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: NYT's Renata Adler's quote from review  ( 14531 )
titoli
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« : December 24, 2008, 07:07:38 PM »




(1/25/68) dubbed it The Burn, The Gouge and The Mangle and called it "the most expensive, pious and repellent movie in the history of its peculiar genre."



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« #1 : December 24, 2008, 07:09:38 PM »

Pious?


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« #2 : July 11, 2009, 10:23:49 PM »

Perhaps she meant pious as humanistic in nature rather than the classic meaning of the word. Though that is probably too deep.




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« #3 : July 13, 2009, 09:47:29 AM »

Perhaps she meant pious as humanistic in nature rather than the classic meaning of the word. Though that is probably too deep.

On Webster it is given also as a synonim of sanctimonious. This is probably what she meant. Now, Tuco's behaviour can be dubbed as such, but that Leone's stance toward it is ironical can have escaped only a prejudiced viewer. I heard that NYT is curently in financial trouble: long overdue.


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« #4 : July 13, 2009, 11:06:28 AM »

On Webster it is given also as a synonim of sanctimonious. This is probably what she meant.

I prefer The Free Dictionary, it's a little more user friendly.

Pious:

1.  Having or exhibiting religious reverence; earnestly compliant in the observance of religion; devout.
2. a) Marked by conspicuous devoutness: a pious and holy observation, b) Marked by false devoutness; solemnly hypocritical: a pious fraud, 3) Devotional: pious readings, 4) Professing or exhibiting a strict, traditional sense of virtue and morality; high-minded, 5) Commendable; worthy: a pious effort.


Sanctimonious: feigning piety or righteousness


I think she really didn't know what she was writing, as often with Leone's movies, like many others, she was probably just trying to sound incredibly smart and sharp. She did partially nailed it: there really is a humanistic undercurrent in all of his movies, often wrapped in ironical, cynical, sarcastic or even grotesque humor, but always sincere. Though that's not because she understood it, but because his movies are so universally good that you can write whatever you want and people will discuss it and eventually probably find something that coincides on some level.

« : July 13, 2009, 04:34:17 PM Dust Devil »



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« #5 : July 13, 2009, 04:28:18 PM »

I think we should read the entire review. But it is typical of these folks to write sentences without arguments in support.






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« #6 : July 13, 2009, 04:38:28 PM »

I'd like to read it now that we started talking about it. That is actually a review from 1968? I doubt it could be found on the net.




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« #7 : July 13, 2009, 05:15:59 PM »

I just looked her up on Wikipedia; she sounds like a vicious reviewer. Time magazine is quoted as saying that a review she wrote about one of her colleague's books was "the New York literary Mafia['s] bloodiest case of assault and battery in years."  :o

Interestingly, she was born in Milan.

Didn't New York have enough obnoxious, up-own-assed critics in the late '60s?



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« #8 : July 14, 2009, 01:48:01 AM »

I'd like to read it now that we started talking about it. That is actually a review from 1968? I doubt it could be found on the net.

I presume it's herein:



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« : July 14, 2009, 01:49:45 AM titoli »

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« #9 : July 14, 2009, 02:57:58 AM »

lol.


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« #10 : July 14, 2009, 05:14:56 AM »

It's accessible on the NY Times website but it's not free unless you're a home delivery subscriber: The Burn, the Gouge, and the Mangle

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« #11 : July 14, 2009, 06:30:58 AM »

Haha :D

But wasn't that review mentioned in the commentary track (Richard Schickel) ? He says she (I know it was a female critic he was talking about) wrote that she couldn't sit still in the same room with anyone who watched the whole ''How's your digestion now?'' scene, and that the movie is no good.


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« : August 01, 2009, 12:39:39 PM Dust Devil »



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« #12 : July 14, 2009, 07:08:44 AM »

What did Pauline Kael have to say about this film? That sounds like some line of crap she'd throw out there.



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« #13 : July 14, 2009, 10:04:27 AM »

Well, here's a capsule review of GBU by Kael, since I brought it up:

Quote
In this Sergio Leone spaghetti Western, if a man crosses a street in Santa Fe, the street looks half a mile wide; a farmer's hut has rooms opening into rooms into the distance, like the Metropolitan Museum; a cowtown hotel has a plush lobby big enough for a political convention. The movie is like HIGH NOON and THE OX-BOW INCIDENT and a dozen others all scrambled together and playing in a giant echo chamber. The bad men are enormously, preposterously evil-larger-than-life parodies-and each wound they inflict is insanely garish. The change of scale is rather fascinating. This Western, set in our Civil War period but shot in Spain, looks more foreign to us than an ordinary Italian film. With Clint Eastwood, Eli Wallach, and Lee Van Cleef. Score by Ennio Morricone.


She seems to have the same line of thinking as Adler. This from a non-conformist bint who helped make Bonnie and Clyde such a legendary success.



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« #14 : July 14, 2009, 03:36:35 PM »

She obviously had never seen the introductory sequence of Pearl Chavez in "Duel in The Sun" the interior of THAT gambling hall was enormous, quite a few old Westerns had very large saloons, San Antonio comes to mind.


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