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: Rate The Last Movie You Saw  ( 2241228 )
dave jenkins
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« #13110 : February 02, 2014, 01:18:22 PM »

I did not like the score for Investigation
Shall we ask the Maestro not to play it when he comes to town?



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« #13111 : February 02, 2014, 03:54:52 PM »

Btw, the bonus features have an interview with a female film critic or historian or whatever, I believe she is Italian, and pronounces his last name as VAH-LAHN-TEH  (not VO-LON-TAY)


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« #13112 : February 02, 2014, 06:21:53 PM »

The Man in the Glass Booth - Maximilian Schell (RIP) plays a Holocaust survivor arrested by the Mossad and tried as an SS officer. But Schell emphatically plays the part in court, leading his prosecutors (and the audience) to doubt his true identity. Still digesting this one: the premise stretches credulity to the breaking point, often seeming like a joke carried too far. Schell is brilliant though; his character borders on a dual role yet Schell makes him convincing as parts of a whole. Is this survivor's guilt, insanity, or the most grotesque joke known to man? Either way it's compelling. Thanks to Jinkies for the recommendation.



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« #13113 : February 02, 2014, 07:40:04 PM »

The Man in the Glass Booth - Maximilian Schell (RIP) plays a Holocaust survivor arrested by the Mossad and tried as an SS officer. But Schell emphatically plays the part in court, leading his prosecutors (and the audience) to doubt his true identity. Still digesting this one: the premise stretches credulity to the breaking point, often seeming like a joke carried too far. Schell is brilliant though; his character borders on a dual role yet Schell makes him convincing as parts of a whole. Is this survivor's guilt, insanity, or the most grotesque joke known to man? Either way it's compelling. Thanks to Jinkies for the recommendation.
I read it as an elaborate working out of survivors guilt. Of course, something like this couldn't really happen. And this is essentially a filmed stage play, so the focus is on the dramaturgy rather than any kind of film realism. The twists are kind of fun. Anyway, glad you liked it.



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« #13114 : February 02, 2014, 07:58:01 PM »

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And this is essentially a filmed stage play, so the focus is on the dramaturgy rather than any kind of film realism

More to the point, it's an American Theater Company production. Being cinematic was a secondary concern anyway.

« : February 02, 2014, 08:17:14 PM Groggy »


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« #13115 : February 02, 2014, 08:04:27 PM »

Well, that's what I meant.



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« #13116 : February 05, 2014, 07:28:11 AM »

The End of the Game / Der Richter und sein Henker (1975) 8/10. This film's got it all: Martin Ritt, John Voight, Robert Shaw, Jackie Bisset, Gabriele Ferzetti (sans rug), beautiful Berne, Switzerland, a solid plot from Friedrich Durrenmatt, a score by Morricone. Donald Sutherland has a non-speaking part as a corpse. Durrenmatt has a showy cameo (as the writer "Friedrich"), but this time through I noticed that the director also puts in an appearance. During a party at the palatial home of the sinister Gastmann (Robert Shaw), where a murder investigation has brought Police Commissioner Martin Ritt and his assistant John Voight, a pianist and a violinist are shown performing a Mozart duet. The guy on the keyboards is the late Maximillian Schell, who, I understand, could really play (a truly talented chap). If that were not enough, the man he is accompanying is Pinchas Zukerman! Schell inserted himself into his picture in another way. According to IMDb, he provided the taped voice of the dead Donald Sutherland character (this must be on the German dub--on the English dub the voice is clearly Sutherland's own).

The German Blu-ray of this title looks good. Apparently some kind of restoration was involved (there's a German-language-only extra that explains what was involved). Colors are very good, flesh tones are natural. The image is a little soft, but that may be due to limitations in the source used for the transfer. The disc features both the German and English dubs, but no subtitles. It is region-free.

I want to thank Mike Siegel for reminding me this film existed and thus inspiring me to track down this disc. It's doubtful we'll ever see a Blu-ray of this in Region A. It's a shame--this film is enjoyable, a testament to the directorial abilities of the multi-talented Maximillian Schell. May he long be remembered.



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« #13117 : February 05, 2014, 09:28:34 AM »

The Human Stain - 5.5/10
Pretty dull.

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« #13118 : February 05, 2014, 01:56:27 PM »

Rockin out to METALLICA THROUGH THE NEVER ...... Got fucking whiplash baby..... DIE BY MY HAND, I CREEP ACROSS THE LAND, KILLING FIRSTBORN MAN, MOTHERFUCKER DIE........... :-) :-) :-) :-)


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« #13119 : February 05, 2014, 01:59:12 PM »

Rrpower, how is a "little mini-review" different than a regular mini review? Is it smaller than a regular mini-review? Or just redundant?


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« #13120 : February 05, 2014, 07:56:53 PM »

Julia - 8/10 - Fred Zinnemann's penultimate film, a fictionalized account of Lillian Hellman's 1930s adventures: her romance with Dashiel Hammett, involvement in European anti-fascist movements and friendship with the enigmatic title character (Vanessa Redgrave). Lacks a plot but the elegant direction and central characterizations prove absorbing. Fonda carries the film; Redgrave (who won the Oscar) is mainly confined to smiles and epigrams. Jason Robards plays Dashiel Hammett, Maximilian Schell cameos and Meryl Streep makes her debut.



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« #13121 : February 05, 2014, 10:20:59 PM »

Rrpower, how is a "little mini-review" different than a regular mini review? Is it smaller than a regular mini-review? Or just redundant?
Idk, I don't really have the time or care to explain for some movies. I don't have much to say about The Human Stain so I basically just posted my rating because I decided to come on and noticed my thread. Maybe someone else would talk about it... i don't know...who cares. sorry.

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« #13122 : February 05, 2014, 10:52:16 PM »

Idk, I don't really have the time or care to explain for some movies. I don't have much to say about The Human Stain so I basically just posted my rating because I decided to come on and noticed my thread. Maybe someone else would talk about it... i don't know...who cares. sorry.

I'm just asking cuz of your first post in this thread  ;)

Lately, I've been going on these boards on my phone a lot (as opposed to on my computer), and on my phone, when I click to go on a thread, it brings me to the first page of the thread (as opposed to the computer, which brings you to the last page). So, every time I click the RTLMYS thread, it brings me to your first post where you said you'd be posting "little mini-reviews"  ;) O0


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« #13123 : February 05, 2014, 10:52:49 PM »

I'll most likely be updating this every so often with my little mini-reviews and an out-of-five rating, and I suggest all of you do the same. I enjoy reading such reviews, as well as seeing what you guys think of certain films. I post the last three I watched.

.....

good times  O0


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« #13124 : February 06, 2014, 05:51:15 AM »

Maximilian Schell week continues, with a re-watch of this J. Lee Thompson corker:
Quote
Return From the Ashes (1965) - 7/10. Maximilian Schell (in Charming Swine mode, as opposed to his other setting, Heartless Nazi Bastard), is married to Ingrid Thulin (lucky), but he's also nailing Samantha Eggar (luckier), his step-step-daughter (give it a think, you'll figure it out). He's essentially a kept man, a position I've been after for decades myself, but Max finally decides to do away with the women so he can have their money and so spend all his time thinking about chess. Say what? Dude, the whole reason for having money is so you can use it to marry Ingrid Thulin and/or nail Samantha Eggar! How much disbelief do they want me to suspend, these film guys? Herbert Lom, also in the picture, stands around and wonders what he's doing there. In spite of this, the suspense is quite good, and the film bounces along at a nice clip. Julius Epstein, of Casablanca fame, supplies the requisite amount of barbed dialog, and everything is beautifully photographed in scope and b&w.
Pretty much what he said (Jenkins, when you're right, you're right. And you're right!)

I think I'll nudge the rating up to an "8," though. The film is so well-directed that it keeps re-inventing itself as it goes along. It starts out as a Holocaust survivor's tale, then morphs into something that could be described as Vertigo in reverse. Then it turns into a kinky love triangle, before settling down into a riveting crime film. Finally there's a nice quotation from Dostoyevsky to top everything off at the end. Great filmmaking.



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