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Author Topic: Rate The Last Movie You Saw  (Read 1770785 times)
PowerRR
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« Reply #12075 on: June 04, 2013, 06:11:32 PM »

I really haven't read what you guys are saying about Taxi Driver, but it looks like you're discussing the ending and whether or not it's Travis' "fantasy"? I don't buy the fantasy theory at all - it's just made up by the film's lovers to justify a weak ending. Of course, there's no way in hell that someone like Betsy would willingly reconnect with someone like Travis after everything that happened. Even if he's reached a "hero" status in the media, I don't see it in her personality to see him again.

But where is the indication that it's just a dream/fantasy? We don't see a single hint of Travis dreaming or fantasizing throughout the entire movie. In the King of Comedy, the 'fantasy' ending theory works because of Pupkin's frequent fantasies throughout the film. With Taxi Driver, there's nothing to work off of other than to justify a nonsensical ending. And that strange noise in the end that occurs when Travis adjusts the mirror? Either Scorese of Schrader (I forget who) says that 'represents a time bomb ready to start ticking again'. I also forget where I heard this. But trust me. Where/how/why would that explanation fit in the 'fantasy' there?

I don't like the final scene but I'm still on the "Taxi Driver is a masterpiece boat".

All that being said I didn't actually read what anyone was saying. I don't know if someone already made these points or if that's even exactly what you're talking about. Just my two cents on the ending.

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« Reply #12076 on: June 04, 2013, 06:15:02 PM »

Okay Mr. Power, which scenes?
The scene toward the end where everyone goes out to New York. Gatsby flips his shit on Tom right before he and Daisy leave and hit Myrtle. It's the only scene where there's a normal, dialogue-driven conversation without flamboyant CGI bullshit, awful music, unnecessarily excessive camerawork, etc.

Even as a post-Gangs of New York DiCaprio-supporter, he and the rest of the cast were consistently awful in this film.

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« Reply #12077 on: June 04, 2013, 06:15:17 PM »

you must be talking about the Region 2 dvd? I don't recall any bonus features on the Region 1
http://www.dvdbeaver.com/film/dvdcompare/nobody.htm

Yes Region 2.

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« Reply #12078 on: June 04, 2013, 06:17:42 PM »

The scene toward the end where everyone goes out to New York. Gatsby flips his shit on Tom right before he and Daisy leave and hit Myrtle. It's the only scene where there's a normal, dialogue-driven conversation without flamboyant CGI bullshit, awful music, unnecessarily excessive camerawork, etc.

Yes, complete with annoying symbolism and frothing ham acting from everyone involved.

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« Reply #12079 on: June 04, 2013, 06:25:37 PM »

Yes, complete with annoying symbolism and frothing ham acting from everyone involved.
I cringed during the zoom-in of Dr. Eckleberg's eyes wit the random voice over saying "God is always watching us".

But that's nothing compared to his treatment of the green light.

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« Reply #12080 on: June 04, 2013, 06:29:59 PM »

Any Number Can Win / Mélodie en sous-sol (1963) - 7/10. Gabin and Delon together again for the first time--and it's a caper film! It takes a while to get going, but once in gear the movie really hums along. Dinner jackets and a Cannes casino, nicely filmed. Great ironic ending, too. http://www.youtube.com/watch?v=cYjt-yX7jlc

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« Reply #12081 on: June 04, 2013, 06:46:23 PM »

Any Number Can Win / Mélodie en sous-sol (1963) - 7/10. Gabin and Delon together again for the first time--and it's a caper film! It takes a while to get going, but once in gear the movie really hums along. Dinner jackets and a Cannes casino, nicely filmed. Great ironic ending, too. http://www.youtube.com/watch?v=cYjt-yX7jlc

The movie didn't make a lasting impression on me (of course, Gabin/Delon is always a winning combination). But the ending is great. You cannot get more cinematic.

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« Reply #12082 on: June 04, 2013, 09:35:33 PM »

I really haven't read what you guys are saying about Taxi Driver, but it looks like you're discussing the ending and whether or not it's Travis' "fantasy"? I don't buy the fantasy theory at all - it's just made up by the film's lovers to justify a weak ending. Of course, there's no way in hell that someone like Betsy would willingly reconnect with someone like Travis after everything that happened. Even if he's reached a "hero" status in the media, I don't see it in her personality to see him again.

But where is the indication that it's just a dream/fantasy? We don't see a single hint of Travis dreaming or fantasizing throughout the entire movie. In the King of Comedy, the 'fantasy' ending theory works because of Pupkin's frequent fantasies throughout the film. With Taxi Driver, there's nothing to work off of other than to justify a nonsensical ending. And that strange noise in the end that occurs when Travis adjusts the mirror? Either Scorese of Schrader (I forget who) says that 'represents a time bomb ready to start ticking again'. I also forget where I heard this. But trust me. Where/how/why would that explanation fit in the 'fantasy' there?

I don't like the final scene but I'm still on the "Taxi Driver is a masterpiece boat".

All that being said I didn't actually read what anyone was saying. I don't know if someone already made these points or if that's even exactly what you're talking about. Just my two cents on the ending.

yeah I don't believe the ending is a dying fantasy, and I said above, if you would have read it, that the final scene with the mirror is one of the string arguments against the dying fantasy theory.

However, I wouldn't say that the ending is weak. As dj detailed above, Travis sort of becomes an accidental hero when in fact he is a crazed lunatic, and before he is through, this "hero" is gonna wreak some serious havoc. And perhaps we see the beginning of that, with that final mirror scene.

I suppose the fantasy theorists are driven by the fact that Travis is shot up like mad, points his fingers like a gun at himself, and that the scene with the newspapers tacked onto his wall with the voiceover of Iris's parents is filmed in a very dream-like manner.

As for Betsy reconnecting with him - who knows if that will happen. But that's the point here: Travis is no less of a nutjob than he was earlier, but because he became an accidental hero, now society is treating him as such, and even a girl who has experienced his lunacy is now respecting him.

But why am I even bothering to respond to someone who hasn't read the above posts?

-----------------------

To me, another question is, (and perhaps this is one of the things that drives the fantasy theorists), what is the purpose of the letter being read from Iris's parents? We already know that Travis is being treated as a hero from those newspaper clippings we see tacked onto his bulletin board; what is gained/added by having that voice-over letter being read by Iris's father? Is it just to have a soundtrack to the shots of the newspaper clippings?


BTW, one thing about the false-hero bit: with regard to his saving of Iris, I will say that the praise of Travis is warranted. I mean, however crazy and homicidal he may otherwise be, the fact is that he seemed to actually care for her and realize how awful it is that a minor is prostituting herself and want to save her. So, even if he got lucky that he didn't get caught for trying first to kill Palantine, I wouldn't say the praise for saving iris is unwarranted.

Finally, maybe another theme is that in some ways, the nutjobs have certain more normal sensibilities. After all, he is the one who is concerned about Iris. So many other people -- the pimp, the timekeeper, presumably many johns -- are aware of or are facilitating her prostitution, yet the one person whom we consider a nutjob is the one who actually was concerned for her and saved her. Maybe that's another theme here, that sometimes the nuttiest nutjobs have some positive sensibilities that some "normal" people don't?

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« Reply #12083 on: June 05, 2013, 01:08:46 AM »

Maybe that's another theme here, that sometimes the nuttiest nutjobs have some positive sensibilities that some "normal" people don't?
In this crazy world everybody is a bit crazy, in a way or another.

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« Reply #12084 on: June 05, 2013, 01:10:06 AM »

Spring Breakers (2012) - 6.5/10

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« Reply #12085 on: June 05, 2013, 01:18:42 AM »

Spring Breakers (2012) - 6.5/10

Could you elaborate? I remember rating it 5 or 6 but it's a hard one to rate: it sucks in so many ways but is very interesting in a few others.

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« Reply #12086 on: June 05, 2013, 02:28:02 AM »

@moviesceleton:
How the hell does your statement, "in this crazy world..." in any way answer, address, or discuss (in any serious manner) the question/idea I was proposing? Or is that intended as some kinda throwaway line unrelated to my point?

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« Reply #12087 on: June 05, 2013, 05:16:28 AM »

Tokyo Story (1953) 7/10

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« Reply #12088 on: June 05, 2013, 06:02:40 AM »

@moviesceleton:
How the hell does your statement, "in this crazy world..." in any way answer, address, or discuss (in any serious manner) the question/idea I was proposing? Or is that intended as some kinda throwaway line unrelated to my point?
I'm just always cautious when somebody separates "the crazy" from "the normal".

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« Reply #12089 on: June 05, 2013, 06:10:12 AM »

Could you elaborate? I remember rating it 5 or 6 but it's a hard one to rate: it sucks in so many ways but is very interesting in a few others.
SPOILERS

First of all it's a visual treat throughout, so that earns points. The style is in synch with the content, which I think is very important especially with this kind of excessive style. The main problem is the story. The movie loses steam when Selena Gomez makes her exit. I think it would have been wiser to keep her aboard a bit longer and make her arc the main arc of the movie.

It was a fun movie but I don't really see a reason to re-watch it.

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