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: Rate The Last Movie You Saw  ( 4154373 )
noodles_leone
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« #19935 : September 13, 2021, 09:08:22 AM »

Which disc did you watch?

The iTunes version.


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« #19936 : September 13, 2021, 10:15:23 AM »

Moderato Cantabile (1960) 8/10. A very public murder--a man strangling his lover in a cafe--brings Jeanne Moreau and Jean-Paul Belmondo together. Moreau's character is the disaffected wife of a local factory owner; Belmondo plays a factory worker who, in fact, never goes to the factory. The two drift into a kind of chaste affair, made up of long walks and conversations. Often they talk about the murder, the fact that the dying woman let out a final howl of agony heard by everyone in town. Moreau is fascinated by the woman and the man. Belmondo does his best to explain to Moreau the couple's relationship, making most of it up. What is it that Moreau and Belmondo are seeking to understand about the couple, and what are they seeking to find in each other? Belmondo remains mysterious, but with Moreau we can guess she feels dead in a loveless marriage and wants to experience something authentic, perhaps a moment of true feeling. This is finally granted her, and late in the film she is able to howl as the murdered woman did.

The British stage director Peter Brook shepherded this adaptation of Marguerite Duras's novella.The cinematography is black & white, and in 'scope, composed by Clouzot's DP, Armand Thirard. The film was shot on locations in and around Blaye, a town near Bordeax, which sits on the Gironde estuary. There are trees, morning fog, a ferry, a workingmen's cafe, quayside sunsets. Blaye, I've learned, is a citadel town, but the film is careful not to show any of the ancient fortifications.

This film is a favorite of Drink's, and he'll be happy to know the US blu-ray is being released next week. Keep the Belmondo celebration going, buddy!

« : September 13, 2021, 07:13:51 PM dave jenkins »


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« #19937 : September 13, 2021, 10:51:18 PM »

The iTunes version.

 I purchased GBU from iTunes around 12 years ago, it?s not the piss version, which came out later. I believe it?s the MGM  Extended Cut DVD version.
Perhaps iTunes has updated its version since then.


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« #19938 : September 14, 2021, 02:37:58 AM »

I purchased GBU from iTunes around 12 years ago, it?s not the piss version, which came out later. I believe it?s the MGM  Extended Cut DVD version.
Perhaps iTunes has updated its version since then.

I think they updated it. They update a lot of things without notice - usually for the better, sometimes not. It was very yellow and some skies were suspectingly cyan - which is what happens when you add yellow to a regular blue.

VOD keeps on with the tradition of poor Leone releases. DYS still isn't available on iTunes and all the other only have one master available (and they don't tell you which one). Kubrick and Coppola are luckier: there are several options for several of their movies on there.


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« #19939 : September 14, 2021, 03:23:15 PM »

Belmondo week will never end!

Le Marginal / The Outsider (1983) - 5/10. Marginal is right! This is an actioner done in imitation of better American models. JP phones it in.

A Woman is a Woman (!961) - 2/10. Nice colors. Otherwise: Zzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzz . . .



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« #19940 : September 15, 2021, 03:25:24 AM »

Belmondo week will never end!

Le Marginal / The Outsider (1983) - 5/10. Marginal is right! This is an actioner done in imitation of better American models. JP phones it in.

A Woman is a Woman (!961) - 2/10. Nice colors. Otherwise: Zzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzz . . .

Have you seen Body of My Enemy (1976)? This one is really interesting - eventhough the plot falls apart in the last 20-30min.


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« #19941 : September 16, 2021, 04:36:53 AM »

Have you seen Body of My Enemy (1976)? This one is really interesting - eventhough the plot falls apart in the last 20-30min.
I keep an eye out, but there doesn't seem to be an English-friendly edition anywhere handy.



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« #19942 : September 16, 2021, 08:24:20 AM »

Le professionnel (1981) - 6/10. Starts out strong, but gradually becomes increasingly idiotic. The female talent maintained my interest. The Morricone theme, while great, gets used to death.

The Thief
(1967) - 7/10. The story is really just a series of episodes, but given that this is about burglary as a profession, that's entirely appropriate. This is a costume picture with terrible costumes--all the actors seem to be wearing everything for the first time. And all the sets look cheap. Visually, this isn't great, but there's plenty to like in the plot and performances. Huh, another Malle film that doesn't completely suck!

« : September 16, 2021, 08:27:09 AM dave jenkins »


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« #19943 : September 16, 2021, 09:31:03 AM »

Le professionnel (1981) - 6/10. Starts out strong, but gradually becomes increasingly idiotic. The female talent maintained my interest. The Morricone theme, while great, gets used to death.

The movie is very famous in France, not only because of the music. My money is on the powerful ending, that couldn't have worked that well with anybody else than Belmondo.


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« #19944 : September 16, 2021, 12:00:43 PM »

Busting (1974) - Much better on a rewatch. This movie is shot immaculately well with so many effective low angle dolly shots. The phenomenal shoot out in the supermarket should have been the climax of the movie, and the only flaw is the climax -- and how the antagonist operates his business. It really doesn't make a ton of sense. And there should have been more of an investigation or mystery element to the script, but this is nitpicking. This is one of the better buddy cop movies, a precursor to 48 Hrs and a wonderful time capsule of early to mid 70's LA. While I like Robert Blake, Peter Boyle would have been very interesting in that role. I wish the bluray wasn't OOP. A-

The Silent Partner (1978) - To keep the Elliot Gould theme going... This is a favorite of mine, and this also improves on additional views. You can nitpick the script in a couple spots (why does Plummer agree to meet Gould at that location in the finale, and why doesn't Gould go more on the offensive after a while) , but this is my go-to choice for my favorite cat-and-mouse thriller. And Celine Lomez was a total stunner in her day. The greatest Canadian movie ever made, hoser. A+

Blue Steel (1990) - This script was absolutely terrible, which pains me to say this because co-writers Kathryn Bigelow and writer Eric Red collaborated on Near Dark three years before this, which is a personal favorite. Red also wrote the The Hitcher (1986), which is fantastic, and wrote and directed the underappreciated Cohen and Tate (1988). But man, does this script get dumb. The three leads Jamie Lee Curtis, Clancy Brown and Ron Silver do the best with what they have to work with, and Bigelow shoots this movie in a very stylish neo-noir type of way that also feels like she was a native New Yorker. But all of this can't overcome such a dumb script. It just gets worse as it goes on.  A generous C-.



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« #19945 : September 16, 2021, 03:31:32 PM »

The movie is very famous in France, not only because of the music. My money is on the powerful ending, that couldn't have worked that well with anybody else than Belmondo.
I've heard there's another version with a different ending. I'm pretty sure I can guess what it is.



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« #19946 : September 16, 2021, 03:38:16 PM »

Busting (1974) -  I wish the bluray wasn't OOP. A-
Well, I guess I could entertain an offer. I have to warn you, though, my middle name is Gouger.

Quote
The Silent Partner (1978)  The greatest Canadian movie ever made, hoser. A+
Undoubtedly right, but then, look at the competition.



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« #19947 : September 16, 2021, 11:31:22 PM »

I've heard there's another version with a different ending. I'm pretty sure I can guess what it is.

SPOILER ALERT
Well in that other version he leaves with the girl. I?m not sure anybody has seen it though.


One scene that always pisses me off is the car chase on the stairs of the Trocad?ro: the camera is constantly in the wrong side. Those stairs are famous because they face a beautiful view with your favorite building ever, the Eiffel Tower. That?s the only interesting thing about these stairs. Weirdly enough, the camera turns it?s back to the view the whole scene and stares at the wall. Why?


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« #19948 : September 17, 2021, 09:15:35 AM »

Mississippi Mermaid (1969) - 9/10. What if Eve never made it to the garden? What if, enroute, the serpent bumped her off and replaced her with an impostor--let's call her Lilith.  Lilith is so much lovelier than the woman he was expecting that Adam falls hard. He gives his new wife access to everything he owns, including his prized orchard. One day Adam awakens to discover that Lilith has absconded with the particularly valuable fruit from one of the trees . . . Adam is devastated. But what bothers him more, the loss of his treasure, or the loss of his wife? Either way, he decides to chase after the woman who has wronged him. Adam leaves the garden, a self-expulsion from paradise. Uxoriousness leads him a chase; madness ensues.

Thus did Cornell Woolrich, in Waltz Into Darkness, rewrite Genesis, although he located Eden in 19th Century New Orleans. For the first film adaptation of the novel (it was made a second time, as Original Sin, with Antonio Banderas and Angelina Jolie) , Truffaut transplanted everything to the modern Francophone world. The Garden there is played by Reunion, a tiny French possession east of Madagascar. Louis Mahe (Jean-Paul Belmondo) owns a tobacco plantation and a cigarette factory and business is good. He is young and would like to be married, "but for the man there was not found a helper fit for him." So, he advertises. This initiates a correspondence, followed by wedding plans.  Enter Catherine Deneuve, a stroke of casting genius. (Truffaut's principal strength was his ability to cast.) She arrives by sea, claiming to be Louis's betrothed, although she bears no resemblance to the photo he recieved of her in the mail. She has, of course, an explanation, one Louis doesn't examine too closely. When you're expecting chopped liver, and instead Catherine Deneuve shows up at your door, who bothers with details?

There is a brief idyll--very brief--and then the catastrophe. Louis follows the fleeing woman to France. Truffaut does something clever here. Just as Paradise was depicted by Reunion, the fallen world is played by Antibe, Aix-en-provence, and finally and most devastatingly, by Lyon. There is talk about going to Paris, but those who have chosen to dwell in darkness can never enter La Ville-Lumiere. Things go from bad to worse, but finally Truffaut pulls out a hopeful ending. The transforming power of love, and all that. I gather that there is a very different ending in Woolrich's original.

Except for the rewritten ending, I like this film very much. The plotting is wonderful, the locations are great, the color photography is excellent, there is chemistry between the leads, and the leads are played by stars. Remember when films had stars?



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« #19949 : September 17, 2021, 12:01:41 PM »

Yeah but was it really a part for Belmondo? He brings too much to the table.


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