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: Rate The Last Movie You Saw  ( 4981070 )
cigar joe
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« #13740 : July 18, 2014, 08:31:14 PM »

I assume nothing. I'm looking at the way the movement of a large piece of equipment is accompanied by music, and recognizing the parallel use of such movement-with-music in another film.

Why do you think knowing how things will turn out spoils the suspense? Suspense is created by the juxtaposition of images and sounds. A skilled craftsman creates suspense in the immediate moment of a scene, without regard to the outcome. I have watched The Wages of Fear probably a dozen times. Maybe the first time was the most exciting; but there's been plenty of excitement in subsequent viewings.

Not only that but you also notice and appreciate the periphery details.


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« #13741 : July 19, 2014, 11:56:00 AM »

Wrong again. Just about everything you believe is wrong. An astounding record.

As long as I believe in VdGG this is refuted.

The suspense part in the last third of The Wages of Fear was far less good than expected. Sometimes I had to chuckle.
The atmosphere of the town without hope is mostly well done.

Les diaboliques is in the suspense regard even worse, not to say idiotic.

Clouzot is not much enough artist to separate his pretensions from his ambitions.

Clouzot's best work are his early films (L'Assassin habite au 21, Le corbeau, Quai des Orfèvres). Later films like Les Espions and La Vérité are pretty messy.


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« #13742 : July 19, 2014, 02:37:46 PM »

Les diaboliques is in the suspense regard even worse, not to say idiotic.
OK, you're right about that. That film really annoys me.

But The Wages of Fear is a really impressive work. For the rickety wooden platform scene alone the film deserves accolades. Name a Hollywood film of the period that achieved anything comparable. And the treatment of machismo throughout the film--there was nothing like that in American films then.

I'm surprised you don't like La Vérité. The cynical view of the law profession was, I thought, spot on.



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« #13743 : July 20, 2014, 01:05:04 AM »

RE: DIABOLIQUE: during the first half, when it seemed to be a drama of romance and murder, I was really enjoying it. But once it turned into a suspense "Is He There?" I didn't like it.


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« #13744 : July 20, 2014, 01:12:14 AM »

TAXI! (1932) 5.5/10

Cagney is always fun to watch (and he talks Yiddish in an early scene, which that Irishman learned to speak fluently while growing up on the East Side of Manhattan :D ) and Loretta Young is always pretty to look at; and I thought that annoying character that played her friend was funny. But overall this movie is a bore. An early sound film featuring lots of stangnant sets and little music (believe me, I think many movies have too much music, but this is one of those that could  have used more, especially in transitions from one scene to the next.)
Cagney plays a cabbie who always wants to hit back when a rival cab company plays dirty to supress its competition; but Young is always pleading with him that revenge and violence are not proper solutions. Zzzzzzz ......


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« #13745 : July 20, 2014, 02:23:14 AM »

OK, you're right about that. That film really annoys me.

It does not annoy me. The atmosphere of repression at the school is well created. But the (foreseeable) ending makes a joke out of most of the suspense stuff before. And how suddenly Vanel appears and turns all quickly into a happy end was 8in Drink's words) ridiculous.
Quote
But The Wages of Fear is a really impressive work. For the rickety wooden platform scene alone the film deserves accolades.


But it was exactly that scene which made me laugh. Because it was obvious for me that there was so much space in that bend, that the truck could have easily and without any hesitating curved around that rock. This scene was shot by people who never drove a truck. And that was too much palpable in the whole suspense part. It all did not feel right for me. There was too much artificial drama in the directing, acting and in the dialogues.
Great was how Clouzot designed the explosion of the first truck.
 
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I'm surprised you don't like La Vérité. The cynical view of the law profession was, I thought, spot on.

Again, it all felt wrong. And the clumsy dialogues were all the time explaining what happened and, worse, what the film wants to tell us. Funny is how the then spectacular erotic scenes were filled in at every possible and impossible moment. The conception of the next expected nude scene (well more or less nude) of Bardot was the only thing which made me watch the film until it's lame end.


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« #13746 : July 20, 2014, 11:47:55 AM »

Has anyone seen the recent friedkin version? I've heard only good things about it.
Recent? 1977 is recent?

It's availability on home video is recent, and there's a new DCP of it. I saw the film on its first run in the US and was impressed (at the time I didn't know it was a remake). I might have seen it again in the early 80s, but since then, not until the Blu-ray appeared. I snatched the Blu up thinking I was really gonna enjoy it. In fact, it left me feeling flat (F. has a bad habit in this of not finishing scenes). It drove me back to Clouzot's version, which is so much better.

Friedkin is now telling everyone that Sorcerer is his best film, but he's delusional. He's really good about commenting on other people's films; his own, not so much.



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« #13747 : July 20, 2014, 12:15:16 PM »

DJ, so now you have Groggy in your signature?  >:(   I demand signature monogamy!  >:(


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« #13748 : July 20, 2014, 04:58:28 PM »

Recent? 1977 is recent?

Ah I did'nt realise it was so old. I thought it was a early 2000's film. My mistake.

It's availability on home video is recent, and there's a new DCP of it. I saw the film on its first run in the US and was impressed (at the time I didn't know it was a remake). I might have seen it again in the early 80s, but since then, not until the Blu-ray appeared. I snatched the Blu up thinking I was really gonna enjoy it. In fact, it left me feeling flat (F. has a bad habit in this of not finishing scenes). It drove me back to Clouzot's version, which is so much better.

Hum. Disapointing.

Friedkin is now telling everyone that Sorcerer is his best film, but he's delusional. He's really good about commenting on other people's films; his own, not so much.

Yes. He's crazy.


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« #13749 : July 20, 2014, 05:39:03 PM »

Witness for the Prosecution - 8/10 - Fun courtroom drama with a twist. One of Charles Laughton's best roles, with Marlene Dietrich and Elsa Lanchester earning honorable mentions.

The Shoes of the Fisherman - 3/10 - Irredeemably boring religious drama/political thriller. Pity points for set design and Anthony Quinn not embarrassing himself.



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« #13750 : July 20, 2014, 10:44:37 PM »

One more note about TAXI! (1932) : George Raft makes a brief appearance as a dancer. As soon as I saw him, I dropped my head and said, "Oh no, not George Raft!" But luckily, he's gone after that very brief scene. I guess that at that point, he wasn't a star yet, just a dancer. We'd have all been better off if he'd stayed that way.


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« #13751 : July 22, 2014, 02:21:54 PM »

A Dispatch from Reuter's (1940) 8/10 (TCM)

The story of Julius Reuter – played by Edward G. Robinson – who founded the famous news agency. This movie isn't out on DVD; I believe that currently, TCM is the only way to see it.


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« #13752 : July 23, 2014, 11:15:14 AM »

Bay of Angels (1963) - 8/10. Claude Mann--a dead ringer for our man Drink--gets interested in gambling. He heads to Cannes and runs into Jeanne Moreau (with her hair bleached), a totally degenerate gambler. Drink--er, Claude--is smitten, but Jeanne is only interested in what she can get out of a man (in this case, she thinks Claude will bring her luck). When they're winning, they're living the high life (which includes a trip to Monte Carlo). Other times, their need for money makes them desperate. This rollercoaster ride of fortune is rather wearing--and then the film ends, suddenly, improbably. This is a Jacques Demy film without songs, filmed in beautiful black and white. The Criterion Blu-ray transfer gets a 10/10.

The Wind Will Carry Us (1999) - 10/10. A TV documentary filmmaker from Tehran comes to a Kurdish village with his crew. They intend to film a bizarre ritual in which, upon the death of a member of the community, the local women disfigure and mutilate themselves. Unhappily, the ancient crone (never shown) who is to provide the trigger for this event refuses to die, and the filmmaker is left to wait, in a village where there is nothing to do. This film about waiting is Kiarostami's masterpiece, his last shot on film, and it is beautiful, every frame a painting. The Blu-ray from Cohen Media sports a great transfer, and in spite of occasional speckles on the print, the image rates a 10/10.



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« #13753 : July 23, 2014, 11:51:56 AM »

I never heard of Claude Mann, but he must be a sexy motherfucker ....
I believe I saw this movie somewhere on TCM's upcoming schedule (perhaps on Jeanne Moreau day August?) I will set my DVR to record myself banging Jeanne Moreau in a previous life ;)


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« #13754 : July 23, 2014, 12:48:27 PM »

I never heard of Claude Mann
He's also in Army of Shadows. Jeez, see some films, will ya?
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but he must be a sexy motherfucker ....
I don't know about that. He DOES appear to have ADS, though.  >:D



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