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| Syd |
 Posted: Thu Dec 04, 2008 11:38 pm |
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Joined: 21 May 2004
Posts: 12921
Location: Norman, Oklahoma
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lady wakasa wrote: That Tony Leung was also in Lust, Caution.
Takeshi Kaneshiro was also in the lesser-known but very intriguing Perhaps Love (2005), the first mainland Chinese musical in ~35 years. Here be the trailer for that.
Nancy got Perhaps Love and let me watch it first. Very good movie with an excellent soundtrack. Takeshi Kaneshiro can't really sing, but Jacky Cheung and Zhou Xun can sing, and all are fine actors. Zhou Xun is really outstanding. I really like the big production numbers, including the big scene that ends the movie within the movie. |
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| lady wakasa |
| Posted: Fri Dec 05, 2008 12:04 am |
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Joined: 21 May 2004
Posts: 5911
Location: Beyond the Blue Horizon
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Syd wrote: lady wakasa wrote: That Tony Leung was also in Lust, Caution.
Takeshi Kaneshiro was also in the lesser-known but very intriguing Perhaps Love (2005), the first mainland Chinese musical in ~35 years. Here be the trailer for that.
Nancy got Perhaps Love and let me watch it first. Very good movie with an excellent soundtrack. Takeshi Kaneshiro can't really sing, but Jacky Cheung and Zhou Xun can sing, and all are fine actors. Zhou Xun is really outstanding. I really like the big production numbers, including the big scene that ends the movie within the movie.
I found it in the course of Marilyn's dance movie blogathon (actually the original mention was an HK special covering 100 years of Chinese film, then I used it for the blogathon).
I really liked it: the way it was constructed, its look, and the way it ended. Actually, if I remember correctly (I saw it last spring), the actual music was only in the movie, which was a main demarcation between the movie script and what was going on in real life (since everything bled together somewhat).
...But really, Takeshi Kaneshiro doesn't have to sing now, does he? %^} |
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| Syd |
| Posted: Fri Dec 05, 2008 12:16 am |
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Joined: 21 May 2004
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Location: Norman, Oklahoma
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lady wakasa wrote: ...But really, Takeshi Kaneshiro doesn't have to sing now, does he? %^}
Well, no, and he's not really that bad, either.
I loved the Love and Hate production number (which is a fantasy sequence in the movie within the movie). That's the one used in the trailer.
I realize where I saw Zhao Xun before. She played the Ophelia role in The Banquet (aka Curse of the Black Scorpion) and comes to an unfortunate end. That tends to happen to Ophelias. |
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I had a love and my love was true but I lost my love to the yabba dabba doo, --The Flintstone Lament |
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| Rod |
| Posted: Fri Dec 05, 2008 2:09 am |
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Joined: 21 Dec 2004
Posts: 2944
Location: Lithgow, Australia
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I do have a certain sympathy for Joe's assertion that Goodfellas has become the most over-rated (though perhaps "over-cited" is a better phrase from my perspective) film in Scorsese's career. It doesn't have the penetrating character analysis and emotional demands of his greatest works. But it is a social portrait of enormous cinematic dexterity, a hilarious black comedy, and is also the most stylistically original and influential film of the '90s, there's no getting away from it. Not chopped liver.
But the amount of respect the relatively tawdry, tinny, Hollywood-with-a-thin-coat-of-New-Wave-artistry Alice Doesn't Live Here Anymore is getting here is positively perverted. |
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| Syd |
| Posted: Fri Dec 05, 2008 2:15 am |
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Site Admin
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Location: Norman, Oklahoma
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| I'm fond of Bringing Out the Dead and After Hours. |
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I had a love and my love was true but I lost my love to the yabba dabba doo, --The Flintstone Lament |
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| Nancy |
| Posted: Fri Dec 05, 2008 2:18 am |
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Joined: 20 May 2004
Posts: 4607
Location: Norman, OK
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lady wakasa wrote:
...But really, Takeshi Kaneshiro doesn't have to sing now, does he? %^}
Well he is rather decorative. I should get the movie from Syd tomorrow, so I can watch it and send it back to Netflix. |
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| Joe Vitus |
| Posted: Fri Dec 05, 2008 3:21 am |
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Joined: 20 May 2004
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Location: Houston
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Rod wrote: I do have a certain sympathy for Joe's assertion that Goodfellas has become the most over-rated (though perhaps "over-cited" is a better phrase from my perspective) film in Scorsese's career. It doesn't have the penetrating character analysis and emotional demands of his greatest works. But it is a social portrait of enormous cinematic dexterity, a hilarious black comedy, and is also the most stylistically original and influential film of the '90s, there's no getting away from it. Not chopped liver.
But the amount of respect the relatively tawdry, tinny, Hollywood-with-a-thin-coat-of-New-Wave-artistry Alice Doesn't Live Here Anymore is getting here is positively perverted.
I appreciate this more considered reaction to my claim.
Is it because of the tracking camera you consider it the most stylistically original and influential film of the 90's? I don't deny this was an innovation, albeit not a new one to this movie, simply the first time the general audience got it and appreciated it. (Scorcese had been working on this approach since the 80's.) |
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| Joe Vitus |
| Posted: Fri Dec 05, 2008 3:22 am |
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Location: Houston
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tirebiter wrote: Boys! Quit bickering! Go to neutral corners so we can decide that Rod's right. (Sorry, Joe, but if you haven't seen the films you're arguing from ignorance.)
Why do you think I haven't seen the films? |
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| Joe Vitus |
| Posted: Fri Dec 05, 2008 3:29 am |
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Rod,
While I don't love Alice, and I think I understand your criticism, it was profoundly influential. Coppola's not-much-noticed The Rain People excepted, it was the first feminist movie, and set up a long series of them that culminated in (the later, not as innovative, but widely considered to be maverick) An Unmarried Woman. Its was also influential in it's aggressive presentation of a mother-son relationship, and thus de-glamorizing women's roles and traditional behavior onscreen. It was the start of Scorsese's obsession with stylized-sets-to-make-a-point that culminated in Raging Bull. In terms of what it did for cinema in the 70's and 80's (both in terms of stylization and naturalism), it's pretty important. |
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| tirebiter |
| Posted: Fri Dec 05, 2008 9:37 am |
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| Joe: Didn't you say you hadn't seen Casino because it was just another Scorsese gangster film? If I'm wrong, I apologize. |
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| Joe Vitus |
| Posted: Fri Dec 05, 2008 11:46 am |
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Joined: 20 May 2004
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Location: Houston
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| Yes, but that's one movie. Nor did I criticize its quality. You implied I haven't seen any of the movies we're discussing. |
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| bocce |
| Posted: Fri Dec 05, 2008 3:02 pm |
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Joined: 24 May 2004
Posts: 2428
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joe...
not to be argumentative in any way, but have you seen MEAN STREETS, KING OF COMEDY, RAGING BULL or LAST TEMPTATION OF CHRIST???
i'm just asking not for any reference point to quarrel, but rather to try to understand your seemingly mixed opinion of scorsese...
i might add that i have been underwhelmed by marty for the past ten or so years... |
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| jeremy |
| Posted: Fri Dec 05, 2008 3:06 pm |
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Joined: 21 May 2004
Posts: 6794
Location: Derby, England and Hamilton, New Zealand (yes they are about 12,000 miles apart)
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tirebiter wrote: Joe: Didn't you say you hadn't seen Casino because it was just another Scorsese gangster film? If I'm wrong, I apologize.
Mr. Banks: Just a moment, Mary Poppins. What is the meaning of this outrage?
Mary Poppins: I beg your pardon?
Mr. Banks: Will you be good enough to explain all this?
Mary Poppins: First of all I would like to make one thing quite clear.
Mr. Banks: Yes?
Mary Poppins: I never explain anything. |
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| Joe Vitus |
| Posted: Fri Dec 05, 2008 3:08 pm |
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Yes, I've seen King of Comedy (many times), a creepy, effective comedy, and The Last Temptation of Christ (once, during its initial release), which I found rather bland at the time.
I've only seen parts of Raging Bull. I haven't seen Mean Streets . But clearly these two belong to his most important period and have had a huge impact on subsequent filmmakers. Whether I like them or not would be beside the point. |
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| Joe Vitus |
| Posted: Fri Dec 05, 2008 3:10 pm |
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Location: Houston
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jeremy wrote: tirebiter wrote: Joe: Didn't you say you hadn't seen Casino because it was just another Scorsese gangster film? If I'm wrong, I apologize.
Mr. Banks: Just a moment, Mary Poppins. What is the meaning of this outrage?
Mary Poppins: I beg your pardon?
Mr. Banks: Will you be good enough to explain all this?
Mary Poppins: First of all I would like to make one thing quite clear.
Mr. Banks: Yes?
Mary Poppins: I never explain anything.
Clearly Tire is Mary in this analogy. The argument that not seeing Casino affects one's evaluation of GoodFellas is murky at best. |
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