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Author Topic: Rate The Last Movie You Saw  (Read 1834770 times)
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« Reply #11730 on: March 17, 2013, 09:07:27 PM »

The Untouchables (1987) - 4/5 stars...."here endeth the lesson."

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« Reply #11731 on: March 18, 2013, 03:29:01 AM »

Unbreakable (2000) - 3.5/5 stars.

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« Reply #11732 on: March 18, 2013, 06:48:39 AM »

Il Mercenario (1968) - 3.5/5 stars.

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« Reply #11733 on: March 18, 2013, 04:16:21 PM »

New York Confidential (1955) Conte is great as a mob hit man and Anne Bancroft's a knockout 7/10

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« Reply #11734 on: March 18, 2013, 08:02:21 PM »

Coup de torchon (1981) Director: Bertrand Tavernier with Philippe Noiret, Isabelle Huppert, Stéphane Audran. Huppert is hot in this 8/10

From IMDb:

A film noir in pastel
20 February 2005 | by Souscolline (United States)
Bertrand Tavernier has taken the novel "TOP 1280" by Jim Thompson set in North Carolina and produced a riveting French film noir set in Senegal in 1938. At that time it was a French colony that exhibited similar social and racial patterns as in the American South. The use of color and humor add a new dimension to the genre. Tavernier in his comments about the film on the DVD talks about the change in the light in the late afternoon in west Africa. It becomes less intense so he uses pastel colors. Note the light blue walls and the pink shirt of Philippe Noiret who is superb as the village policeman Cordier. Isabelle Huppert who plays the mistress of Cordier with intensity and humor and the other actors make this a must see film. There is much humor in the film but be aware that there are many violent scenes. This is French film noir at it's best.

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« Reply #11735 on: March 19, 2013, 03:01:08 AM »

I'll probably have to read The Hoods to understand more about Noodles' character and then go into OUATIA with that information in mind.

A movie should stand on its own without having to view other material however none of us have seen the movie in the full version as originally envisaged by Sergio Leone.

For me reading The Hoods and the shooting script from 1982 helped me understand and appreciate the movie better.

Many readers of the book do not share drinkanddestroy's hatred of it.  If you ever get round to reading it, you will see that, far from being gay, some of the gang members disliked the gay following they attracted and Noodles had many relations with women.  Shortly before the screening of the restored version at Cannes, Robert De Niro did an interview for French television and told how he had read the book as a child and liked it.

Many of the events in the book are true and actually happened in real life but it is debatable whether Harry Grey was a full participant or just an observer.  There are many other things Grey did which are not revealed in The Hoods.

Shooting script from Jan 1982: http://msb247.awardspace.com/docs/once.pdf

The Hoods:  http://www.onceuponatimeinamerica.net/resources/greyhoods.pdf

    

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« Reply #11736 on: March 19, 2013, 03:42:23 AM »

A movie should stand on its own without having to view other material however none of us have seen the movie in the full version as originally envisaged by Sergio Leone.

For me reading The Hoods and the shooting script from 1982 helped me understand and appreciate the movie better.

Many readers of the book do not share drinkanddestroy's hatred of it.  If you ever get round to reading it, you will see that, far from being gay, some of the gang members disliked the gay following they attracted and Noodles had many relations with women.  Shortly before the screening of the restored version at Cannes, Robert De Niro did an interview for French television and told how he had read the book as a child and liked it.

Many of the events in the book are true and actually happened in real life but it is debatable whether Harry Grey was a full participant or just an observer.  There are many other things Grey did which are not revealed in The Hoods.

Shooting script from Jan 1982: http://www.lb2121.webspace.virginmedia.com/docs/once.pdf

The Hoods:  http://www.onceuponatimeinamerica.net/resources/greyhoods.pdf

   

Cool, thanks for the links!

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« Reply #11737 on: March 19, 2013, 02:02:41 PM »

A movie should stand on its own without having to view other material however none of us have seen the movie in the full version as originally envisaged by Sergio Leone.

For me reading The Hoods and the shooting script from 1982 helped me understand and appreciate the movie better.

Many readers of the book do not share drinkanddestroy's hatred of it.  If you ever get round to reading it, you will see that, far from being gay, some of the gang members disliked the gay following they attracted and Noodles had many relations with women.  Shortly before the screening of the restored version at Cannes, Robert De Niro did an interview for French television and told how he had read the book as a child and liked it.

Many of the events in the book are true and actually happened in real life but it is debatable whether Harry Grey was a full participant or just an observer.  There are many other things Grey did which are not revealed in The Hoods.

Shooting script from Jan 1982: http://www.lb2121.webspace.virginmedia.com/docs/once.pdf

The Hoods:  http://www.onceuponatimeinamerica.net/resources/greyhoods.pdf

    

I never said  that I hated The Hoods. In fact, I am glad I read it. If nothing else, it paints a great picture of life in the cramped tenements of the Lower East Side during the kids' childhood (which, I agree with Leone, is the only part of the book that is real).

My criticism of the book is that so much shit is completely imagined. How about that story with the paper machine? What about the one with the guy in the coffin, literally scaring him to death? or the fantastic incident in the Atlantic City casino?
As a work of fiction, or semi-fiction, I got a good kick out of it. But this is certainly no autobiographical account.

As for the queer stuff, it's not written clearly, but I think there is enough implied that you can say there's a good chance Noodles was queer. True, he writes all about how many chicks he supposedly banged, and he says many homophobic slurs (eg. about "The Fairy,") but it's not uncommon for queer "tough guys" to hate the total fruitcake "pansies" among them. (And btw, if you read Frayling's summary of The Hoods in his chapter on OUATIA, he implies as well that Noodles was queer).
he always describes in graphic detail when the gang visits the Turkish baths, (paraphrasing) like "we all walked down the hallway naked" and about how they all went swimming naked in Jersey, there's also the part where he talks about watching Max sleeping peacefully and thinking what a bad dude he is, and saying, we've been hanging around so much together, I'm sure we can just understand each other without saying a word.

To be sure, none of this graphically describes him sticking his cock up Max's ass. But I think it's a reasonable implication from reading the book that they are bi-sexual.


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« Reply #11738 on: March 19, 2013, 03:16:57 PM »

...and btw, if you read Frayling's summary of The Hoods in his chapter on OUATIA, he implies as well that Noodles was queer....

I've read the chapter on OUATIA in Frayling's book several times and I can find no implication there that Noodles was queer.  The money printing machine scenes are unbelievable and whilst some of the other events in The Hoods are exaggerated, they have counterparts in real life.  I can find nothing in The Hoods that implies any of the gang were queer and some think that, in fact, the movie has more gay undertones especially with regard to Max and Fat Moe.

  

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« Reply #11739 on: March 19, 2013, 03:58:16 PM »

I've read the chapter on OUATIA in Frayling's book several times and I can find no implication there that Noodles was queer.  The money printing machine scenes are unbelievable and whilst some of the other events in The Hoods are exaggerated, they have counterparts in real life.  I can find nothing in The Hoods that implies any of the gang were queer and some think that, in fact, the movie has more gay undertones especially with regard to Max.

 

i see nothing at all that is queer in the movie

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« Reply #11740 on: March 19, 2013, 10:52:26 PM »

Port of Shadows (1938) 10/10

The beautiful Michele Morgan is still with us, at 93 years of age.

the music is awesome. what an amazing, amazing movie this is  Afro Afro Afro

SPOILER ALERT


The ending is kinda weak. It sorta comes out of nowhere. Jean leaves the ship -- not because he decides he wants to take Nelly with him, but because he wants to thank her for giving him one happy day? This after they have already made love and told each other how much they love each other, and he has promised to write from Venezuela and send for her, but now, at the moment he is finally about to get away, he has to leave the ship just to thank her for giving him the one happy day in his life? (And btw, even then, she still doesn't go with him -- wtf did she have keeping her in France?)
Oh well, I guess that's Poetic Realism for you.

also, the final shot, as the ship is pulling away, they cut to the drunkard sleeping in the hotel -- it's a nice comedic moment, but not very appropriate at that moment for what is a serious ending. I suppose you could argue that the point is that the drunkard finally got his one dream -- to sleep on a normal bed -- just as the main characters' dreams are being smashed. But I just didn't think that shot -- no matter how funny it is on its own -- was appropriate at that moment

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« Reply #11741 on: March 20, 2013, 01:05:58 AM »

i see nothing at all that is queer in the movie
I think Jenkins will gladly point the gay undertones out to you.

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« Reply #11742 on: March 20, 2013, 01:42:29 AM »

i see nothing at all that is queer in the movie

Maybe you guys misinterpret how members of the gang look at each other, I couldn't see any gay undertones as well.

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« Reply #11743 on: March 20, 2013, 01:44:41 AM »

It's like saying Frodo and Sam were queer in LOTR, people think that way because of their close friendship and the way they stare at each other.

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« Reply #11744 on: March 20, 2013, 02:37:53 AM »

I think Jenkins will gladly point the gay undertones out to you.

believe it or not, I actually discussed this issue with Jenkins in person. He believes that any implication that Noodles and Max are queer is a misunderstanding of Leone's cinema, in which a major theme is heterosexual male friendships. (IMO Jenkins in general has some Freudian thing about male cinematic friendships, but hey, this is a message board, not a shrink's couch).

You know the scene where, when Noodles and Max just met, Max snaps a pic of Noodles who pretends to moon him, then says "drop your pants and I'll stick it to you again"? I heard one critic say that was an implication that Noodles and Max were sticking it up each others ass. This just shows you the level of brilliance among these peeps. That scene occurred before Noodles and Max even really met each other; Max had just pulled the drunk onto his wagon so that he could "roll" him before the gang could; Max didn't even know any of them yet! Any implication that there is a queer theme there is just plain flat-out wrong, no doubt whatsoever.

But in the book, you could make a very good case that there is a queer implication.

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