in Bolivia, raising horses. He's getting ready to cash out and head back to the States when his path crosses that of a larcenous Spaniard with whom he forms a sudden and uneasy partnership. The two men are then pursued (by Indian gunmen and--as it turns out--Indian gunwomen) with extreme prejudice. The chase structure plays to the film's one advantage, the Bolivian locations. It looks like every frame was shot there, and Bolivia, which I don't remember ever seeing on film before, is in turns austere and beautiful. There's one particularly memorable sequence where the men have to cross some very impressive salt flats. Little attempt is made to make the characters sound period--they talk just like characters in films set in 2011. Sam Shepherd isn't bad, he does the grizzled old man bit well, but we have to endure his singing in several scenes (the reason he agreed to appear in this low-budget film, probably). There's also several flashbacks to Butch and Sundance's South American Adventure (1900-1908) which, if I recall, was adequately covered in another film. The plot turns out to be rather stupid, but the photography is very nice.

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« Reply #9593 on: October 16, 2011, 06:18:57 AM »

Riso Amaro (Bitter Rice) (1949) Director: Giuseppe De Santis, with stars: Vittorio Gassman, Doris Dowling Silvana Mangano and Raf Vallone. Francesca (Dowing) and Walter (Gassman) are two-bit jewel thieves in Northern Italy, in an effort to avoid the police at a train station, Francesca joins a group of women rice workers on their way to their seasonal jobs in the rice fields. She meets the voluptuous peasant rice worker, Silvana (Mangano) that's voluptuous with a capitol V or more correctly two capitol V V's... Shocked

...and the soldier, Marco (Vallone). Walter follows her to the rice fields, and the four characters become involved enmeshed in a Noir-ish complex plot involving love, and a robbery gone seriously wrong.

I've never seen Mangano, before, when I read the cast list I confused her with Anna Mangani, boy was I surprised  Afro I'm sure titoli can tell us which other films of her's to pursue.

Anyway its interesting and entertaining enough with quite a few cheesecake shots of Mangano & Dowling to keep things interesting 7/10

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« Reply #9594 on: October 16, 2011, 10:07:06 AM »

Destry Rides Again - 8/10 - A charming old-fashioned Western. The concept of the film (a pacifist Sheriff) is excellent, and it's a shame they ditched it in the finale. James Stewart and Marlene Dietrich are at the top of their game and there are some gems in the supporting cast (Brian Donlevy, Una Merkel).

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« Reply #9595 on: October 16, 2011, 10:26:22 AM »

Act of Violence (1948) 6/10

I see some of you fellers here loved this movie. Well, I have come to the determination -- after MUCH careful consideration  Wink - that I simply ain't a noir guy...  I do not mean that I don't like any noirs; there are plenty of noirs that I do love. What I mean is that there are some people here who will love a noir simply cuz it is done well in the noir style, with locations and cinematography etc., and almost disregard the story. (eg. cj, by his own admission).
I can't agree with that. If a story (or ending, as with AoV) is done poorly, I can't like it, no matter how well the noir elements were done.  Angry

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« Reply #9596 on: October 16, 2011, 10:37:39 AM »

Some of us wouldn't agree that the story was poorly-done.

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« Reply #9597 on: October 16, 2011, 10:54:24 AM »

Some of us wouldn't agree that the story was poorly-done.

a) I am referring specifically to the ending -- I thought it was terrible. On par with Red River in that sense

b) even if you thought this story was perfectly done, my overall point remains: there are some people who -- by their own admission -- will give some noirs a 10-rating based on locations/cinematography alone, with little regard for story. I can't do that

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« Reply #9598 on: October 16, 2011, 10:55:01 AM »

The ending is badly done? The ending is the best thing about Act of Violence.

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« Reply #9599 on: October 16, 2011, 10:58:45 AM »

in general, I can't buy tha fact that someone has this DEEP emotional feeling one way, and then it changes in one instant.

SPOILER

yeah, i know that something BIG happened in that instant -- Heflin  died protecting Ryan. So in that sense, it is not as ridiculous as Red River. But still, I just can't buy the notion that Ryan is walking around for all these years with this incredibly deep-rooted hatred and vengeance in his heart, and then it all changes in an instant.

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