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Author Topic: Rate The Last Movie You Saw  (Read 1839129 times)
drinkanddestroy
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« Reply #13740 on: July 17, 2014, 11:07:19 PM »

Blue Danube Waltz is probably the most famous waltz in the world, one of the most famous pieces of music ever composed, and has been featured in many movies.
I wouldn't assume this movie gave Kubrick the idea to use it unless Kubrick said so.

Interesting how you say Luigi and Bimba's common language is French - Eli Wallach said that French is the language he and Leone used to communicate on the set of GBU!

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« Reply #13741 on: July 18, 2014, 04:26:25 AM »

DJ,

I am wondering how you enjoyed the re-watch, since, as mentioned above, there really is no suspense anymore. I imagine the scenes in the town are still enjoyable, and the performances mostly great, but once the trucks start out on the journey, you're not on the edge of your seat and terrified, what was there to enjoy? Just the great performances I guess?

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« Reply #13742 on: July 18, 2014, 06:29:26 AM »

I didn't say it WAS French Guiana, I just used that as an example to demonstrate there are French speaking regions in South America. The country is mythical--but it's certainly plausible that it could be one where French is spoken.

Some characters speak Spanish for the same reason that some characters speak English, German, and Italian.

Bimba is German, so his native language is German. Luigi is Italian, so he speaks Italian. There is no reason to believe either man speaks the other's language. How can they communicate? Simple: their common language is French. They've both had to learn the language after living in the mythical Francophone country in which the film takes place.

Obviously, the film being a French production, the French language is going to predominate. But not unreasonably so. Not like some Hollywood movies that insist the whole world speak English.

This ^^^

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« Reply #13743 on: July 18, 2014, 06:50:53 AM »

Overrated film.

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« Reply #13744 on: July 18, 2014, 06:56:48 AM »

Dersu Uzala (1975) Director: Akira Kurosawa Stars: Maksim Munzuk, Yuriy Solomin, Mikhail Bychkov, Russian army explorer is rescued in the Taiga by a rugged Asian hunter and renews his friendship with the woodsman years later when he returns as the head of a larger expedition. Based on the 1923 memoir Dersu Uzala (which took its name from the native trapper) by Russian explorer Vladimir Arsenyev, about his exploration of the Sikhote-Alin region of the Russian Far East over the course of multiple expeditions in the early 20th century.The cinematography of the landscape, the endless steppe, the forest, the rivers, the mountains is gorgeous. Great story too. 10/10.  Afro Afro Afro Needs a better release available from Netflix.

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« Reply #13745 on: July 18, 2014, 12:42:00 PM »

Overrated film.
Wrong again. Just about everything you believe is wrong. An astounding record.

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« Reply #13746 on: July 18, 2014, 12:54:17 PM »

Blue Danube Waltz is probably the most famous waltz in the world, one of the most famous pieces of music ever composed, and has been featured in many movies.
I wouldn't assume this movie gave Kubrick the idea to use it unless Kubrick said so.
I assume nothing. I'm looking at the way the movement of a large piece of equipment is accompanied by music, and recognizing the parallel use of such movement-with-music in another film.

Why do you think knowing how things will turn out spoils the suspense? Suspense is created by the juxtaposition of images and sounds. A skilled craftsman creates suspense in the immediate moment of a scene, without regard to the outcome. I have watched The Wages of Fear probably a dozen times. Maybe the first time was the most exciting; but there's been plenty of excitement in subsequent viewings.

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« Reply #13747 on: July 18, 2014, 04:29:45 PM »

Hud - 9/10

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« Reply #13748 on: July 18, 2014, 04:53:50 PM »

I assume nothing. I'm looking at the way the movement of a large piece of equipment is accompanied by music, and recognizing the parallel use of such movement-with-music in another film.

Why do you think knowing how things will turn out spoils the suspense? Suspense is created by the juxtaposition of images and sounds. A skilled craftsman creates suspense in the immediate moment of a scene, without regard to the outcome. I have watched The Wages of Fear probably a dozen times. Maybe the first time was the most exciting; but there's been plenty of excitement in subsequent viewings.

Has anyone seen the recent friedkin version? I've heard only good things about it.

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« Reply #13749 on: July 18, 2014, 09:31:14 PM »

I assume nothing. I'm looking at the way the movement of a large piece of equipment is accompanied by music, and recognizing the parallel use of such movement-with-music in another film.

Why do you think knowing how things will turn out spoils the suspense? Suspense is created by the juxtaposition of images and sounds. A skilled craftsman creates suspense in the immediate moment of a scene, without regard to the outcome. I have watched The Wages of Fear probably a dozen times. Maybe the first time was the most exciting; but there's been plenty of excitement in subsequent viewings.

Not only that but you also notice and appreciate the periphery details.

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« Reply #13750 on: July 19, 2014, 12:56:00 PM »

Wrong again. Just about everything you believe is wrong. An astounding record.

As long as I believe in VdGG this is refuted.

The suspense part in the last third of The Wages of Fear was far less good than expected. Sometimes I had to chuckle.
The atmosphere of the town without hope is mostly well done.

Les diaboliques is in the suspense regard even worse, not to say idiotic.

Clouzot is not much enough artist to separate his pretensions from his ambitions.

Clouzot's best work are his early films (L'Assassin habite au 21, Le corbeau, Quai des Orfèvres). Later films like Les Espions and La Vérité are pretty messy.

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« Reply #13751 on: July 19, 2014, 03:37:46 PM »

Les diaboliques is in the suspense regard even worse, not to say idiotic.
OK, you're right about that. That film really annoys me.

But The Wages of Fear is a really impressive work. For the rickety wooden platform scene alone the film deserves accolades. Name a Hollywood film of the period that achieved anything comparable. And the treatment of machismo throughout the film--there was nothing like that in American films then.

I'm surprised you don't like La Vérité. The cynical view of the law profession was, I thought, spot on.

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« Reply #13752 on: July 20, 2014, 02:05:04 AM »

RE: DIABOLIQUE: during the first half, when it seemed to be a drama of romance and murder, I was really enjoying it. But once it turned into a suspense "Is He There?" I didn't like it.

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« Reply #13753 on: July 20, 2014, 02:12:14 AM »

TAXI! (1932) 5.5/10

Cagney is always fun to watch (and he talks Yiddish in an early scene, which that Irishman learned to speak fluently while growing up on the East Side of Manhattan Cheesy ) and Loretta Young is always pretty to look at; and I thought that annoying character that played her friend was funny. But overall this movie is a bore. An early sound film featuring lots of stangnant sets and little music (believe me, I think many movies have too much music, but this is one of those that could  have used more, especially in transitions from one scene to the next.)
Cagney plays a cabbie who always wants to hit back when a rival cab company plays dirty to supress its competition; but Young is always pleading with him that revenge and violence are not proper solutions. Zzzzzzz ......

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« Reply #13754 on: July 20, 2014, 03:23:14 AM »

OK, you're right about that. That film really annoys me.

It does not annoy me. The atmosphere of repression at the school is well created. But the (foreseeable) ending makes a joke out of most of the suspense stuff before. And how suddenly Vanel appears and turns all quickly into a happy end was 8in Drink's words) ridiculous.
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But The Wages of Fear is a really impressive work. For the rickety wooden platform scene alone the film deserves accolades.


But it was exactly that scene which made me laugh. Because it was obvious for me that there was so much space in that bend, that the truck could have easily and without any hesitating curved around that rock. This scene was shot by people who never drove a truck. And that was too much palpable in the whole suspense part. It all did not feel right for me. There was too much artificial drama in the directing, acting and in the dialogues.
Great was how Clouzot designed the explosion of the first truck.
 
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I'm surprised you don't like La Vérité. The cynical view of the law profession was, I thought, spot on.

Again, it all felt wrong. And the clumsy dialogues were all the time explaining what happened and, worse, what the film wants to tell us. Funny is how the then spectacular erotic scenes were filled in at every possible and impossible moment. The conception of the next expected nude scene (well more or less nude) of Bardot was the only thing which made me watch the film until it's lame end.

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