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: Rate The Last Movie You Saw  ( 2196307 )
Groggy
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« #9795 : December 08, 2011, 08:12:47 PM »

does the book have Steve McQueen doing motorcycle jumps? besies, i didn't make the argument; the former pow's did. don't shoot the messenger...

Then why bring it up?



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« #9796 : December 08, 2011, 08:14:04 PM »

i am bringing it up because you are making it sound like I am trying to be moe reverent than the pow's themselves were. and it simply ain't true


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« #9797 : December 08, 2011, 08:15:23 PM »

I'm glad CJ mentioned King Rat, a movie that goes for strict realism (to an extent) and is deadly dull as a result. I've no doubt it's closer to the realities of a Japanese POW camp than Kwai but it isn't much of a movie.

Of course, for me a fusion of realism and entertainment is desirable. If it's not possible, I'll pick the latter 99% of the time.



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« #9798 : December 08, 2011, 08:16:11 PM »

i am bringing it up because you are making it sound like I am trying to be moe reverent than the pow's themselves were. and it simply ain't true

But surely Boulle and Clavel's points-of-view are not irrelevant to this discussion?



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« #9799 : December 08, 2011, 08:17:49 PM »

boy how far have we come from the days Dust Devil used to patrol this thread with a billy club, eh ;-)


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« #9800 : December 08, 2011, 08:18:41 PM »

u didn't like Saving Private Ryan?


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« #9801 : December 08, 2011, 08:19:17 PM »

again, don't confuse book and screenplay


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« #9802 : December 08, 2011, 08:20:33 PM »

I like it just fine. My Vietnam vet dad likes to dissect Saving Private Ryan's various idiocies and implausibilities though. O0



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« #9803 : December 08, 2011, 08:30:54 PM »

yup, just a few days ago i was thinkin, no way would the army have like seven men waste all that time lookin for one boy. and communications were better than requiring them to trek across the land like that. i mean, i complain sometimes when an excessive suspension of disbelief is required, but i know at some level it's always required. u guys don't think i realize that... yeah, SPR was one awesome movie, though -- as I am sure your dad tells you -- there ain't no way in hell to accurately protray the brutalities of war to someone who wasn't there

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« #9804 : December 09, 2011, 05:37:56 AM »

Kwai was based on an allegorical novel with only a tenuous connection to its true story. Boulle himself was a POW of the Japanese and he based Nicholson on French officers he served with during his captivity.
Despite the fact that I knew Boulle was French this had never occurred to me. A light just went on in my head. Nicholson is actually a Cheese-eating Surrender Monkey!



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« #9805 : December 09, 2011, 05:45:24 AM »

My Vietnam vet dad
Good on ya, Grogs. My old man did 2 tours of Nam too (but as a damned officer). You're all right, I don't care WHAT Richard--W says about you. O0



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« #9806 : December 09, 2011, 10:00:02 AM »

again, don't confuse book and screenplay

Fair enough with Clavel I suppose, that was my mistake. The parts of Kwai that you seem to object to the most - the Nicholson sections - are pretty much verbatim from the book though.



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« #9807 : December 09, 2011, 10:03:07 AM »

yup, just a few days ago i was thinkin, no way would the army hae like seven men waste all that time lookin for one boy. and communications were better than requiring them to trek across the land like that. i mean, i complain sometimes when an excessive suspension of disbelief is required, but i know at some level it's always required. u guys don't think i realize that... yeah, SPR was one awesome movie, though -- as I am sure your dad tells you -- there ain't no way in hell to accurately protray the brutalities of war to someone who wasn't there

He more quibbled with the tactical idiocy displayed by the protagonists, especially in the scene at the machine gun nest where Giovanni Ribisi bites it.



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« #9808 : December 10, 2011, 04:23:47 PM »

Road to Nowhere (2011) - 6/10. Monte Hellman returns with his take on neo noir: A film director, making a true crime picture, casts an actress who may be the very woman involved in the original story. So the film gives us, concurrently, the three stories: the making-the-picture story, the story-within-the-story story (via scenes from the movie being made), and the story-behind-the-story-within-the-story story. Oooooo, meta-neo-noir! And of course all 3 stories are cleverly intercut, so that we stay somewhat confused about which story we're following at any given point. Eventually even the densest viewer has to ask, How will the film tie together all these independant threads before the clock runs out? And of course Hellman decides instead to punt: the only story he's really interested in is the one about the director and his obsession for his lead actress, so the other stories just get thrown away. And finally all we're left with is obsessive male gaze--in 2011!--and clips from three better films (The Lady Eve, The Spirit of the Beehive, and The Seventh Seal--hey, is Hellman now doing product placement for the Criterion Collection?). This is what Hellman emerged from decades of inactivity to give us? [Insert cheesy journalistic Film-To-Nowhere quip].



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« #9809 : December 10, 2011, 05:37:17 PM »

I though he was dead  ::)


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