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: Rate The Last Movie You Saw  ( 4159617 )
noodles_leone
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« #10980 : October 10, 2012, 12:57:27 AM »

also, the English title "Breathless" really misses the point of the French title A BOUT DE SOUFFLE, doesn't that mean something like "At the End of Breath"? I don't think it would have been that awkward to use that literal translation for the American title.

Well i'd say the literal translation would be "totally/really/veryverymuch out of breath".
"Out of breath" would work as a movie title, but Breathless sounds good to me. I does convey some kind of emergency, but you lose the "end of the line" feel.

« : October 10, 2012, 01:03:18 AM noodles_leone »

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« #10981 : October 10, 2012, 01:55:42 AM »

Well i'd say the literal translation would be "totally/really/veryverymuch out of breath".
"Out of breath" would work as a movie title, but Breathless sounds good to me. I does convey some kind of emergency, but you lose the "end of the line" feel.

If it means "Out of Breath," it would seem that that is not referring to a moment in time (of Michel's death); rather, it's referring to a state-of-being verb, which may well refer to not just the moment of death, but Michel's general state, always running around, out of breath, running from one apartment to another, avoiding the police, and generally drifting from one place to another etc. And of course, there's plenty of room for double meanings.

if it means, as in some places I've read,  "at the end of breath," then I understood the point of the title to refer to the moment of death:  you know that Michel is finished when you see the last breath (of cigarette smoke!) leave his mouth. (It's kind of like The Death of a Soldier in GBU: he takes the puff of Blondie's cigar, exhales the smoke, and when the smoke stops you know he is dead). I figured the title refers to that, and again there may certainly be double meanings, I guess that Michel is running around, a very active character, and now it's all over, at the end of breath; and maybe referring also to the fact that it's at this final moment that the truth comes out, or whatever.

If the correct translation is "Out of Breath," then I think "Breathless" is close enough.
However, if the correct translation is "at the end of breath," then "Breathless" completely changes the meaning, as one is referring to a moment in time while the other is referring to a state-of-being verb.

IMO, once they decided to use an English title, they should always use a direct translation from the French,  as long as it makes sense -- and in this case, a direct translation does make sense in English, whether the direct translation is  "out of breath" or "at the end of breath." So they shouldn't have used "Breathless" either way.

---------------------

My general opinion on translating titles:   ;)

IDEALLY, they shouldn't use an English title at all: they should just use the title in its original language -- eg. "La Strada" and "Le Cercle Rouge" were never given English titles. That avoids the problem of having a title that is not translated properly (such as "Breathless"); and conversely, the problem that arises when a title is translated directly but shouldn't be, such as Truffaut's movie which has English title "The 400 Blows" which makes absolutely no sense and has nothing to do with movie, but is a direct translation of a French idiom but makes absolutely no sense here  ;D)

There are 2 (broad categories of) situations where I'd agree that using a translated title is okay: A)  if there is a direct and completely straightforward translation -- eg. "The Battle of Algiers" is a direct, straightforward translation of "La Battaglia di Algeri," plain and simple B) if the director or producer understand English well and they are the ones that chose the English title then of course they have the same right to choose the English title as they had to choose the original French title. But if it's just some idiot at the international distribution company that would be choosing the translated title, then I'd prefer that they just kept the French title instead.

« : October 10, 2012, 01:56:47 AM drinkanddestroy »

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« #10982 : October 10, 2012, 03:23:38 AM »

http://www.imdb.com/title/tt0027652/

Fury (1936) 5.5/10

What a shitty movie. Took a story that had good potential but did it all wrong.

I'm not really a fan but you've got it all backwards. The first half is great, the second contrived and preachy. I don't really appreciate Lang's "forgive the lynch mob" message either. Tracy's bizarre final speech is the clincher.



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« #10983 : October 10, 2012, 04:08:45 AM »

I'm not really a fan but you've got it all backwards. The first half is great, the second contrived and preachy. I don't really appreciate Lang's "forgive the lynch mob" message either. Tracy's bizarre final speech is the clincher.


when I say "the second half of the movie," I am referring to the part starting where Tracy rises and plots the revenge. I think that's awesome how this guy is planning the persecution by trial of those guys that "killed" him, even though he is still alive, and he is sitting there laughing by the radio as he is listening to the trial's proceedings. But once his brothers and Sidney start regretting it and change their minds about the revenge, that is where it starts getting preachy and I hate that part as well.

So I only liked the movie from the moment Tracy begins plotting his revenge, until the moment his brothers and Sidney start regretting it and getting preachy.

-------

Generally, I find  "forgiveness themes" to be perhaps the most unenjoyable movie theme imaginable.  I find the way that it's applied to be silly. Of course, if someone wrongs you and then sincerely regrets it and asks for your forgiveness, it is a great and righteous thing to forgive him. But the way the movies often portray it is so silly, like a guy is cracking you over the head with a sledgehammer and as he's swinging it, you are screaming "I forgive you, I forgive you!" I mean, COME ON. That is so ridiculous.  There is a proper time and place for everything in life -- including righteous character traits such the ability to forgive. The way people speak about forgiveness as the end all be all of life, how in every single situation no matter what, it's always and everywhere FORGIVE FORGIVE FORGIVE  ::)

Whether the focus of the movie is on the injured party granting forgiveness, or on the sinner achieving forgiveness from the one he injured, forgiveness is just not a very interesting movie theme for me. It's one of many very important character traits that i just don't find interesting as a storyline for a movie.

Do filmmakers really believe that audiences "root for" someone to be forgivenin the same way that they root for eg. Bogie and Bergman to be together in Casablanca, or Steve McQueen to catch the mobsters assassins in Bullitt, or the small-town team to win the championship in Hoosiers

[Of course, that's not to say that there are no good movies that involve forgiveness: The Informer is a good, but not because of the forgiveness theme, but perhaps despite it. I mean, the last line, where McLaglen says "Frankie, your mother forgives me!" was probably the worst line of the movie. I enjoyed the movie for all the others stuff, for McLaglen's great acting (his Oscar was well-deserved) and how he completely self-destructs, etc. The movie is very well-made, but I didn't give a rat's ass about whether or not McLaglen was forgiven by his friend's mother (and btw, who the fuck is she to forgive McLaglen, she's not the one who was killed?!  ::))
I would have enjoyed the movie just as much (if not more) if it would have ended with him rolling around in the gutter and the word "forgiveness" never having been mentioned in the movie].


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« #10984 : October 11, 2012, 09:26:37 AM »


Generally, I find  "forgiveness themes" to be perhaps the most unenjoyable movie theme imaginable.  I find the way that it's applied to be silly. Of course, if someone wrongs you and then sincerely regrets it and asks for your forgiveness, it is a great and righteous thing to forgive him. But the way the movies often portray it is so silly, like a guy is cracking you over the head with a sledgehammer and as he's swinging it, you are screaming "I forgive you, I forgive you!" I mean, COME ON. That is so ridiculous.  There is a proper time and place for everything in life -- including righteous character traits such the ability to forgive. The way people speak about forgiveness as the end all be all of life, how in every single situation no matter what, it's always and everywhere FORGIVE FORGIVE FORGIVE  ::)
It's a great theme, just difficult to pull off. That's why most people go with a vengeance theme--much easier to do, even hacks have a hard time blowing it.

Shakespeare, of course, could do anything. He started out with one Revenge Tragedy called Titus Andronicus, and it was a big money-maker. His second Revenge Tragedy was a little something called Hamlet. After that . . . he gave the form up completely, even though Elizabethan and Jacobean audiences were willing to pay through the nose for more. Others picked up the slack (Webster, notably). Apparently, though, it wasn't something His Bardness was all that into. By the end of his career, Shakespeare had perfected a form that used the forgiveness theme very well indeed. If you want to see how such a thing can come off successfully, check out The Winter's Tale and The Tempest. Either can move you to tears.



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« #10985 : October 11, 2012, 12:48:29 PM »

It's a great theme, just difficult to pull off. That's why most people go with a vengeance theme--much easier to do, even hacks have a hard time blowing it.

Shakespeare, of course, could do anything. He started out with one Revenge Tragedy called Titus Andronicus, and it was a big money-maker. His second Revenge Tragedy was a little something called Hamlet. After that . . . he gave the form up completely, even though Elizabethan and Jacobean audiences were willing to pay through the nose for more. Others picked up the slack (Webster, notably). Apparently, though, it wasn't something His Bardness was all that into. By the end of his career, Shakespeare had perfected a form that used the forgiveness theme very well indeed. If you want to see how such a thing can come off successfully, check out The Winter's Tale and The Tempest. Either can move you to tears.

well give me a great MOVIE with a forgiveness theme -- where the forgiveness aspect is what makes the movie enjoyable and captivates the audience (NOT The Informer)


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« #10986 : October 11, 2012, 02:04:49 PM »

Dreyer's The Word (1954)


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« #10987 : October 11, 2012, 05:17:01 PM »

Park Row (1952) 5/10
A very disappointing movie by Samuel Fuller


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« #10988 : October 12, 2012, 08:40:57 AM »

Ice Station Zebra (1968) 6/10. First Blu-ray viewing. I'd forgotten this was supposed to be a roadshow picture--the "Overture" card at the beginning had me laughing. Yeah, this is some epic. Not. What it is is a pretty good first half, followed by a turgid and uninspired second one. Or to put it another way, while they're on the Submarine Set things look great, and when they switch to the Arctic Station Set things look pretty "meh." This new blu-ray, though, looks fantastic, for PQ it deserves a 10. Shame about the film.



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« #10989 : October 13, 2012, 03:24:16 PM »

Argo (2012) - 8/10. This works pretty well: Ben Affleck plays a CIA ex-fil op tasked with getting 6 Americans out of Tehran in 1979 (based on a true story). Stuffed to the gills with suspense, Alan Arkin and John Goodman put in frequent appearances for comic relief. However, things get prolonged and needlessly sappy at the end. Affleck has a beard to help him act. Setting and costumes are rendered well. Alexandre Desplat delivers his usual sonic abortion. SPOILER Argo is the name of the phony movie Affleck and company pretend they're making for their cover story. Arkin, the phony producer, when asked at a press event to explain the plot, replies "Argofuckyourself." This becomes a running gag. This is scriptwriting gold, destined to be remembered in the tradition of "We'll always have Paris" and "I'll be back." Can't wait to use it on this board.

« : October 13, 2012, 05:47:52 PM dave jenkins »


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« #10990 : October 13, 2012, 04:44:17 PM »

Argo (2012) - 8/10. This works pretty well: Ben Affleck plays a CIA ex-fil op tasked with getting 6 Americans out of Tehran in 1979 (based on a true story). Stuffed to the gills with suspense, Alan Arkin and John Goodman put in frequent appearances for comic relief. However, things get prolonged and neadlessly sappy at the end. Affleck has a beard to help him act. Setting and costumes are rendered well. Alexandre Desplat delivers his usual sonic abortion. SPOILER Argo is the name of the phony movie Affleck and company pretend they're making for their cover story. Arkin, the phony producer, when asked at a press event to explain the plot, replies "Argofuckyourself." This becomes a running gag. This is scriptwriting gold, destined to be remembered in the tradition of "We'll always have Paris" and "I'll be back." Can't wait to use it on this board.

Thanks Jenkins. O0 I'll see this ASAP.



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« #10991 : October 14, 2012, 12:16:14 PM »

The Fallen Idol - 7/10 - In between Carol Reed's two masterpieces he made this odd little thriller. A crime drama from a child's perspective is a fantastic idea, and the early scenes of build-up and adult misunderstanding work marvelously. Unfortunately as there's no crime the drama evaporates in the last half hour.



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« #10992 : October 14, 2012, 12:27:10 PM »

Jason Bourne Legacy
First half: 8/10
Second half: 3/10


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« #10993 : October 14, 2012, 12:28:07 PM »

Jason Bourne Legacy
First half: 8/10
Second half: 3/10

Do you mean the Jeremy Renner thing?



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« #10994 : October 14, 2012, 11:18:08 PM »

The Best Years of Our Lives (1946) 9/10


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