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: Rate The Last Movie You Saw  ( 2111994 )
dave jenkins
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« #12690 : November 14, 2013, 09:07:55 AM »


DJ: That could make sense. Still, a few visual hints would have done the job too. Well, maybe they (the couple) are in their own world so they're just different.
That's certainly the situation at the end of the film.



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« #12691 : November 14, 2013, 09:14:51 AM »

The second reason is the way dubbing works. The director of the movie, who directed the actors on set, is usually not here for the ADR in other languages (it would be impossible for him to attend all the sessions, and I don't believe you can direct people on how to speak a language you don't speak: just see how the French perform in Inglourious Basterds to get an idea). Of course, the guy directing the dubbing has been briefed, but in the end he does whatever he wants/can and that's it. Even the greatest comedians need the appropriate feedback.
How, then, can a director be considered the author of a film whose language he/she does not know? Once again, a reason to dispense with the auteur canard.



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« #12692 : November 14, 2013, 09:39:49 AM »

Being a director, I don't have the right to enter the author (or even artist) debate. What I can say and fully believe is that directors are to a movie what CEOs are to a company. A CIO is responsible for what happens, which has nothing to do with being the one making things or even making things happen.

At Apple, Wozniac was the guy (author?) behind the technology aspect during the first years and Jonathan Ive is (still) the guy (author?) doing the cool design. Steve Jobs had find out what he needed, then find these guys and give them a field (and boundaries) to express what they had to express. Same relationships between a director and his actors, screenwriters and crew members while making a film.



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« #12693 : November 14, 2013, 10:20:51 AM »

BTW, I know about Heaven's Gate, McCabe & Mrs. Miller, and The Long Goodbye.... But which movies did Zsigmond film that use normal realistic color with no shtick?
Deliverance?

Nestor Almendros was praised for his work with Rohmer but also for e.g. Days of Heaven. While everyone may be praising the photography of Days of Heaven (cause it looks stunning), his work with Rohmer is extremely unspectacular, and it is not easy to say why it is great. I couldn't explain it.
What Almendros is known for is his use of natural light. And even when he is not using actual natural light, he motivates his light so that it seems to be coming from a specific source (sun, window, table lamp, fluerescent, what ever). That's really what gave him the reputation and the recognition that he got. In the 60s and 70s that was something new and very few cinematographers were doing it at the time (Sven Nykvist and Gordon Willis come to mind).

On practical level his style meant using natural light as much as possible, cutting down on the number of lamps, bouncing light in order to soften it (making it "rounder"), favoring soft sidelight and abandoning hard backlight. All this goes against what's generally considered classical cinema lighting, yet produces (or can produce) beautiful imagery.

Personally I don't think Almendros's work (excluding Days of Heaven) looks specifically realistic anymore (other cinematographers have pushed the style further, thanks to modern film stocks and digital sensors) but I like the simplicity of his images. He lets you concentrate on what's happening in the picture instead of showing off his masterful lighting skills.

I think this kind of film making is trying to make you recognize something that's true or real, instead of making you sigh in awe. Personally I've been captivated by the work of Roger Deakins, Emmanuel Lubezki, Harris Savides and Darius Khondji because they gave me a feeling: "that's how the world really looks like, and it's beautiful - at times". But that certainly is not the only acceptable approach - in my book fantastic or "heightened" style of film making can be just as exciting, involving and challenging. It's just a different approach.


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« #12694 : November 14, 2013, 07:53:39 PM »

My Name Is Julia Ross entertaining enough 7/10

« : November 15, 2013, 05:20:20 PM cigar joe »

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« #12695 : November 14, 2013, 10:36:37 PM »

 Days of Heaven has a huge flaw in costume/makeup... In all those early scenes when Gere is working the field, he looks so Hollywood-perfect, dressed nicely, with neat and clean clothing, not a hair out of place, like he "just stepped out of a fashion magazine" (to borrow a phrase Frayling has used to describe Leone's problems with some AW's).... Gere is playing a poor seasonal farm worker, his clothes should be dirty and torn, he should be unkempt and filthy. I didn't love the movie for other reasons, but this was one thing I was just sitting there and watching, laughing like ARE YOU KIDDING ME??? I can't believe this was just an oversight; there has to be a reason for this. Did Gere refuse to mess with his handsome-actor image? I can't possibly believe that; a good actor which Gere certainly is gives himself up to the role.... Was it the ordered by the studio, which was trying to push his pretty-biy image? I don't know what the answer is. But I sure as hell know that it is a major flaw in a movie that may have great cinematograpy and be real pretty to look at but I found to be overrated


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« #12696 : November 14, 2013, 10:40:43 PM »

My Name Is Julia Ross entertaining enought 7/10

I DVR'd this one; I'll watch it sometime soon, I am way behind in watching my DVR'd films (and some DVDR'd films, too  ;) )

I noticed DJ gave this a 4/10 and you gave it 7/10... I just hope you didn't give it that rating cuz of your usual reasons that don't mean nearly as much to me as to (eg. locations alone, or some babe who may be pretty but can't act  ;) )


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« #12697 : November 15, 2013, 05:13:00 AM »

I DVR'd this one; I'll watch it sometime soon, I am way behind in watching my DVR'd films (and some DVDR'd films, too  ;) )

I noticed DJ gave this a 4/10 and you gave it 7/10... I just hope you didn't give it that rating cuz of your usual reasons that don't mean nearly as much to me as to (eg. locations alone, or some babe who may be pretty but can't act  ;) )


I was sort of going along with the premise as depicted, it wouldn't fly in this day and age, Julia is a very passive victim, she just lays there and takes it,  today's woman would be depicted as more proactive more aggressive.  With all the heavy looking brick-a-brack in her room she could have caved in the head of any of the family at any time and alter the dynamic of the story.   ;)


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« #12698 : November 15, 2013, 05:30:14 AM »

The Tall Target  (1951) dir Anthony Mann, Dick Powell, Paula Raymond, Adolphe Menjou, Ruby Dee, and Will Geer, a noirish quasi-historical fictional thriller (a lot of nice Victorian era details. i.e. the City of Baltimore's law that required trains to detach the steam locomotive an haul both passenger cars & locomotive by teams of horses through the center of the city so that the wash hanging on clotheslines would not e subjected to soot and cinders) sort of The Narrow Margin 1861, good stuff. Re watch 10/10

« : November 15, 2013, 04:33:07 PM cigar joe »

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« #12699 : November 16, 2013, 09:59:35 AM »


What Almendros is known for is his use of natural light. And even when he is not using actual natural light, he motivates his light so that it seems to be coming from a specific source (sun, window, table lamp, fluerescent, what ever). That's really what gave him the reputation and the recognition that he got. In the 60s and 70s that was something new and very few cinematographers were doing it at the time (Sven Nykvist and Gordon Willis come to mind).

On practical level his style meant using natural light as much as possible, cutting down on the number of lamps, bouncing light in order to soften it (making it "rounder"), favoring soft sidelight and abandoning hard backlight. All this goes against what's generally considered classical cinema lighting, yet produces (or can produce) beautiful imagery.




Thanks, I assumed it was something like that.

Which older DoPs do you like?


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« #12700 : November 16, 2013, 07:55:30 PM »

Free Truffaut on Hulu for the next 8 days (yo, Drunk & Destroyed, take note).  :) I'll begin with this one:

Les deux Anglaises et le continent/Two English Girls/Anne and Muriel
(1971) 9/10. A very literary adaptation of an interesting novel. The film could perhaps be criticized for doing little more than illustrating the book, but given the lack of intellectual content in today's films, Truffaut's effort, seen now, seems thoroughly refreshing. For best effect, this should be viewed immediately following a screening of Jules and Jim.

N.B. Criterion have just announced Jules and Jim for Blu-ray upgrade in February. Hopefully, this is a harbinger of more Truffaut to come.



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« #12701 : November 17, 2013, 12:47:52 AM »

Free Truffaut on Hulu for the next 8 days (yo, Drunk & Destroyed, take note).  :) I'll begin with this one:


Thanks for looking out for me, but I don't use Hulu. I'd rather watch on my tv than my laptop. My blu-ray player is connected to the Internet so I can watch Netflix streaming on there as well as some other programs that are built in, but I can't watch every program like Hulu.

Anyway, between Netflix dvd's and TCM, I get just about any movie I want.


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« #12702 : November 17, 2013, 02:20:32 AM »

So I finally saw Jaws; dvr'd it off TCM a few days ago.... after all I heard about it for years and years.... it's a solid 7.5/10, that's all


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« #12703 : November 17, 2013, 03:47:25 AM »

So I finally saw Jaws; dvr'd it off TCM a few days ago.... after all I heard about it for years and years.... it's a solid 7.5/10, that's all

'bought right


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« #12704 : November 17, 2013, 03:31:50 PM »

INSIDE LLEWYN DAVIS - 8/10

It could reach 9/10 with the blu-ray viewing (I'm definitely getting the BD the day it is available). It's going to be RR's movie of the year by far. Others will be bored to death.
I take back my criticisms about the grading of the trailer: on a big screen, the shots are absolutely gorgeous. John Goodman's scenes are some of the finest Americana sequences you'll ever see.
yay can't wait!

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