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Author Topic: Rate The Last Movie You Saw  (Read 1840816 times)
dave jenkins
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« Reply #14055 on: October 12, 2014, 06:54:23 PM »

With Rope, the camerawork does two important things: heighten the tension of the body discovery, and establish the idea that the movie takes place in real time.
Yeah, although AH didn't actually mask every cut so as to make things appear as if the film was one long continuous take. He actually only masked every other cut, because there was no way you could trust projectionists to match images when they changed reels. So there is a masked cut at about the 10 minute point of every reel, but at the end of reels (which were around the 20 minute mark) AH just used a standard cutaway. The funny thing is, because everyone knows about the masking, viewers today concentrate on spotting those and never notice the standard cuts they've been trained to ignore.

Of course, Russian Ark is supposed to be one continuous take and I guess it is, but I've always been so bored by it I've never been able to keep my eyes open long enough to check.

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« Reply #14056 on: October 12, 2014, 09:50:17 PM »

\The funny thing is, because everyone knows about the masking, viewers today concentrate on spotting those and never notice the standard cuts they've been trained to ignore.
True. last time I watched it I even intended to look for the standard cuts... didn't notice any.

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« Reply #14057 on: October 13, 2014, 02:15:01 AM »

There were 2 real cuts in rope. Or 3?

The first one obviously at the beginning when the camera moves from the outside towards the window and then he cuts to the inside.

For me the long takes in Rope are somehow superfluous. They do damage the film more than they help. I think it could have become a better film if it was cut like his other films. The one shot thing is only a mere show of strength in Rope. But it may work in another film.

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« Reply #14058 on: October 13, 2014, 02:24:53 AM »

For me the long takes in Rope are somehow superfluous. They do damage the film more than they help. I think it could have become a better film if it was cut like his other films.

AH thinks exactly like you. I don't have the exact quote but in Hitchcock/Truffaut he's very explicit about that. And of course Truffaut disagrees:

"I don’t agree that Rope should be dismissed as a foolish experiment,
particularly when you look at it in the context of your whole career: a
director is tempted by the dream of linking all of a film’s components into
a single, continuous action.  In this sense, it’s a positive step in your
evolution… [and] one remarkable aspect is the painstaking quest for
realism."

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« Reply #14059 on: October 13, 2014, 06:08:20 AM »

I re-watched The Counselor yesterday, but now in the 20 min longer DC (the shorter version is probably the better one). Which means even more of philosophical talk by people who aren't philosophers in the first place. It bored me partly in cinema, but afterwards I had the feeling that it all had some potential, that I would like it more a 2nd time. All these artificial endless dialogues by McCarthy sound at first incredibly wrong and highly pretentious, but then when everybody talks that way it may become after a while a quality. It may become a stylistic device, but I'm still not sure if it did. Maybe I still do not understand it's real structure, if there is one.

But then and whatever it remains an interesting film, but not a great one. It did not really made click when I re-watched it, and so there is still too much QT stuff, which nobody ever makes as good as the "master" himself. And Ridley Scott's advertising colors and lighting is as wrong as in most of his films, and even if he is the wrong director for the film it is well directed and with it's strong colors it looks pretty good.
So it remains a somehow strange film and ... well ... 6 or 7/10 or ... I dunno ...

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dave jenkins
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« Reply #14060 on: October 13, 2014, 09:26:10 AM »

There were 2 real cuts in rope. Or 3?

There are 5: http://en.wikipedia.org/wiki/Rope_(film)

Basically, the film was a 4 reeler; each reel is made up of two ten-minutes-or-less segments (10 minutes was the limit of film magazines at the time); the masked cuts come in the middle of each reel; the unmasked ones at the end of reels.

« Last Edit: October 13, 2014, 09:55:21 AM by dave jenkins » Logged


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« Reply #14061 on: October 13, 2014, 09:52:37 AM »

The Saragossa Manuscript (1965) - 9/10. What a shame that more of Jan Potocki's shaggy-dog novel couldn't be crammed into this, but, as it's 3 hours long already, maybe it's just as well. This is one of those b&w scope films that Drink, it seems, has never seen (and yes, it has mumps). The plot is a masterpiece of construction: stories are told within stories, and those are in turn interrupted by other stories. Still, we never lose track of where we are. The main story (which is itself framed) is about a nobleman (Zbigniew Cybulski) just prior to the Napoleonic Wars who, travelling in Spain, encounters a number of seemingly supernatural characters. But maybe he's just being conned. In the end he has to throw up his hands--as must the audience--but it's still a fun ride while it lasts. Did I mention all the female talent in this thing? It has babes galore, every female in the Polish film industry at the time. All your favorites are here: Iga Cembrzynska, Elzbieta Czyzewska, Joanna Jedryka, Barbara Krafftówna, Jadwiga Krawczyk . . . hubba hubba! The film is playing as part of the Martin Scorsese Presents Masterpieces of Polish Cinema package, but I didn't see it there. I just re-watched my Mr. Bongo DVD, which looks very nice. I've bought the title 3 times on DVD, but will probably buy it again if it's offered on Blu-ray at a reasonable price. 

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« Reply #14062 on: October 13, 2014, 12:03:06 PM »

Cameraman: The Life and Work of Jack Cardiff (2010)

I saw this on TCM; this is a really enjoyable documentary about the legendary cinematographer. Cardiff himself is interviewed extensively, and also making appearances are such personalities as Kirk Douglas, Lauren Bacall, Martin Scorsese, Charlton Heston, and Thelma Schoonmaker.

Trailer http://www.youtube.com/watch?v=Zfl0pvEq-SI

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« Reply #14063 on: October 13, 2014, 07:02:40 PM »

Public Enemies - 3/5

Its cool but it just seemed like it could of been something more with Depp and Bale leading the film. The ending though made me get goosebumps for some reason. Unexpected.

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« Reply #14064 on: October 13, 2014, 07:37:18 PM »

Shadow of the Vampire - 6/10 - According this movie, Murnau's Nosferatu starred a real vampire who ate his way through cast and crew members. Which would be more plausible if depicting the Herzog/Kinski Nosferatu. Anyway, a neat premise with some big laughs, and Willem Dafoe as Max Schreck is neat casting. But the joke wears thin pretty fast.

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« Reply #14065 on: October 14, 2014, 05:16:42 AM »

Shadow of the Vampire - 6/10 -  But the joke wears thin pretty fast.
Exactly.

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« Reply #14066 on: October 14, 2014, 07:49:52 AM »

1. The Last Angry Man (1959) 5.5/10

Paul Muni plays an aging doctor in a Brooklyn slum, serving impoverished patients without regard for money. A desperate TV producer decides to make him the focus of a show about real people in their real lives.

Muni was very good in this (receiving the final one of his 5 or 6 Oscar nominations http://www.imdb.com/name/nm0612847/awards?ref_=nm_awd ) I always like Luther Adler, who has a supporting role here as Muni's friend - also a doctor, but Muni's opposite: Adler's character lives and works in a fancy neighborhood, doesn't take his patients' problems "personally," makes sure he gets paid for his services, only works normal office hours and takes time off, unlike Muni's character, who is on-call 24/7, etc.

But this movie is mostly irritating, a bunch of speeches and lessons and contrasts about doing what is right for the sake of doing right, being straight and good and honest.

2. Le Doulos (1962) 8/10

I think I actually believe the Belmondo character's version of events in this one ... it's a little disappointing in that regard. Yeah, I know, you're gonna say it really doesn't matter what happened ... but still, somehow, if he is telling the truth (and I think he is) it somehow is less than perfectly satisfying.
Still, this is another very good film by Melville ... I believe I've seen 8 of his films (Bob Le Flambour, Le Cercle Rouge, Army of Shadows, Le Doulos, Le Samourai, Le Deuxième Souffle, Un Flic, Two Men in Manhattan) the worst of those was in Un Flic, which I believe I still gave a 7/10, the others are all 8/10 or above.
It's going to be a sad day once I've seen all of his films and I know I'll never be able to have another "first viewing" of a Melville film.



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« Reply #14067 on: October 14, 2014, 02:13:28 PM »

D.O.A. remake (1988) Directors: Annabel Jankel, Rocky Morton, Stars: Dennis Quaid, Meg Ryan, Charlotte Rampling, bad directing, horrible screenplay and even worst script 5/10

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« Reply #14068 on: October 14, 2014, 04:49:40 PM »

So would you say it's... DOA? Cheesy

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« Reply #14069 on: October 14, 2014, 07:43:34 PM »

Truthfully Groggy, I expected better than that from you ...

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