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gromit
Posted: Sun Jun 08, 2014 1:07 pm Reply with quote
Joined: 31 Aug 2004 Posts: 9016 Location: Shanghai
Finally caught up to Zefferilli's Romeo & Juliet.
Lives up to its rep.
Great costumes. Terrific casting. Interesting faces.
And it's a very "authentic" portrayal.

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yambu
Posted: Sun Jun 08, 2014 4:29 pm Reply with quote
Joined: 23 May 2004 Posts: 6441 Location: SF Bay Area
This was my first date with my wife to be, in '69. They chopped the hell out of it, but that's nothing new with Shakespeare.

My favorite character in this production will forever be Mercutio. He rules the screen in his short, reckless life and his sudden, accidental death.

His Queen Mab speech is always worth an independent reading:

http://www.monologuearchive.com/s/shakespeare_067.html
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bartist
Posted: Sat Jun 14, 2014 5:14 pm Reply with quote
Joined: 27 Apr 2010 Posts: 6961 Location: Black Hills
The local movie cheese station ran the movie you might expect yesterday, given the date. It is astonishing in its ineptitude and inattention to detail. We were esp. amused by the set lighting....after a power failure, kerosene lamps are lit - in a couple of scenes where one would expect deep shadows, the room seems to fill with a uniform and shadowless light, as if an enormous bank of powerful gro-lights had come on. Also enjoy the rain scenes where you have all these young people donning rain slickers you might expect to find on North Sea herring fishermen. One actress seems to be at a loss what to do with her eyes in several scenes, so pans them around the room is odd strabismic jerks that would set an ophthalmologist whimpering. Ed Wood would have loved this movie. Perhaps he did.

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gromit
Posted: Thu Jun 19, 2014 12:37 pm Reply with quote
Joined: 31 Aug 2004 Posts: 9016 Location: Shanghai
For those who liked The Artist, check out Pierre Etaix's Yoyo (1965).
The first third is a silent film until talkies come in, and the Depression hits, and our rich bored gent becomes impoverished and joins the circus to be with the woman he loves. A lot of charming visual gags.
It's part of a set that Criterion put out, including three features and some of his short films, one of which won an Oscar. He learned the ropes under Jacques Tati, collaborated with Jean-Claude Carrière on screenplays, and stars in most of his films. He's a good physical comedian and at times reminded me of Pee Wee Herman. I also enjoyed his first feature The Suitor. But Yoyo has more to it.

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carrobin
Posted: Thu Jun 19, 2014 12:47 pm Reply with quote
Joined: 21 May 2004 Posts: 7795 Location: NYC
On Sunday afternoon I was checking to see if I'm still getting near-free Showtime now that Time Warner Cable has switched its channels around, and found a French film starting up, called "Apres Vous." I haven't seen a French film in a long time, and this was a romcom charmer, with the adorable Daniel Auteuil (hard to pronounce, hard to spell, not particularly handsome, but he was at our film class once and everyone fell in love with him). He played a restaurant manager who happens along at just the right moment to save the life of a depressed fellow who's trying to kill himself, and ends up embroiled in the guy's love life and everything else, but is sweetly rewarded at the end. Now I'm wanting to see more French films (and more Daniel Auteuil).

I should add that the film our class had seen was called "Romuald et Juliette," in which Auteuil ran a yogurt factory that was mysteriously failing; the mystery is solved by a note in the trash that's found by the cleaning woman, and the film turns around and becomes somewhat of a romance, something of a drama, and also very funny. A beautiful film that did open in the USA, but with the killer title "Mama, There's a Man in Your Bed." Anyone who was attracted by that title was going to hate the movie.
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Syd
Posted: Thu Jun 19, 2014 5:51 pm Reply with quote
Site Admin Joined: 21 May 2004 Posts: 12929 Location: Norman, Oklahoma
My post moved to Lobby.

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billyweeds
Posted: Sat Jun 21, 2014 11:35 am Reply with quote
Joined: 20 May 2004 Posts: 20618 Location: New York City
Grand Piano is a so-called thriller currently streaming on Netflix. It has inexplicably been embraced by many film critics, some of them reasonably well-known. Visually and technically it's very good, and the soundtrack features some beautifully played classical music. But a thriller? No way. It's devoid of suspense and has a thoroughly preposterous plot. Elijah Wood is a world-famous pianist who quit the concert stage five years ago because of a meltdown on stage. He's back, but the off-screen voice of John Cusack is threatening him with instant death if he plays one wrong note. The idiocy with which this plays out is hard to describe except to say that not one nanosecond is believable. Note to self: avoid all John Cusack movies until further notice.
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bartist
Posted: Sun Jun 22, 2014 5:22 pm Reply with quote
Joined: 27 Apr 2010 Posts: 6961 Location: Black Hills
Yeah, that looked to be high-preposterone. I mean, "Speed," but with pianos -- who are they kidding? You don't have Sandra Bullock, you don't have Dennis Hopper being crazy....you got nothing.

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Ghulam
Posted: Mon Jun 23, 2014 4:05 pm Reply with quote
Joined: 20 May 2004 Posts: 4742 Location: Upstate NY
I liked 'War Witch" a lot. It is a Canadian production, set in Africa (Congo) and directed by a Viet Namese born Canadian director. It is a fascinating movie about a 12 year old African girl who is kidnapped by guerrillas, forced to kill her own parents, made to carry out guerrilla raids in the jungles, has the good fortune to form one tender relationship, but is obsessed by the ghosts of her parents, convincing her that she must go back to her destroyed village and symbolically bury her parents. It was nominated for an Oscar and won 11 international awards.
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Joe Vitus
Posted: Mon Jun 23, 2014 10:42 pm Reply with quote
Joined: 20 May 2004 Posts: 14498 Location: Houston
Not a huge fan of the Zeffirelli Romeo and Juliet, but I like it. I like the Lawrence Harvey version from 1954 a lot more. But then, how do you go wrong with this material? It served as the basis for the one only Baz Luhrmann movie I've ever liked. Maybe ironically, but Romeo and Juliet isn't even one of my favorite works by Shakespeare.

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gromit
Posted: Mon Jun 23, 2014 11:35 pm Reply with quote
Joined: 31 Aug 2004 Posts: 9016 Location: Shanghai
Ghulam wrote:
I liked 'War Witch" a lot. It is a Canadian production, set in Africa (Congo) and directed by a Viet Namese born Canadian director. It is a fascinating movie about a 12 year old African girl who is kidnapped by guerrillas, forced to kill her own parents, made to carry out guerrilla raids in the jungles, has the good fortune to form one tender relationship, but is obsessed by the ghosts of her parents, convincing her that she must go back to her destroyed village and symbolically bury her parents. It was nominated for an Oscar and won 11 international awards.


War Witch was interesting.
A low-budget film on the horrors of modern African conflicts/turmoil. I think the shaky-cam close-ups annoyed me after a while.
There was another similar film put out about the same time as well, but I'm blanking on the name.

Ah, the Search Function functions!
Here's my review from The Past.
The other film was Kinyarwanda. War Witch is worthwhile.

Quote:
Rebelle aka War Witch is a Canadian film nominated for Best Foreign film. A village is attacked by rebels, a young girl is forced to shoot her parents and is kidnapped to become a child soldier. The rebels seem to be in essence a large criminal enterprise mining coltan and fighting the gov't forces, with no ideology or other motivation mentioned.

It's a pretty grim film and important subject matter. But I didn't think the film was that well done, even if its heart and social politics are in the right place. The handheld cam and tight close-ups of parts of people and fragments of action has really become an annoying cliche by now. The lead girl does a fairly good job in a tough role. And she's on screen in nearly every scene. The dilapidated Chinese pagoda in the middle of the jungle used as the rebel headquarters is a pretty odd and arresting image. But some of the other elements are handled a little clumsily.

I think I preferred the similar Kinyarwanda, which had similar flaws and strengths, mostly dealing with non-actors and filming in Africa. Though in Kinyarwanda the female soldier is oddly a heroic action-hero type. War Witch wouldn't be my pick for a final foreign film nominee. But they both are important films due to their message and just the fact that they were made.

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Ghulam
Posted: Tue Jun 24, 2014 1:16 am Reply with quote
Joined: 20 May 2004 Posts: 4742 Location: Upstate NY
Re: War Witch.

I was skeptical in the beginning but got enthralled as it progressed.
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Syd
Posted: Tue Jun 24, 2014 11:42 pm Reply with quote
Site Admin Joined: 21 May 2004 Posts: 12929 Location: Norman, Oklahoma
Caught a couple of silent Ozu films, Passing Fancy and An Inn in Tokyo, both starring Takeshi Sakamoto as a single father named Kihachi. In Passing Fancy, Kihachi helps out a pretty jobless woman named Harue (Nobuko Fushimi) while his friend Jiro (Den Obinata) is more skeptical, and when Kihachi falls for the younger Harue, Jiro takes a dislike toward her. Naturally. Harue, of course falls for Jiro. But when Kihachi's son falls seriously ill (through a misjudgment of Kitachi's), things get more serious and Kihachi needs to find a way to make money.

There seemed something off about the film, although it's enjoyable enough. I think the problem is that it needed to be about fifteen minutes shorter. The pacing seems to be off. I also didn't feel any attachment to the son (Tokkan Kozo) in this film.

An Inn in Tokyo is about twenty minutes shorter, much more serious, and so far my favorite of Ozu's silents (which for me are these two films and I Was Born, But..). Kihachi in this film is an unemployed father of two who is struggling to survive. As he goes from factory to factory, his sons catch stray dogs and take them in for rabies prevention, which nets a reward. Along the way, they meet a young widow and her daughter, and the kids become playmates. The widow is also looking for a job. Kihachi accidentally meets an old friend, she takes them in (she runs...an inn in Tokyo) and that gives him enough stability to actually find a job. However, the widow still needs a job, and he tries to help her out, which leads to Kihachi finding a larger spark of decency than he realized he had. Solid film with easily the best performance I've seen by Takeshi Sakamoto (and Tokkan Kato for that matter). Ozu was highly influenced by Chaplin in this period, and I think it shows most in this film.


Last edited by Syd on Wed Jun 25, 2014 12:03 am; edited 1 time in total

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Syd
Posted: Wed Jun 25, 2014 12:02 am Reply with quote
Site Admin Joined: 21 May 2004 Posts: 12929 Location: Norman, Oklahoma
Also caught China Seas, with a cast containing Clark Gable, Jean Harlow, Wallace Beery, Rosalind Russell, Lewis Stone and C. Aubrey Smith, a cast that you'd think would make a good film, but it really doesn't, though it was popular in it's day. Gable and Harlow tend to shout their lines, and Harlow, who I usually like during this phase of her career, actually is often bad. But I think the fault is with the scriptwriters, who saddled it with too many Meaningful Lines, the director, who needed to get the actors to tone it down a smidgen, and Robert Benchley, who plays a drunken writer for a comic relief that gets old really fast. It's all about Gable and company sailing through the South China Sea, with Beery commissioning Malay pirates to get a shipment of gold he knows is on board, while Gable has to select between brassy fling Harlow and dignified Russell, from whom he'd fled England because they were getting too close and she was married.

The dynamic there resembles the much better Red Dust, which had Mary Astor in the dignified role. That film also benefited from being pre-Code and fine performances by Gable and Harlow.

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billyweeds
Posted: Fri Jun 27, 2014 8:40 am Reply with quote
Joined: 20 May 2004 Posts: 20618 Location: New York City
Movie critics are always talking about some mediocre thriller or other being "Hitchcockian" or "a movie Hitchcock would have loved" or "something to rival Hitichcock." Most of these turkeys are not worthy to shine the master's shoes. But stop the presses! Currently streaming on Netflix is a 2011 thriller from Norway that absolutely is up there with all but the very cream of Hitchcock. It's called Headhunters, and it's amazing. Suspenseful to the max, just a little gory, unpredictable, beautifully acted...it's got just about everything. The only negative is that every single nanosecond of it is totally unbelievable. But the weird thing is that it doesn't matter. The damn thing is so impeccably made that I couldn't care less. It's directed by Morten Tyldum, and remember that name. He IS the new Hitchcock. The hero is Aksel Hennie and the villain is Nikolaj ("Game of Thrones" Coster-Waldau. Headhunters is, on its own genre terms, a truly great film.
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