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Messages - Eric
1
« on: June 25, 2009, 12:21:48 AM »
How best to explain? Perhaps an analogy....
Eurospy is to...let's say the James Bond films as spaghetti westerns are to John Ford. Essentially, spaghetti 007s.
3
« on: August 13, 2008, 09:57:28 AM »
Hooray for reviving old threads!  A Pistol For Ringo
Picking pattern for maj7 chords (shown here for the Gmaj7):
e|------------------------|
B|-------12-------12------|
G|-----11--11--------11---|
D|------------------------|
A|--10---------10---------|
E|------------------------|
Gmaj7 Fmaj7
Countries, that know only the springtime
Gmaj7 Cmaj7
And your green fields, with your scentin' of hay
Bm G C
Know Ringo, with his angel face
G D G
And a woman, who was waitin' for his return
Bm
Cross the canyons he laughed
Em Bm
Down the valley the death
D G A7
And he left behind a river of blood
Bm
For his life was guided
Em Bm
By a crude law
G A7 D
He only had a mind to get gold
Gmaj7 Fmaj7
Rivers, you know how is the history
Gmaj7 Cmaj7
And his laughin' was a presage of death
Bm G C
Ringo, had an angel face
G D
But whenever Ringo laughed,
G C
Ringo fired
SOLO:
e|-----------------------------------------------0-------------------|
B|-0-0----0-1-0-----------------0-----0-1-0--------------------------|
G|---------------2-0-2-2----0-2-------------2-0----------------------|
D|--------------------------------0----------------------------------|
A|-------------------------------------------------------------------|
E|-------------------------------------------------------------------|
Bm G C
Ringo had an angel face
G D
But whenever Ringo laughed,
G C G
Ringo fired
Not sure of a few chords in the bridge of this one. Input is welcome: RETURN OF RINGO
Em D Bm
I kiss at last the beloved ground on my land
Em D Bm
That i left one day with my heart, heart full of pain
G Em Bm
I have looked in the faces of my old friends
G Em Bm
But now do you look at me as my old friend
Em D Bm
And now what happens you must, you must tell me
Em D E
You must remember who I am.
G Em C G Em
If you see a man with downcast eyes and ragged clothes
G Em C G B7
Walking through your village don't shut him but go at his side
G Em Bm G Bm A
I'm that man and now I beg you help me, i need you...I need you.
Em D Bm
The liar who told my sweetheart i was dead
Em D Bm
To take my place, he shall pay for this base lie
G Em Bm
Those who saw me as a run-down man
G Em Bm
Those who tried to destroy all our world
Em D Bm
Shall leave forever our beloved land
Em G A
Because we are fearless men
Em G A
Because we are fearless men
Em G E
Because we are fearless men
4
« on: July 22, 2008, 07:38:52 PM »
Brigadier General Robert F. Hoke CSA, a native of Lincolnton, NC Hey! That's essentially where I'm from!
5
« on: July 21, 2008, 07:20:56 PM »
Was this movie aimed toward kids? I know it's based on a popular bande dessin...dessinnes...
...Comic....
6
« on: July 21, 2008, 07:17:25 PM »
Tonight, I will watch The Specialist for the first time in your honor (and I will try not to notice the castle).
7
« on: July 19, 2008, 11:02:42 AM »
I think GS is Corbucci's most notable achievement because of his willingness to violate all of the rules of, and thus transcend, the genre.
My favorite to watch though, is Companeros. I agree with Bandolero that it has been overlooked and in some cases unfairly maligned....
8
« on: July 02, 2008, 11:00:13 AM »
No. Save the biggest piece of bread for Dad. He works hard to put it on the table for you.
9
« on: July 01, 2008, 11:32:42 AM »
I just had a chance to watch this one for the first time last night, and really enjoyed it. I thought it served as a nice balance to the Corbucci revolution movies (Mercenario and Companeros), in that [spoilers, I guess] whereas the gringo characters played by Nero in the latter bring the Mexican leads (Musante and Milian) to support the revolution by mostly learning to support it themselves, Tate leads Chuncho to his realization by undermining it.
And I think that the answer to the titular question Quien Sabe? is that Chuncho does know. I think he's still been planning, perhaps subconsciously, to exact revenge on Tate, even after being cleaned up and dressed in a new suit. Seeing the way Tate treats the Mexicans in the line just cememnts that point. I don't think it has much to do with his brother -- someone else mentioned the, "Don't buy bread, buy dynamite!" line that certainly shows his support of revolution -- but also note that the first thing he does in his getaway is to strip out of the clothes that Tate has provided him with: he's shedding the life that Tate had handed him, and I think he'll head back to the headquarters of the revolution a changed man.
My favorite part of the movie was that I constantly had to reconsider Chuncho as a character. When we first meet him, he seems a cool collected strategist (The captain on the tracks? Wow.). We also see that he was once enamored with the revolution, and still retains a bit of that by keeping around the photo of he and Elias. But money and fame are enough to dull his wit, enough to be manipulated by the American. But his rejection of the money in the end -- he throws it away as he pulls his gun -- shows that he's grown as a character.
I'd also disagree with the commenter who described aspects of the movie as sophomoric Marxism -- I think this movie is much more fair than others I've seen in the genre, especially in the scene with Don Feliciano, who comes across as one of the most sympathetic characters. We start the movie watching the Mexicans execute the revolutionaries, but we also see many scenes -- even early, in the train sequence -- where the revolutionaries execute the foot-soldiers in similarly cold-hearted ways. Things are bad all over.
Overall, I'd give this one a 7.5/10. Not my favorite, but a good one nonetheless.
10
« on: January 13, 2008, 11:28:57 PM »
Thanks Joe. I was a bit frustrated with this thread, because nobody seemed to want to talk about the movie.
No, it's not a western. It's not a neo-noir. It's not a horror movie. It exists somewhere in between. Can we get beyond the silly labels?
11
« on: January 13, 2008, 12:51:46 AM »
Just saw this for the first time, despite being a huge fan of the Coens and Cormac McCarthy.
Four things [spoilers ahead]:
1. Watching this movie is like having someone apply constant pressure to your chest for two and a half hours. The Coens carefully craft each scene so there's no real catharsis, and that's the problem I think many people have with the ending.
2. ...The biggest lack of catharsis is the way that Chigurh doesn't die in the end. There's a moment, a brilliant moment, where the Coens let us think that he's been killed in the chance (like the coin flip) car accident, which almost gives us the release that by that moment we crave. Doesn't get his just desserts. Just walks off into the sunset, the way we expect our hero to do. In a way, all of the Coen's serious movies (and some of their comedies -- Raising Arizona, for instance) deal with this unnameable evil that coexists with (or within) mankind. This is their most cynical representation -- there is no happy ending. There is no way to defeat evil. Reconsider the conversation that Bell has with his brother (?) -- the evil is bigger than Bell, as a person, and as a character. To think otherwise is vanity.
3. The underlying theme of the movie involves the fate that Chigurh talks about with that poor old gas station attendant, and the inevitability of his actions that he talks about with Carla Jean at the end ("People always say that: 'You don't have to do this.'"). Chigurh has taken the path of evil. Bell, the path of good. Moss diverges from his path to another when he follows the trail of dog blood to the "OK Corral." Though it seems as if a good deed -- bringing water to the dying man -- gets him fully involved, in reality, it's the moment that he takes the money home. I think he's conscious of the path he's walking at that point, or at least at the point he tells Carla Jean to get packed. Like the lead character in another movie I recently watched, Melville's Le Samourai, he's heading inevitably into death from that point on. Chigurh even tells him so, without argument.
4. I feel as though, though my wife disagrees, Chigurh becomes more human as the movie goes on. Our first clear view of him is his otherworldly, straining face, as he chokes the deputy with the handcuffs. Strangely, the more humanized his character becomes, the scarier he is. He moves from the realm of movie monster to someone you could conceivably imagine existing in our world. Does he kill Carla Jean at the end? He's not carrying a weapon as he exits the house....
5. (I'll throw in one for free) This is not, by any means, a date movie.
12
« on: January 08, 2008, 11:14:02 PM »
I see an awful lot of A-list actors in this bunch (although Saul Rubinek and Michael J. Pollard are two of my favorites). When I think of character actors, I think of people like the following: Pete Postlethwaite  Jeffrey Combs  William Forsythe  Vincent Schiavelli  William Atherton  James Gammon  Roscoe Lee Brown  Michael Lerner  Henry Silva 
13
« on: July 13, 2007, 11:26:48 AM »
That setup might sound lame, but I have faith in Gage, who is one of the best of the new crop of young comic writers....
14
« on: July 12, 2007, 09:16:16 AM »
15
« on: July 08, 2007, 12:31:12 PM »
Jean-Luc "Cinema" Godard's Bande à part, aka A Band of Outsiders. As with a lot of Godard, it's style over substance...but oh, what style! This is a sort of mini-heist flick, with two young men coercing their mutual love interest (Anna Karina) into letting them rob the house where she lives. Mostly, though, they talk and interact and express personal philosophies and allude to literature and run through the Louvre. There's a great and famous scene where our heroes dance the Madison (after alluding to Charlie Chaplin in...I'm thinking City Lights?), moving together in step but figuratively alone. http://www.youtube.com/watch?v=I6pOXjQLh7Y&mode=related&search=8 out of 10. --Eric
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