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Author Topic: Rate The Last Movie You Saw  (Read 1842040 times)
dave jenkins
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« Reply #13065 on: January 26, 2014, 08:15:42 AM »

NOBODY LIVES FOREVER 6/10... John Garfield is an ex-crook returning from the war, who decides to go back to his conning ways when he learns there is a rich widow ripe for the taking. But of course, when it turns out she is the lovely Geraldine Fitzgerald, things don't go as planned... Walter Brennan has a supporting role here; DJ's boyfriend Richard Erdman has a few brief scenes in a small role
I liked this until the damsel-in-distress ending. I was hoping for something more cerebral. Garfield is a con man, right? He starts off trying to con Fitzgerald, then changes his mind. The next move should have been to con his erstwhile partners. It would have been great to see them leaving town with an empty suitcase (or something). A real missed opportunity.

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« Reply #13066 on: January 26, 2014, 08:38:05 AM »

Yeah but you know that there's no way Garfield could have committed the crime and gotten away with it, under the Production Code. The only way they could live happily ever after was for him to actually fall in love AND go straight... I didn't enjoy the movie all that much all along anyway

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« Reply #13067 on: January 26, 2014, 04:02:18 PM »

NOBODY LIVES FOREVER 6/10... John Garfield is an ex-crook returning from the war, who decides to go back to his conning ways when he learns there is a rich widow ripe for the taking. But of course, when it turns out she is the lovely Geraldine Fitzgerald, things don't go as planned... Walter Brennan has a supporting role here; DJ's boyfriend Richard Erdman has a few brief scenes in a small role




I didn't like this one that much either.

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« Reply #13068 on: January 26, 2014, 08:24:15 PM »

Inadmissible Evidence - 4/10 - John Osborne's surreal character study becomes a dull, lifeless film. Osborne and director Anthony Page "open up" the play in the most perfunctory fashion; Bill Maitland watching a stripper and snoozing through a dinner party doesn't do the play's Strindberg-inflected insanity any kind of justice. Nicol Williamson's the only reason to watch, preserving his most famous role for posterity.

Luther (1973) - 8/10 - One of the best American Film Theater productions. Osborne's take on the Reformation is less "man of conscience" play than agonized psychodrama, showing Luther as deeply tormented, stirringly idealistic and very human. Much more conventional than Evidence, which allows Guy Green to get away with his minimalist staging. Stacy Keach makes a smart, charismatic Luther, and he's helped by a rich supporting cast: Leonard Rossiter, Patrick Magee, Alan Bladel, Hugh Griffith, Robert Stephens, even a young Judi Dench.

« Last Edit: January 26, 2014, 09:00:48 PM by Groggy » Logged


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« Reply #13069 on: January 26, 2014, 10:30:09 PM »

Did you know Ozzy Osbourne's real name is John Osbourne? (John Michael Osbourne, to be precise.) Somehow, that just doesn't sound the same as OZZY

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« Reply #13070 on: January 26, 2014, 11:19:46 PM »

DJ, I just started watching THE HEIRESS (18 minutes ago, to be precise). I hope you didn't set me up for another one of those high-society late 1800's drama about the girl from the rich family who just couldn't be lady enough and turn her nose up at the lower classes enough for her snotty elders with British accents....... God, that's why I hate those high-society stories; not cuz I am some sort of populist, but cuz the movies about the elitists are always about the same shit ;-)

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« Reply #13071 on: January 27, 2014, 02:21:52 AM »

THE HEIRESS (1949) 8.5/10 ;-).... Personally, I still like watching Fontaine more than de Havilland, but no doubt this was a mind-blowing performance by de Havilland. Miriam Hopkins was terrific, as was Ralph Richardson. I didn't find Montgomery Clit very believable with that 1850's dialogue, but maybe it's just cuz he was the only one who didn't use some sort of English accent...... Anyway, good times. Thanks to DJ for the recommendation ;-)




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« Reply #13072 on: January 27, 2014, 01:10:25 PM »

THE HEIRESS (1949) 8.5/10 ;-).... Personally, I still like watching Fontaine more than de Havilland, but no doubt this was a mind-blowing performance by de Havilland. Miriam Hopkins was terrific, as was Ralph Richardson. I didn't find Montgomery Clit very believable with that 1850's dialogue, but maybe it's just cuz he was the only one who didn't use some sort of English accent...... Anyway, good times. Thanks to DJ for the recommendation ;-)
One of my faves. I think Richardson is amazing. I've never worried about Clift's performance, probably because he's playing a phony anyway.

Of course, the central performance by Ms. de Havilland is very good (as it has to be). Note, Drink, that the character goes through a transformation, requiring de Havilland to actually change her performance as she goes along (Such a feat was never required of her sister). Recently I saw Jessica Chastain assay the role on Broadway and she wasn't quite up to the mark. Not terrible, mind, just not up to the standard set by this film.

Drink, now on to some of de Havilland's other triumphs: My Cousin Rachel and Not As a Stranger.

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« Reply #13073 on: January 27, 2014, 02:14:32 PM »

Yes, de Havilland has to completely change the performance once Clift returns, and she does it (as she does everything) brilliantly.... And no, I wouldn't expect Chastain to be up to it. I think she is a good not great actress

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« Reply #13074 on: January 28, 2014, 05:21:30 AM »


Do you mean that you disagree with most of my ideas or that you kind of agree but would be far far less radical?


I think that Blue Is the Warmest Color often has this intensity some films have which look almost realistic. But it doesn't fascinate me as e.g. films by Cassavetes or Rohmer do. Especially Adele seems to play herself, seems as I don't know her. But her impact begins to fade over the complete runtime, cause her character doesn't change that much and her acting begins to repeat her expressions. But at the same time the film doesn't feel too long, it actually is very entertaining for the whole 3 hours. I recently watched Lone Scherfig's An Education in which Carey Mulligan is plain incredible, and while I could  re-watch An Education immediately alone for Mulligan's acting, at the moment I'm not interested to re-watch BItWC in the near future, despite enjoying the acting very much while I watched it.

Another reason is that Kechiche's style is less fascinating for me than Cassavetes, despite that Kechiche tries to reach a similar intensity and closeness by his directing. I see the film much more positive than you and don't had much problems with many things you mention.

But reading other reactions it is at least a film which really manages to fascinate a lot of different people.

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« Reply #13075 on: January 28, 2014, 06:04:05 AM »

I see. I agree about Cassavetes. I've never been hooked by Rohmer but I know that I just don't get it so I'm not judging his work. I do feel that I "get" all of BITWC. I surely wouldn't talk so negatively of it if it had not had so much attention. The Palme D'Or is especially annoying. 2013 was an amazing year for cinema and most of the films we mentioned in the "best of 2013" thread are far better that BITWC in almost every way. It seems to me that we got a lot of "almost masterpieces" and the film that was the most discussed here in France was an imitation of Cassavetes. Once again, apart from some ridiculous symbolism or simplistic scenes (but we're talking of less than 30 minutes dispatched in the whole 3 hours), it's far from being bad. Had it been a first movie, I'd even applaud (and wait for the next one with high expectations).

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« Reply #13076 on: January 28, 2014, 07:38:30 AM »

Yes, but it seems that many are really fascinated by it. People who watched the film 2 or 3 times in a short time. BItWC has to potential to be something special. That is at least something.

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« Reply #13077 on: January 28, 2014, 08:23:13 AM »

I think that's overrated. It's not garbage, but I don't think there is anything to be fascinated. You're not fascinated by it. You're just entertained and a bit moved here and there (I was, during the restaurant scene). I may be missing something, but I don't believe it. It's not a case of "I don't see the point of..." it's a case of "I see far too much the point of everything in it". I feel that I see perfectly what Kechiche is trying to do with each shot, each scene. And I feel that I see why it only works here and there. When watching this movie, I see its limitations all over the place.

That being said, yes, it found a public. Good for the film and its makers. Good for me too, because once again French cinema is getting international attention and that's great for me. I should stop attacking it Smiley

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« Reply #13078 on: January 28, 2014, 08:51:38 AM »

IFC Center is STILL playing Blue is the Warmest Color.
There is a notice that says, Please note: While the MPAA has assigned BLUE IS THE WARMEST COLOR a rating of NC-17, recommending that no one under 18 be admitted, IFC Center feels that the film is appropriate viewing for mature adolescents. Accordingly, the theater will admit high school age patrons at its discretion.
http://www.ifccenter.com/films/blue-is-the-warmest-color/

in addition to the double standard in this movie that we discussed about the underage stuff, do you think IFC Center would have the same policy if it was a real sexy movie about straight lovers?  Grin Grin (the same IFC center has a whole series of shows on queer movies.....)

I guess this is equality  Grin

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« Reply #13079 on: January 29, 2014, 04:32:57 AM »

Cause for Alarm! (1951) Loretta Young, Barry Sullivan, Bruce Cowling. From IMDb Invalid George Jones is both physically and mentally ill. He mistakenly believes his wife Ellen and his doctor are having an affair and also planning to kill him. He writes a letter to his lawyer (actually the DA) detailing their alleged murder plot. After he has Ellen give the letter to their postman, he reveals its contents to her and then threatens her with a gun. The excitement proves to much and George suffers a fatal collapse. Now Ellen must find a way to retrieve the incriminating letter. Café au lait Noir watchable 6.5/10

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