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General Discussion / Movies done by Sergio's group
« on: July 07, 2005, 03:39:34 PM »
I think it's interesting finding movies done with the people who worked with Leone or who somehow have connections to him+his crew. Name some! Here's all I could bring up:


Director/Writer: Bernardo Bertolucci(OUATITW)
Writer/Editor: Franco Arcalli(OUATIA)
Actors: Robert De Niro, Romolo Valli
Producer: Alberto Grimaldi
Music: Ennio Morricone
Key Makeup Artist: Giannetto De Rossi(OUATITW)

Pasolini's Il Decameron
Director: Pier Paolo Pasolini(Mentor to Bertolucci and writer of his first film)
Producer: Alberto Grimaldi
Music: Ennio Morricone
Cinematographer: Tonino Delli Colli
Editor: Nino Baragli

That's all you need for a good movie there, huh? ;)

Pasolini's I Racconti di Canterbury
Director: Pier Paolo Pasolini
Producer: Alberto Grimaldi
Cinematographer: Tonino Delli Colli
Editor: Nino Baragli

Pasolini's Il fiore delle mille e una notte
Director: Pasolini
Producer: Alberto Grimaldi
Music: Ennio Morricone
Editor: Nino Baragli

That's all I could really remember.

Once Upon A Time In America / Noodles' motive for raping Deborah
« on: July 05, 2005, 08:31:44 PM »
I was wondering what everyone's personal impression of Noodles' raping of Deborah was all about? I think that the "He was cold hearted and horny" is just an easy motive to think up, but because Leone put such an emphasis on that scene I think it goes deeper.

I think that Noodles never had a bond or connection with anyone like he did Deborah, except for Max, but Deborah filled the female void of his life, and because of his jail time he was deprived of her more than anything else, hence his talking about it with her on the beach preceding the rape. His love and attachment for + his deprivation of Deborah is expressed in that scene, then his eventual fear of losing Deborah also precedes the rape.
I think his being with Deborah probably changed his view on his lifestyle as a thug and maybe he was going to give up his life for her, except his close bond with Max would keep him in N.Y., otherwise why else wouldn't he have gone with her? When he found out she was going far away from him, the deprivation of her for all those years in prison, his reluctance to leave to be with her in California(For Max), plus the fact that he had a desire to be closer to her and feels he could only have his chance at that moment were his reasons.

I think that his desire to be that close to her, mixed with the feelings of deprivation and fear of loss was the biggest reason, otherwise he probably would've waited until marriage or when she was willing. When he had sex and "raped" Gail it was out of lust, but he desired to have that closeness with someone that he loved.

I think that's a big insight to Noodles in OUATIA. His connection and love for Deborah was what saved him from always living a life of crime. He was striving to live for something, and that's what the others didn't have(Otherwise they wouldn't have risked their lives for wealth), hence their disintegration.
Since Deborah was pure, that's why she didn't age to Noodles' eyes, and that attachment is why Noodles, Max, and Fat Moe were still alive but old. They had burdens, but they all had bonds to eachother in relation to Deborah. Fat Moe to Noodles and Deborah, Noodles to Deborah(And to Max had he known he was still alive), and Max to Noodles and Deborah.

Deborah is the key to it all! :o That's actually the running theme of the whole OUAT... trilogy, especially with that whole water theme being feminine and killing off the men, the woman in this one is almost the entire opposite.

Poggle the Philosopher 8)

Off-Topic Discussion / Visconti and Pasolini
« on: July 04, 2005, 03:49:17 PM »
I've really been wanting to get to know Visconti and Pasolini's movies.

The Leopard is #1 on my "Must get" movie list and I know that's a well known classic, but I also think that Senso, Rocco and his Brothers, The Damned, Death in Venice and Ludwig look great and I'd like to get them in that order for now. Are they really great movies? Would any of them be best to get last or are they all great? What other Visconti movies are great? I've heard mixed feelings about The Damned and Ludwig and I was wondering what you people thought of them?

The movies that interest me concerning Pasolini are Medea, Oedipus Rex, Decameron, Canteburry Tales, and Arabian Knights, but that guy has so many movies I wouldn't know what else to look out for. Any suggestions?

While we're on the subject of these two, what would you consider your favorite films from these fellows?

Off-Topic Discussion / What is this movie?
« on: July 02, 2005, 04:10:19 PM »
It's an Italian film I think. A man goes off to war, is thought to be dead, his lady sleeps with a bunch of men and she's raped in public, then the guy comes back with no arm.

I forget the exact plots, but those are the ones I remember.

Off-Topic Discussion / French and German films and directors
« on: July 01, 2005, 05:04:27 PM »
I've been interested in checking out the works of Italian directors like Bertolucci, Argento, Fellini and Visconti and maybe some more later on, but I am wondering if there are any French and German movies and directors that I would like if I'm into Italian fellows like Leone and Bertolucci?

I really liked Downfall and I'm interested in checking out Aguirre: Wrath of God and maybe some other Herzoz films. As for French films, I know nothing :(

Off-Topic Discussion / Questions for Europeans
« on: June 16, 2005, 09:12:43 PM »
I was wondering what you Europeans thought of The Godfather movies(The first two anyway :P)? I've never seen any American movies that feel like European movies as much as those, but I've never seen any European movies about America that are as American as those, except Sergio's, of course. It feels very European+American, like OUATITW or OUATIA.
I would think some people, like the French, wouldn't like it because it's America doing something as classy as Europe, but then again I'm pretty sure there would be some who like it for that very reason. Not that I'm trying to generalize, but I always figured the opinions would be either those two.

Also, I am wondering if any people who didn't grow up speaking English ever watched the English language versions of Sergio's movies? Did that change your opinion of them? I know that watching Novecento in English and watching DYS in Italian seemed very odd to me, but any movie about another country that's dubbed in a language that's not of the country portrayed in the film just seems odd to me, especially when you have Italian farmers that sound like husky Texans :P Though when a movie has great visuals, I'd like to think that's an advantage over staring at the bottom of the screen the whole time. If I had watched Novecento with the subtitles I would've probably only truly "seen" half of the movie.

No offense to the French though, I'm just talking about the loyalist-types that are in every country, but in France I feel that most of the loyalism is present when it comes to the arts. Or is the word patriots/elitists? Well, the group of people that are arrogant and loudest about their country is what I'm saying, not everyone in a country. :P

Off-Topic Discussion / So, who likes Led Zeppelin?
« on: June 13, 2005, 07:53:55 PM »
I do :)

And movies of his time, like The Godfather movies, etc.

Does he comment on a lot of contemporary movies and directors during interviews?

I wonder what he thought of Amadeus? :o That being best movie in the year of OUATIA and all ;)

Once Upon A Time In America / Italian DVD
« on: May 26, 2005, 02:47:56 PM »
The N. American DVD is 229 minutes and the Italian 238. What scenes are on the Italian version? Because of the PAL speedup I'm sure it's more than ten minutes when converted to NTSC.

General Discussion / Troppo forte aka Great! (1986)
« on: May 22, 2005, 09:21:11 PM »
Has anyone here ever seen that Troppo Forte movie that Sergio is credited with having written and produced?

Same thing goes with the other movies he produced after the second My Name is Nobody movie.

Here's the link:

Once Upon A Time In America / The suitcase and the death of Bugsy
« on: May 22, 2005, 07:03:44 PM »
Last night while watching OUATIA some things made me curious.

Did they save up the earnings in the suitcase to be used when they went into business during Prohibition? When Noodles went to the suitcase on the beginnnig he obviously expected money to be in it, but is it the same money they put in there as kids or do you think they kept up the tradition of putting in 50%? I'd think that adult millionares would find a more sophisticated way to put their earnings together, especially at the rate they get it I doubt a suitcase would be able to hold up. The only explanation I could think of is this - They put 50% in until it was filled to capacity and then left it for emergency money, which was what Max was talking about on the beach when he saved up a million-something(I forget. Ten million?) dollars? But still, how it was used in the time between Noodles' last childhood scene and Max picking him up kind of confuses me as to its use :(

Another thing I am wondering - With the death of Bugsy did the gang take over the territory, hence their popularity at the club? If that's the case then that's the third time that De Niro's character killed other mafiosa men to rise on top of what they left behind :P GF II and Goodfellas being the other two. That seems to be a running trend in gangster movies, same thing on Scarface.

What I like about those two parts of the film is how they are in perfect harmony with eachother and the rest of the scenes that follow. They seem like things very probable and not forced onto the audience, and they work together so well 8)

Once Upon A Time In The West / The sound design for this film
« on: May 22, 2005, 06:06:09 PM »
I usually watch my R1 English language movies with the default soundtracks they come start up with, but I decided to watch it last night with the 2.0. mono soundtrack since I don't have any fancy stereo system setup(Just two TV speakers. An ancient race). Hearing it that way grabbed me by the balls! It was very potent and powerful and a lot of the empty space in between noises when things are 5.1. seemed to really contrast the spot-on, fullness of the mono track.
I am wondering - is it just me or is the mono track more in sync with the picture than the 5.1.? Is it just the fullness of the sound coming out of both speakers that makes it sound ballsier? I know they screwed around with the GBU soundtrack which pissed me off, but since this release is from a different company maybe it's just the spaciness of the 5.1. track?

And since I mentioned it earlier - Is Harmonica's gun shots not the greatest gun shot sound in the whole Leone catalog? WOW! When he shoots Frank's men on the beginning, when he kills Frank, etc. the sound design in Leone's films makes the movies all the more better when it's NOT MESSED WITH! It's like changing the colors on a Dali or Da Vinci painting. I remember when he shot the man out of the window of the room Jill was taking the bath in I thought to myself "I hope Harmonica shoots another man, that gun shot sound is like a cannon!"

Alright already about the noise his pistol makes when it goes off(!!!... !!!!!!), but I was just amazed at the differences of 5.1. and Mono on a two-speaker TV and I had never noticed before.

Once Upon A Time In The West / Frank's theme
« on: May 20, 2005, 05:52:57 PM »
A while back it occurred to me that Frank's Theme and the riff to the title song of Black Sabbath's self-titled album sounds almost exactly like Frank's theme. The album was released two years later, but I think it's cool how the riff that began one of the great heavy metal bands and styles(Even though of course Zeppelin started the style with D&C :P) was used as the main theme of one of Sergio's most evil characters.

Check out the similarity

I haven't seen 1900 yet, but I've read a lot about it, seen quite a few pictures and I've been wanting to see it so much!

My most favorite movies are the first two Godfathers and OUATIA. They are very strong, long, deep stories about the many years of the lives of the characters, have that modernized 1950's movie look, etc. and they are films that were taken very seriously and with importance, and with much attention to the smallest detail to ensure historical accuracy and mood in every small aspect of the film.
I find films like the above mentioned(that I have seen) to be some of the greatest but most rarest movies to come about. I think it's the European, Italian in particular, flavor of the films though, but mixed with American actors and settings it's the perfect combination, though I don't think it it's just that in particular, but it is a big factor. Could you imagine all the American aspects of OUATIA not there at all? But then again, could you imagine it being done by an Anglo-American(Or an Anglo in general)?
They even share similarities visually and musically. That soft look with the very carefully done lighting, almost made to look the way they do for the periods they were set in based on how we think of them(Kind of like The Passion of the Christ and other such movies inspired by art from a certain time period that define our views on the subject matter, like how we think of Jesus from Italian painters of the Da Vinci era). People usually call it the "Operatic look", though I don't know if it has anything to do with opera :P

Are there any other movies that have that some cult status as GF and OUATIA? I've heard many comparisons of 1900 to those movies and I want to see it so bad. ARGH! I know there has to be some strong, long, epics on the same order of those movies.

General Discussion / The newspapers and books in Sergio's films
« on: May 13, 2005, 04:25:13 PM »
One thing I noticed in FAFDM, DYS and OUATIA, which happen to be the Leone movies with the multiple flashbacks and the characters with the most mysterious pasts, is that they all have newspapers and books being read by characters at one point.

Mortimer reading the Bible and then the newspaper article about Manco, Juan reading the newspaper article about Mallory and Mallory reading Patriotism by Bakunin, and of course Noodles reading Martin Eden on the crapper and the newspaper in the opium den.
What's even more interesting is that the books and newspapers are about the characters with the mysterious past and flashbacks or being read by them.

Could there be some insight into the mysteries of the movies concerning the characters' past(Future/past/present for Noodles :P) in these books and articles? I think it would be most interesting to see the book and newspaper Noodles was reading. But a sharp big screen and a DVD player with the zoom feature could probably make it easy ;)

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