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Author Topic: My DYS Review  (Read 20790 times)
drinkanddestroy
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« Reply #45 on: March 04, 2011, 12:56:29 AM »

Does the final flashback of DYS remind anyone of one of the final flashbacks of The Godfather Part II -- the scene where the young Michael tells his brothers that he is joining the Marines?

In that flashback we see that Fredo was the only brother that was supportive of Michael's decision to join the Marines. The flashback is shown right after the scene in which Michael has Fredo killed  Smiley




« Last Edit: March 04, 2011, 06:48:22 AM by drinkanddestroy » Logged

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« Reply #46 on: March 04, 2011, 06:15:39 AM »

That is a very  interesting point you are making: Just as in OUATITW, where Frank's final flashback served to show how he was paying for his crimes, similarly, in DYS, Sean's final flashback -- in depicting that Nolan was such a close friend --  serves to emphasize the extent of the crime he is about to pay for with his life.
Not exactly the point I was making. Mallory has spent his life after killing Nolan in penance. His final act is one of expiation. At the point of dying, he receives a beatific vision, confirmation of his final state. His final reward is very different from Frank's.

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« Reply #47 on: March 04, 2011, 06:32:10 AM »

Not exactly the point I was making. Mallory has spent his life after killing Nolan in penance. His final act is one of expiation. At the point of dying, he receives a beatific vision, confirmation of his final state. His final reward is very different from Frank's.

I had to look up the definition of "expiation." very impressive  Wink

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« Reply #48 on: March 05, 2011, 02:24:00 AM »

Are you talking to yourself, DD? Grin

Yeah, for fun, just before editing the Encyclopedia. Grin

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« Reply #49 on: March 07, 2011, 11:11:08 AM »

Not Fair--Don't be so quick to judgment,

This movie was a delight of Saturday Afternoon adventure fare. I never realised the British were so cruel. My Dad denied it. I have since learned and sympathized with the Irish cause (See "Michael Collins"). The movie's politics were imposed '60's and '70's, true; the fact the I.R.A. had reared its ugly head the week before messed it up some  for me--the whole audience went:"Ummmph..." when Juan displayed Juan's green flag. But,  the I.R.A. has downgraded from noble knights in the early 20th century to random splinter factions, financed by drugs, (so has the Hell's Angels).

Its haunting themes, although weird at first, are common to all Leone's. Possibility the  best of all. Who can't forget the themes to "A Fistful of Dollars " or "The Good, the Bad, and   the Ugly"?

It's only too bad it is obscure. Perhaps the rape scene in the beginning kept it from broadcast TV?  I could live without  most of the first 20 minutes..but it sets Juan's nasty character. This, of course, changes as the Revolution affects him, personally.  These changes, from a  grudging partnership to deep friendship from a common bond make this unique and, in some ways,  one of Leone's best.

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« Reply #50 on: March 07, 2011, 11:52:58 AM »



 I could live without  most of the first 20 minutes.

The first 20 minutes are awesome! Who can forget the incredible stagecoach, those nasty mouth/food/talking scenes with the bourgeoisie, in the manner made famous by Sergei Eisenstein, and the cool holdup by the Juan's kids.

The rape was funny. I mean, I hate to say that, but it wasn't really a rape; there was strong indication that she "wanted it" (her statements in the coach, popping the cherries in her mouth...)

Leone did seem to have a thing for rapes ... FAFDM, OUATITW, DYS, OUATIA twice (though in fairness to Leone, both of the rapes that occur in OUATIA have some basis in the book The Hoods )... and interestingly, of the 5 rapes that occur in Leone's films, 3 of 'em are at least somewhat consensual (Jill, the one in DYS, and Carol)

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« Reply #51 on: March 07, 2011, 12:09:31 PM »

I can see from an artsy point of view,the eye contact, the symbolism of the cherries.

Bit off-topic, I know:

But the closeups of people eating--there is an oral, tonsorial theme throughout  the movie--I can do without. I.E; Juan's boy giving a haircut; Juan cooking; Gunther Ruiz sucking eggs (of course, this is to establish his awful character.) The hair cutting reminds me of Edward G. Robinson getting his ugly face shaved while Bogey and other hostages have to watch.

Still, I don't miss the torture scene of Dr. Villega being cut. Would you like to see That, too?

I wish the scene of Juan force-marching John thru the desert was left in. Perhaps it seemed too much like the scene in TGTBATU?

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« Reply #52 on: March 07, 2011, 06:28:19 PM »

I can see from an artsy point of view,the eye contact, the symbolism of the cherries.

Bit off-topic, I know:

But the closeups of people eating--there is an oral, tonsorial theme throughout  the movie--I can do without. I.E; Juan's boy giving a haircut; Juan cooking; Gunther Ruiz sucking eggs (of course, this is to establish his awful character.) The hair cutting reminds me of Edward G. Robinson getting his ugly face shaved while Bogey and other hostages have to watch.

Still, I don't miss the torture scene of Dr. Villega being cut. Would you like to see That, too?

I wish the scene of Juan force-marching John thru the desert was left in. Perhaps it seemed too much like the scene in TGTBATU?

whatsa matter, ya squeamish?  Wink

The purpose of the Sergei Eisenstein-type scene in the stagecoach is to capture the racist, repulsive personalities of the people in the coach

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« Reply #53 on: March 09, 2011, 06:14:55 AM »

Yeah, it's yukkier than a Jason movie (at least, That's all Fake!)

Can you imagine taking a Date to this- Yukk! Shocked

The Clint Eastwoods are real hero/romantics. Just about everyone I know likes them (although may not love them.) They are torn between spaghettis and John Wayne.

The Eisenstein approach I should have thought of.  I  Did a report on Battleship Potemkin in High School. Mahalos! Afro 

 The stuck-up bourgeoisie/upper class are well represented. Plus the background  of the early revolution.  And,the fact it eroded into 4 revolts and several civil wars, splintering off as they quite often do--Juan's tirade in the San Ysidro cave. Many poor were against the American Revolution--they relied on the British backing them. The  Mex Rev was a real grassroots, the peons suffering the most and originally  starting it.

 Mahalos! Afro


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