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Author Topic: Rate The Last Movie You Saw  (Read 1761592 times)
dave jenkins
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« Reply #12660 on: November 11, 2013, 06:46:33 AM »

@ MoMA, two by Alain Cavalier, both introduced by Serge Toubiana of the Cinémathèque Française.

La Chamade / Heartbeat (1968) 8/10. Catherine Deneuve is a kept woman, and she likes it that way. Michel Piccoli (of course) is the one keeping her. One day Deneuve meets a handsome man her age (some Pretty Boy) and is smitten. The man is a work-a-day drudge who cannot offer La Deneuve the advantages she's used to--a stylish cabriolet, frocks by Yves St Lauren--so instead tries to instill in her a work ethic. Piccoli magnanimously lets his mistress go . . . knowing she'll be back. Half the film is made up of shots of Deneuve, a very effective strategy. The English title doesn't seem to do justice to the French. In one post-coital moment, Deneuve listens to her young lover's heart beating and comments on how rapid it is. His answer is that she is listening to a chamade. Deneuve asks, "C'est que c'est chamade," or words to that effect. The man tells her they'll look it up later in the dictionary. They never do.

Serge says: "This was made when Catherine Deneuve was 25 and acclaimed the most beautiful woman in the world."


Mise à sac  / Pillaged (1967) 7/10. A caper film extraordinaire. Not content with a single bank or a casino, a gang of 12 are commissioned to raid an entire village! The setting is a factory town in the French alps. The men go in at night, take charge of the police, fire department (I'm not sure why), and the telephone exchange. Then, while the residents sleep, they loot the payroll in the factory safe, after which they simultaneously blow the vaults of two different banks and then go to work on the safety deposit boxes. It's Rififi times 30! For good measure, they clean out the cash in the local supermarket before departing. It's a perfect plan, flawlessly executed . . . until it isn't. The way in which everything unravels at the end is a bit disappointing, but until that moment the film is a corker. Cavalier did the screenplay with Claude Sautet, adapting a novel by Donald Westlake.

Serge says: "Although UA provided the financing for the film, it was never released in the U.S. This could be the film's American premiere!"

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« Reply #12661 on: November 11, 2013, 06:34:15 PM »

They Made Me a Fugitive - 8/10 - Gritty film noir starring Trevor Howard. What's not to like?

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« Reply #12662 on: November 11, 2013, 06:37:19 PM »

Crack Up (1946) film noir directed by Irving Reis, cinematography by Robert De Grasse, with Pat O'Brien, Claire Trevor, Herbert Marshall, Ray Collins, Wallace Ford, wow a Pat O'Brien noir and a good one 7.5/10

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« Reply #12663 on: November 12, 2013, 06:02:51 AM »

Sexy Beast (2001) 7/10. TT Blu-ray. Ray Winstone, hahahaha. Ben Kingsley, hahahaha. Ian McShane, hahahaha. James Fox, stiff as ever. I very much like having the choice of aspect ratios on the BD. Great trend, hope it continues.

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« Reply #12664 on: November 12, 2013, 09:35:22 AM »

Sexy Beast (2001) 7/10. TT Blu-ray. Ray Winstone, hahahaha. Ben Kingsley, hahahaha. Ian McShane, hahahaha. James Fox, stiff as ever. I very much like having the choice of aspect ratios on the BD. Great trend, hope it continues.

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« Reply #12665 on: November 13, 2013, 01:41:32 AM »

Primrose Path (1940) 7.5/10

Girl from the wrong side of the tracks (Ginger Rogers) meets boy from the right side of the tracks (Joel McCrea).

Rogers is incredible as always, McCrea (whom I generally can't stand) was tolerable; the supporting cast was amazing: Marjorie Rambeau (who was nominated for an Oscar for this role), Henry Travers, Queenie Vassar, child star Joan Carroll, Vivienne Osborne, and Carmen Morales. Miles Mander, who played Rogers's drunk father, was nothing special; but other than McCrea and Mander, the cast was terrific.

The story was nothing special, but this is a fun watch thanks to the performances.

Catch this next time it plays on TCM  Afro

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« Reply #12666 on: November 13, 2013, 07:16:05 AM »

The Lady From Musashino (1951) 9/10. Minor Mizoguchi. Yet why do I prefer it to many of Mizo's other films? Could it be Tanaka's great performance? No doubt, but she's always good. The tear-jerker ending? Maybe. The use of locations rather than sets? Ah, this more than anything may be what contributes to the film's special appeal. Images are what really make a Mizoguchi film. In this there's a crane shot to die for when the hero first approaches the heroine's house, and the final reveal at the end of the picture--showing modern Musashino as it really is/was--is quietly devastating.

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« Reply #12667 on: November 13, 2013, 07:19:50 AM »

Argo - 2/5

Finally caught a part of it (the first hour) on TV while eating. Couldn't see more, I had to get back to work. I have nothing again Ben Affleck: he's a bad actor, a bad writer and a bad director but I really think he's a great man. So I'm very happy for him that this movie got so much praise, and it's a movie I really wanted to like. However, just like Gone Baby Gone, it's garbage. Not in the worst meaning of the word: at least it's a good try, with a mostly good to great cast. It just never ever works. Forced dialogues, boring cinematography, bad editing, amateurish writing, absolutely no notion of rhythm... I could go on and on, but let's just say this: it looks like a film made by an old French guy trying to do an American movie.

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« Reply #12668 on: November 13, 2013, 07:24:32 AM »

Argo - 2/5

Finally caught a part of it (the first hour) on TV while eating. Couldn't see more, I had to get back to work. I have nothing again Ben Affleck: he's a bad actor, a bad writer and a bad director but I really think he's a great man. So I'm very happy for him that this movie got so much praise, and it's a movie I really wanted to like. However, just like Gone Baby Gone, it's garbage. Not in the worst meaning of the word: at least it's a good try, with a mostly good to great cast. It just never ever works. Forced dialogues, boring cinematography, bad editing, amateurish writing, absolutely no notion of rhythm... I could go on and on, but let's just say this: it looks like a film made by an old French guy trying to do an American movie.
LOL. What did you think of The Town?

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« Reply #12669 on: November 13, 2013, 07:28:49 AM »

Didn't see it! I had planned to do so but I'd be very surprised to like it any more than the other 2.

DD, I seem to remember you really liked Argo, didn't you? Not being rude, but it's one of these cases where I really cannot understand how someone would consider it as a real film. Still not unbearable to watch though, hence my 2/5. I guess it could be considered as a 2.5 because the pitch is amazing and you've got the two greatest Walter ever (Sobchak AND White) in the same film.

DJ, I cannot remember your rating.

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« Reply #12670 on: November 13, 2013, 07:50:21 AM »

I enjoyed Argo but I'm still baffled that it won Best Picture.

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« Reply #12671 on: November 13, 2013, 09:17:22 AM »

I liked Argo too, especially the comic stuff supplied by Goodman and Arkin. The film is not great art, but I thought it was entertaining.

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« Reply #12672 on: November 13, 2013, 09:41:35 AM »

I guess I'm alone in the dark here. Once again, good for Ben.

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« Reply #12673 on: November 13, 2013, 02:51:40 PM »

Argo - 2/5

Finally caught a part of it (the first hour) on TV while eating. Couldn't see more, I had to get back to work. I have nothing again Ben Affleck: he's a bad actor, a bad writer and a bad director but I really think he's a great man. So I'm very happy for him that this movie got so much praise, and it's a movie I really wanted to like. However, just like Gone Baby Gone, it's garbage. Not in the worst meaning of the word: at least it's a good try, with a mostly good to great cast. It just never ever works. Forced dialogues, boring cinematography, bad editing, amateurish writing, absolutely no notion of rhythm... I could go on and on, but let's just say this: it looks like a film made by an old French guy trying to do an American movie.

you can't rate a movie that you've only seen an hour of

Argo is a 10/10 and deserved Best Picture. I saw quite a few 2012 movies and some were really good and had high ratings (as I discussed in the Academy Awards thread) but none were better than Argo

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« Reply #12674 on: November 13, 2013, 03:41:35 PM »

you can't rate a movie that you've only seen an hour of

Haha I was pretty sure this was coming Smiley
So you think I would rate it higher if I saw the other hour? Or you're just saying that I don't "have to right" to rate it? If it's the later, well, I don't know what to say apart from "Yes I can". If it's the former, I assure you, if the second half isn't 100% different of what I saw (and I know it's more "thriller" than the beginning, but I've seen Argo being thriller in the opening, it didn't work ANY better), it has no ability to change my rating. I may be stupid, but I already know what I like and dislike about how this movie is done. I actually knew it from the first scene (apart from the comic dialogues that where to come), and it just stayed the same after that. I'd be very surprised  to discover after ONE HOUR that all of a sudden the lame cinematography was actually excellent, or the basic structure actually very rich, or the non existent Ben Affleck performance actually nicely low-key. You may disagree about my judgement and we can discuss this, but I assure you I would say EXACTLY the same thing after 30, 60 or 120 minutes of Argo. I know the way I work. To be fair, it could gain 1/10 if the ending "gets" me, but that's about it.
So I will just ask you again, and I'm not being ironical because there still is this single chance out of 1.000 that the movie becomes radically different after the first hour (may be Ben Affleck was replaced by Leone's ghost at some point during the filming, but that's hard to believe because it really seems that Ben was back for the (BAD) editing), and because your whole point only lead to this: do you sincerely think I would rate Argo higher if I saw the other hour?

I saw quite a few 2012 movies and some were really good and had high ratings (as I discussed in the Academy Awards thread) but none were better with Argo

I saw the opening of Amour the other day. I'd really like to give it a try as soon as possible, even if (sorry DD) I think I got where it was going. Anyway, the dialogues of the couple (and only them) sounded weird to me. Very artificial, very theater-like, instead of realistic or even cinema-like. Kind of like Rohmer dialogues. Did you guys non french speaker notice this as well? Or was it lost somewhere in the translation process?

« Last Edit: November 13, 2013, 04:00:29 PM by noodles_leone » Logged


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