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Author Topic: Rate The Last Movie You Saw  (Read 1836310 times)
drinkanddestroy
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« Reply #13305 on: March 27, 2014, 03:49:21 AM »

RED DUST (1932) 7/10.... in this Pre-Code movie, taking place on a rubber plantation in Indochina, Clark Gable has a love triangle with a whore (Jean Harlow) and a just-married woman (Mary Astor).
TCM is showing Astor films throughout March.

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« Reply #13306 on: March 27, 2014, 09:35:17 PM »

Ordet - 7/10
Meh! Not a big Dreyer fan. Probably prefer this over Joan of Arc and Vampyr though.

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« Reply #13307 on: March 27, 2014, 10:12:40 PM »

Le Deuxiene Souffle/Second Wind (1966) 8.5/10

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« Reply #13308 on: March 28, 2014, 05:58:22 AM »

Ordet - 7/10
Meh! Not a big Dreyer fan. Probably prefer this over Joan of Arc and Vampyr though.
LOL! Now sit down and watch Gertrud, twice.

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« Reply #13309 on: March 28, 2014, 07:39:37 AM »

The Wonderful Country (1959) - 6/10. What a frustrating film! Robert Mitchum is a gunrunner and pistolero working for the Castro family south of the border. While transporting some rifles from the U.S. side Mitchum's horse falls, and Bob has to recuperate in an American town while his leg mends. And then the rifles go missing. Surely, we say to ourselves, watching for the first time, this is where the story will take off--Mitchum will have to run down the missing weapons before his employers get wind of the problem and decide to terminate (with extreme prejudice) Mitchum's contract. Doesn't happen. Then, as Mitchum is still recuperating, he catches the eye of the local military commander's wife (Julie London). Mitchum likes what he sees too, so it would be only natural for a love triangle to develop, with Mitchum and the commander (Gary Merrill) duking it out for the affections of the woman they both love. No, that never really happens either. Mitchum, after recovering, attends a party where a friend of his is killed: Bob responds with an immediate return kill. Mitchum has a credible self-defense plea he could play, but rather than use it, he runs away. Obviously, the posse is gonna go after him and the film will now become a fugitive-from-justice story. Uh, nope. Crossing back into Mexico, Mitchum finds the Castro brothers at each other's throats. The elder brother (Pedro Armendáriz) wants to hire Mitchum to assassinate his rival--ooo, good, good, a blood-for-money plot!--but Bob says no. (Huh?). Pedro doesn't like that answer, so he sends "the boys" out to track Bob down. Okay, the on-the-lam-from-the-padrone story isn't as interesting, but at least we have a plot, no? No. Nothing comes of this. Then there's the sub-plot in which Gary Merrill and the Castros put together a task force to go after those pesky Apaches. It would have been nice if even this had, at some point, become the dominant line, just so we'd finally have a story. Man, this film has so many ideas, but it doesn't adequately use any of them. The location photography in and around Durango is nice: hence the title, The Wonderful Country. What a shame they couldn't have shot The Wonderful Screenplay.

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« Reply #13310 on: March 28, 2014, 12:38:59 PM »

JUNIOR BONNER 7.5/10

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« Reply #13311 on: March 28, 2014, 01:01:52 PM »

I like The Wonderful Country as it is very much. One of the best 50s westerns. 8/10

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« Reply #13312 on: March 28, 2014, 04:40:08 PM »

THE MAN FROM THE ALAMO 6.5/10

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« Reply #13313 on: March 29, 2014, 01:52:12 AM »

ONLY GOD FORGIVES - 7/10

Blu-ray! Nice audio commentary.

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« Reply #13314 on: March 29, 2014, 07:00:47 AM »

3 Places pour le 26 (1988) - 6/10. Yves Montand returns to Marseille (which, I gather, is the city that launched him) with a musical review about the story of his life. Except that Francoise Fabian is the girl he left behind (!) and she was once a hooker (!!) who ended up marrying a baron (!!!). Oh, and Mathilda May is the daughter he never knew he had (!!!!!). Uh, you get the idea that maybe this isn't exactly the straight story? This, though, is inconsequential in a Jacques Demy film. What is important is that, when compared to Cherbourg or Rochefort, this production is pretty lame. In those films, the towns were the sets; here, we're stuck mostly on the proscenium stage in the the local opera house. And what happened to Legrand's music? The stuff he wrote in the 60s were classics-as-they-were-written. His 80s stuff is insipid and dated.

Les risques du métier (1967) - 7/10. A hick town teacher (Jacques Brel) is accused of having sexual relations with 3 of his underage girl pupils. The film is put together like a Swiss watch. Scene one, a girl runs home crying: cut to her mother trying to talk to her through a locked door: cut to the father knocking down the door to reveal the girl disheveled and distressed: cut to a phone call to the mayor: cut to a face-to-face interview between the mayor and the girl's family: cut to a face-to-face interview between the mayor and the teacher and the teacher's wife: cue the first of many flashbacks. And on it goes. There's not an ounce of fat anywhere in the film, no time is spent on anything inessential. Given the period in which the work was created, certain ambiguities that we might expect now are dispensed with. To wit: the issue of the film boils down to whether the girls are lying or not, and the solution to that question is all that the film is driving toward. Today we'd probably want more questions, some left in doubt.

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« Reply #13315 on: March 29, 2014, 11:10:04 AM »

I have never seen Brel in a non-comedy role. How is he?

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« Reply #13316 on: March 29, 2014, 02:03:05 PM »

I found him credible. I can't answer for his line readings, though.

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« Reply #13317 on: March 29, 2014, 02:19:28 PM »

Perfume videos (2013) - 30/30. These are their best:
                                    https://www.youtube.com/watch?v=nbeGeXgjh9Q
                                    https://www.youtube.com/watch?v=CYL3DnyA4e0
                                    https://www.youtube.com/watch?v=NhI2mp-WIck

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« Reply #13318 on: March 31, 2014, 06:39:07 AM »

The Long Day Closes (1992) - 7/10. Terrence Davies' impressions of a year in his Liverpool childhood, circa 1956. Impressions is the operative word here, since we don't get much of a story, just characters, situations, and lots and lots of sounds: the church hymns, pop songs, classical pieces, and film dialogues that were, apparently, a large part of his world. Although this approach is highly evocative, it certainly has its limitations. An 11-year-old boy's view of the world isn't all that interesting (everything in the film is from that perspective). And because we are only getting impressions, the characters around the boy never acquire the depth they most assuredly had in real life. Did working class people of the period really have no intellectual interests whatsoever? Not even politics? Yes, the songs and films of the period are interesting. But why watch characters enjoying such things when we, the audience, can experience them directly for ourselves? Why watch a film that evokes 1956 when I can actually view and listen to an artifact from that year on my home entertainment system? Those works are themselves evocative, and so much more. Why settle for impressions only?

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« Reply #13319 on: April 02, 2014, 07:02:02 AM »

Rider on the Rain (1970) "Le passager de la pluie" I haven't seen this since I saw it on Times Square in 1971, forgot how great it was and Marlčne Jobert is a real cutie. The 905 Entertainment DVD is a lousy print though.
Blu-ray announced for Japan! http://www.amazon.co.jp/gp/product/B00J2SKDPS/ref=pe_38652_164305092_em_1p_12_ti
Unhappily, it has French and Japanese audio only (and Japanese subtitles). We need an edition that has the English dub, but, of course, the French as well.

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