Sergio Leone Web Board
Welcome, Guest. Please login or register.
Did you miss your activation email?
May 23, 2022, 10:18:51 PM

Show Posts

* Messages | Topics | Attachments

This section allows you to view all posts made by this member. Note that you can only see posts made in areas you currently have access to.

Messages - dave jenkins

Pages: [1] 2 3 ... 1061
Off-Topic Discussion / Re: Rate The Last Movie You Saw
« on: May 20, 2022, 06:11:16 AM »
Murder in Montmartre (1957) - 6/10. Not a Maigret case. Instead, this is about an art dealer (Paul Frankeur) who is conned by Michel Auclair into buying a fake Gauguin. When the dealer catches up with the con man the crook makes him a proposition: come in as a partner in future scores. The dealer's shop is the perfect front for a big operation, selling copies of the same Gauguin to multiple private collectors. The dealer says yes. The only problem is that the third man in the operation, the forger, feels conflicted about his work and he likes to drink. Eventually he becomes a liability, and the partners decide to make the film live up to its title. One added wrinkle, though: the forger has a girlfriend (Annie Girardot), and she knows what's been going on. Instead of taking her out also, the partners wait and let her screw them over. Huh? Great film until the ending. Another high-end 50s crime film from Gilles Grangier.

Off-Topic Discussion / Re: Rate The Last Movie You Saw
« on: May 19, 2022, 07:16:43 AM »
V?ctimas del pecado aka Victims of Sin (1951) Classic "Golden Age" Mexican Noir

A Cabaretera - Zoot Suit Noir that manages a magical fusion of gritty big city Film Noir with Afro-Caribbean-Cuban-Mexican Musical and the Western.                                                            (Noirsville)

Directed masterfully by Emilio Fern?ndez.

Written by Emilio Fern?ndez and Mauricio Magdaleno and based on Magdaleno's story. The phenomenal Cinematography was by the great Gabriel Figueroa, and the Music was by Antonio D?az Conde.

Just based on the amazing visuals that continually top those in the preceding frames this film has shot into my personal 10/10 list of Black & White International Noir. And get this, I first watched a streaming un-subtitled version that was cropped from an Academy ratio to a 1.78:1 (16:9). Its a simple story and since I'm part Italian and have lots of Hispanic friends, between the similarities of the two languages and the very animated acting, it is pretty easy to figure out what is going on. That says a lot, and I have since purchased the current DVD available (it has English subs), but I'd easily re purchase it again if a Blu comes out. The film plays like a Noir Music Video and and you can even enjoy it that way. If you are a Noir Visual junkie once you see it it will be unforgettable.

Emilio "El Indio" Fern?ndez creates a masterpiece in re-visiting Cabaretera Noir. His first was Salon Mexico (1949) This film checks all the boxes of what a great Noir made around the early 1950's should contain.

Gabe Figueroa's cinematography is visually dark, graphic, and gritty. He is an equal to Alton, Guffey, Diskant, Ballard, and Musuraca.

The story hits on all cylinders, the music and dance routines are eye openly progressive compared to any films produced by Hollywood of the same vintage.

The Music is for the most part diegetic and is provided by the P?rez Prado Orchestra, Rita Montaner, Jimmy Monterrey's "bongocero" rumba band, a un-credited Jalisco mariachi group playing Santiago's leitmotif "el tren," and even the famous Mexican crooner Pedro Vargas gets to do a number as a celebrity guest in the Chang?o audience.

Visual highlights are the warren like back alleys, the neon lit clubs, the early morning railyard views from El puente de Nonoalco, the prostitute cribs. Acosta's Zoot Suit "jive" dance, all of Nin?n Sevilla's numbers, Rita Montaner singing "Ay, Jos?" wink wink, which never would have been permitted by the Legion of Decency or the Motion Picture Production Code here, the "**** riot," and a cool Western gunfight at the railyard.

All the performances are spot on, Sevilla, Junco, Acosta are excellent and especially of note is the acting by Ismael P?rez as Juanito with some very compelling sequences. Screencaps from Mirada DVD 10/10.
CJ, you've sold me. I'll check it out.

Off-Topic Discussion / Re: Rate The Last Movie You Saw
« on: May 18, 2022, 09:45:45 AM »
La casa del angel / House of the Angel (1957) - 8/10. The first Leopoldo Torre Nilsson film I've seen. I look forward to watching many more.

Off-Topic Discussion / Re: Rate The Last Movie You Saw
« on: May 18, 2022, 04:48:54 AM »
Dr. Jekyll and Mr. Hyde (1941) - 7/10. According to IMDb, this story has been made into films and TV dramas about 56 times (depending on how you count). This is the version with both Ingrid Bergman and Lana Turner--and both in their prime. Naturally this one is mostly about sex (the fantasy sequence where the women are harnessed, pulling a coach, while being lashed by Spencer Tracy, must be seen to be believed). The production code does it again!

Off-Topic Discussion / Re: Rate The Last Movie You Saw
« on: May 17, 2022, 04:26:36 PM »
On July 7, 2018, Dave Jenkins posted this about Cry of the City (1948):
I just re-watched this the other day and it impressed me quite a bit. One thing is the interesting location work: yeah, the kind of Manhattan street scenes you'd expect, but the sequence where Conte breaks out of the prison hospital uses a very nice combination of sets and unusual locations. But another strength of this film are the one-off characters who show up for a scene and are never heard from again: the dim turnkey at the aforementioned prison hospital, the receptionist at the crooked lawyer's office (introduced just long enough to take a bullet), Shelly Winters (playing--very briefly--an old girlfriend of Conte's), the unlicensed doctor with the sick wife, the drunk Ms. Winters meets in the bar, the final female horror that Conte has to deal with (the way she's introduced, btw, is one of the greatest examples of deep focus in all of motion picture history). All the actors, with a few quick lines, lend a remarkable vividness to each of the characters they portray. This is not your typical noir cheapie, this is an A picture through and through. There's a reason Scorsese singled it out in his Journey Through American Films documentary--it's a great film on every level (well, except for the music).
I can't remember this review, but watching the film yesterday, I had those exact same thoughts. Then I found the review. It was deja vu, all over again!

A Fistful of Dollars / Re: New Kino Lorber FOD DVD/BRD
« on: May 16, 2022, 12:27:36 PM »
Beaver compares new disc with Ripley's; very similar.

Off-Topic Discussion / Re: Crimes of the Future (2022)
« on: May 14, 2022, 03:19:11 PM »
Theatrical release: 3 june
Blu-ray:                9 august

Off-Topic Discussion / Re: Rate The Last Movie You Saw
« on: May 13, 2022, 05:19:38 PM »
Un soir, un train (1968) - 3/10. How could you go wrong pairing Yves Montand with Anouk Aimee? Andre Delvaux found a way. He starts off well, doing a great imitation of Alain Resnais. But at the film's mid-point he jumps the tracks and heads into Rod Serling/ Ambrose Pierce territory. Who was asking for a retelling of "An Occurrence at Owl Creek Bridge?"

General Discussion / Re: SL Encyclopedia
« on: May 12, 2022, 06:58:22 AM »
Updated entry for "Almeria, Spain." Added entry for An Eye For An Eye / Oeil pour oeil (1957), a pre-spaghetti revenge film shot in Almeria.

Sergio Leone News / Re: Mural in Rome unveiled today
« on: May 12, 2022, 06:36:30 AM »

Film Locations / "Fistfuls of Dollars in Almeria"
« on: May 12, 2022, 05:12:59 AM »
For my Leone studies this week I'm reading Fistfuls of Dollars in Almeria by Terence Denman. No idea when this was first published. I have a made-on-demand copy that only lists the date on which it was manufactured (in this case 7 April 2022).

Before it was used as a location for SWs, Almeria was discovered for other kinds of films in the 1950s. Denman points to one film shot there in 1956 (released in 57) that put the place on the map in terms of later film productions. The film was called Oeil pour oeil (An Eye for an Eye) and was directed by Andre Cayatte:

A totally French production in terms of finance, but with a Spanish crew, Oeil pour oeil is a fascinating film, with several wonderful Amerian set pieces. The opening credits roll over the townscape of Almeria, with the sea in the background, standing in effortlessly for a north African city, as it could do so easily then. A scene in which the main protagonists cross a mountain pass on a dangerous aerial ropeway (especially constructed, and filmed at the Cerro de la Garibola near Santa Cruz de la Marchena in the Tabernas desert) is particularly exciting. But it's the film's final shot that is the true visual poem to Almeria. The star of the film, Curt Jurgens, is seen stumbling through the landscape near Tabernas, exhausted, parched and near death. The camera (obviously airborne in some way) pans back, revealing more and more of the stunning mountains and canyons around Tabernas. Even as a fan of spaghetti westerns, I can think of no scene in them which has this Almerian grandeur.
pp. 85, 86
This film sounds so interesting I had to look it up on IMDb. Unusually, there is a decent synopsis of the film available there:
In North Africa Dr. Walter (W) is a very skilled surgeon but lives at a distance from the hospital. In the evening a husband (H) and his sick wife come to his private home from far away. He tells them to go to the hospital. The wife dies during the operation. The other doctors think that W might have saved her. Shortly afterward a man asks W to come to a village to treat a very sick man. W goes thither in his car. The local habitants do not allow him to apply Western medical techniques, all tyres of his car are stolen, and he sees H in this village. W tells him that his wife would not have died if he had timely taken her to a doctor. W buys a lot of coca-cola and starts walking home on his feet. He refuses H's offer to show him a shortcut. But thrice he finds H sitting at the road much ahead of him. Then he accepts H's guidance = misguidance! When they have been without water for many days and W wishes he was dead, he wounds H with a knife. H is sure to die within 24 hours without medical treatment. Then H says that inhabited areas are found in a quite different direction. W starts in this direction, not followed by H. The camera rises and reveals that before W there is nothing but stone and sand.
Hmmmm. Anyone else here thinking maybe Tuco saw this film as a boy?

Off-Topic Discussion / Re: Rate The Last Movie You Saw
« on: May 09, 2022, 10:21:26 AM »
Paris When It Sizzles (1964) - 6/10. Hepburn and Holden, together again for the first time.  Two American screenwriters in Paris, a man and a woman, try to finish a script while falling in love. Scenes of our heroes writing are intercut with scenes from the imagined film, wherein the invented characters, also played by Audrey and Bill, take part in a heist while falling in love. Audrey and Bill are charming, in either plotline, and their combined star power is enough to make the weak story work. The original French film this one was inspired by is better.

La fete a Henriette (1952) - 7/10. The original French film that inspired the above. With Dany Robin, Michel Roux, Michel Auclair, and Hildegarde Neff. This contains one of the funniest moments in all of cinema, but then, Duvivier was a genius.

A Fistful of Dollars / Re: New Kino Lorber FOD DVD/BRD
« on: May 09, 2022, 09:46:17 AM »
This reviewer likes the new KL 1080p transfer (which comes with the UHD) better than the "2018" disc. Unhappily, he doesn't compare it with the Ripley's, which of course has been the standard until now. But at least we know the BD uses the same new scan used for the UHD.

Pages: [1] 2 3 ... 1061


SMF 2.0.15 | SMF © 2017, Simple Machines