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gromit
Posted: Mon Mar 17, 2014 3:26 am Reply with quote
Joined: 31 Aug 2004 Posts: 9008 Location: Shanghai
Irving's sheik -- Al from Brooklyn -- was played by Saïd Taghmaoui
Quote:
born July 19th 1973 in Villepinte, Seine-Saint-Denis, France, to Moroccan immigrant parents. He has 9 siblings. He dropped out of school at a young age and became a boxer; at one point ranking number 2 in France in his category.

He met Mathieu Kassovitz with whom he co-wrote the 1995 French film "La Haine" which won the Best Director award in Cannes. Kassovitz directed the movie in which Saïd played one of the leads. Since than Saïd has been a force in French cinema and has made films in Italy, Germany, The United States and Morocco.

Oddly IMDb mentions that he is a force in French films and made a bunch of other films around the world, but doesn't bother to list any of them. Wiki has him covered.
Seems he played an interpreter in both Three Kings and Huckabees, was in The Kite Runner, and a bunch of other films I've never seen. I do have the Moroccan film Ali Zaoua around here somewhere and should watch it since I went to Morocco a few years back. But actually I didn't care for Morocco that much.

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billyweeds
Posted: Mon Mar 17, 2014 6:01 am Reply with quote
Joined: 20 May 2004 Posts: 20618 Location: New York City
gromit--Pretty good ideas for an AH fix, but still IMO would not have worked without a rethinking down the line--complete recasting for every single role, zilch "party" atmosphere (which turns any serious intentions into a druggy mess), and more attention to story and less to period detail. I mean, people, compare this movie with All the President's Men and weep. Compare it with Goodfellas and weep. Hell, compare it with The Insider and weep. Whole lotta weepin' goin' on.

Not since Forrest Gump has a movie so mediocre-at-best received so many accolades. This is disheartening to me, probably much more than it should be, but what can I tell you?

At least it was totally shut out by the Oscars, and (to me) that, believe it or not, is the best thing that's happened at the Oscars in years and years.
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gromit
Posted: Mon Mar 17, 2014 8:53 am Reply with quote
Joined: 31 Aug 2004 Posts: 9008 Location: Shanghai
I agree AH was often a mess. Which is too bad since they had a good story to work with. And David O Russell has made some good films -- 3 Kings and Huckabees for me.

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billyweeds
Posted: Mon Mar 17, 2014 9:28 am Reply with quote
Joined: 20 May 2004 Posts: 20618 Location: New York City
gromit wrote:
I agree AH was often a mess. Which is too bad since they had a good story to work with. And David O Russell has made some good films -- 3 Kings and Huckabees for me.


Three Kings definitely, also The Fighter, Flirting With Disaster, and (to a somewhat lesser degree) Silver Linings Playbook. But Huckabees was IMO even worse than American Hustle. ISmileH resides in fact on my ten-all-time-worst list.
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bartist
Posted: Wed Mar 19, 2014 9:30 am Reply with quote
Joined: 27 Apr 2010 Posts: 6945 Location: Black Hills
I don't know what is going on with Russell, artistically, but his last two films both had an odd effect on me....liked the experience in the theater, then the movie high wore off, and I felt sort of bamboozled. What is different? I guess the previous ones I liked were original screenplays, not adaptations.

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bartist
Posted: Wed Mar 19, 2014 6:41 pm Reply with quote
Joined: 27 Apr 2010 Posts: 6945 Location: Black Hills
I can't find much interest in the plot of "Divergent," which sounds like another tedious trip to the apocalypse cash cow, but I notice that Miles Teller and Shailene Woodley, so great in TSN, are working together here, plus Kate Winslet, so this new release is hard to ignore, come Friday.

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gromit
Posted: Thu Mar 20, 2014 4:19 pm Reply with quote
Joined: 31 Aug 2004 Posts: 9008 Location: Shanghai
Last night I watched 20 Feet From Stardom. Well done.
I liked how they put the focus on Darlene Love (and The Blossoms), even taking time to explain how Darlene Love was jerked around by Phil Spector. Then branched out to other backup singers -- detailing how Merry Clayton tried to make it as a solo act, while Lisa Fischer was mostly content to be a featured backup singer, and Judith Hill is currently trying to break through. This structure worked well, while they added in other singers and famous headliners discussing backup singers.

My only quibble was that as far as I recall they didn't show one white backup singer actually singing -- except for the square trio from the fifties -- even though they interviewed two of them. They did spend a little time with the Hispanic singer Tata Vega and her career, and some of her singing. Though her singing wasn't highlighted that well.

I was pleased that there were some musicians I wasn't that familiar with. Always looking for more good music and now will have to track down Claudia Lennear's solo album. I was only slightly familiar with her before, but when you were one of the Ikettes, backed up Joe Cocker and David Bowie and reportedly the inspiration for Mick Jagger singing about what black girl's taste like, well you're worth a listen.

The film also used The Shoop Shoop Song (It's in His Kiss) as an example of interesting background singing -- but failed to note that the title actually comes from the background singers (bolstering the contention made a few times that background singing is what often sticks with us) and was first recorded by Merry Clayton who is featured fairly prominently in the doc. Not a big deal, but that song seemed an opportunity to tie a few things together.

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bartist
Posted: Fri Mar 21, 2014 10:05 am Reply with quote
Joined: 27 Apr 2010 Posts: 6945 Location: Black Hills
jeremy wrote:
Given its Oscar and critical and popular acclaim, I was a little disappointed with the formulaic Frozen. The animation was beautifully realised, but I found the narrative flow to be heavy-handed – it lurched between set-pieces like a low-grade Hollywood actioner - and, a few nice touches aside, most of the film’s tropes were straight out of the Disney princess playbook.

I know that complaining that a Disney animated film lacks depth or grit is a bit like pointing out that popcorn doesn’t provide much in the way of nutrition, but I was still frustrated that the film chose not to mine any its psychological potential or the tragic elements inherent in the story. It think it either needed to be longer or more ruthlessly edited. The story telling in Frozen just wasn’t up to the sublime standard manifest in much of Disney’s back catalogue. I didn’t cry once. For me, the studio still seems to be struggling to find a new voice since its take-over of Pixar.


We saw Frozen last night and enjoyed mainly on the level of lovely visuals and a snowman who resembled Milton Berle. The narrative was clumsy, I agree, especially as it seemed set up to draw some slightly older demographic segments than the original HCA fairy tale upon which it was based. A lot of animated features do this now, and you really need some subtext and nuance to make it work.

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gromit
Posted: Fri Mar 21, 2014 11:45 am Reply with quote
Joined: 31 Aug 2004 Posts: 9008 Location: Shanghai
I thought Brave was quite good and a much better girl-oriented animated film than Frozen, which was clunky throughout.

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knox
Posted: Fri Mar 21, 2014 12:39 pm Reply with quote
Joined: 18 Mar 2010 Posts: 1245 Location: St. Louis
Agree. I like the term "girl-oriented." It seemed to have that slightly didactic thing in which girls are instructed to be wary of sudden infatuation and be more aware of the male who slowly develops as a friend. And by "slightly" I mean whack you over the head with a sledgehammer.

Am looking forward to Under the Skin, in which an extraterrestrial, in Scotland, preys upon hitchhikers. If Scarlett J brings this off, I will start to think of her as a doyenne of offbeat sci-fi.
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Ghulam
Posted: Sat Mar 22, 2014 1:57 am Reply with quote
Joined: 20 May 2004 Posts: 4742 Location: Upstate NY
.
"The Grand Budapest Hotel" is a delight from beginning to end. A super-caper without a false note! Perfect casting. Ralph Fiennes' is simply amazing. Wes Anderson has surpassed himself.


.
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jeremy
Posted: Sat Mar 29, 2014 2:33 am Reply with quote
Joined: 21 May 2004 Posts: 6794 Location: Derby, England and Hamilton, New Zealand (yes they are about 12,000 miles apart)
The Great Beauty was a lush, elegiac montage of visions and ideas; a bitter-sweet-sour love note to Rome (eternal) and an answer to life (finite) the universe and whatever question it was that “La Dolce Vita” asked. Initially, I reacted badly to what I took to be the film’s superior and heavy-handed satire, but it soon dawned that this was largely knowing, self-deprecation. In time, I found myself warming to the menagerie of the wounded and the grotesque. In particular, it was hard not to be charmed by our film guide, the reflective and mournful Jep (Toni Servillo) a writer and who was having something of a late-life crisis. Jep had lived the high-life for so long that drinking and partying could no longer anesthetise him against the decay and dissolution around him, nor would it allow him deny it in himself. As an aside, at no time did his immaculate dressing make me feel anything less than inadequate.

In varying proportions that I haven’t quite worked out yet, I found The Great Beauty funny, sad, surprising, insightful, obvious and pretentious. Sometime before the end, I also found it too long. The film hinted at many great beauties and truths without really delivering a dramatic, pathetic, or meaningful punch, at least none that I felt, but I liked that it tried, and I’m glad that I watched it.

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billyweeds
Posted: Sat Mar 29, 2014 5:48 am Reply with quote
Joined: 20 May 2004 Posts: 20618 Location: New York City
Everything that jeremy said is in some way true, but it affected me in the opposite way. I found it pretentious first and foremost, overlong second and secondmost, and beautiful to look at almost incidentally. Not incidentally, IMO it was a rehash of La Dolce Vita and nowhere near as good.

Where jeremy and I disagree most radically is in the area of attire. I never feel the need to be well-dressed.
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bartist
Posted: Sat Mar 29, 2014 3:55 pm Reply with quote
Joined: 27 Apr 2010 Posts: 6945 Location: Black Hills
Ghulam wrote:
.
"The Grand Budapest Hotel" is a delight from beginning to end. A super-caper without a false note! Perfect casting. Ralph Fiennes' is simply amazing. Wes Anderson has surpassed himself.


Word.

TGBH will grow an inextinguishable smile in your heart. All of Anderson's talent converges here. He has a way of making style and manners intrinsically funny and yet somehow showing respect and love for them, no matter how absurd they may grow as the world moves on. One thing he does is tell you, right at the outset, that movies aren't real, that he's going to spend the next couple hours telling you a story - and one you shouldn't believe. What this device does it to somehow transform shallowness and artifice into something that somehow feels more real, rather than less. Liberated from the stifling demands of reality, you notice things that seem both funny and quite true. TBGH has instantly become my favorite Wes Anderson film (and I love Rushmore, Bottle Rocket, and The Royal Tenenbaums...and Moonrise Kingdom) and my favorite film of 2014, so far.

I will watch this film again with utmost pleasure and delight. It is also visually lovely and delicious....really, I could just live inside this movie for a while. And the balalaika-heavy soundtrack is wonderful. There are moments of action which synch so perfectly with the music, and yet not in an intrusive way, that you want to sit through another showing just to listen and watch in a kind of filmic ecstasy.

Go see this movie, have a great time, and see if you can spot Tilda Swinton. The rest of the cast, which seems to consist of everyone who has ever been in a Wes Anderson movie, or possibly any movie, is easier to spot.

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lshap
Posted: Mon Mar 31, 2014 4:26 pm Reply with quote
Site Admin Joined: 12 May 2004 Posts: 4246 Location: Montreal
Add me to the list of fanboys for Grand Budapest Hotel. On the surface it's a beautifully stylized picture-book story, like watching a pop-up children's book come to life. Hard not to enjoy the candy coating of Anderson's attention to detail, as everything is choreographed like a Broadway musical. The characters speak in short, pithy dialogue bubbles and move along two-dimensional flat planes like marionettes.

Yet despite all this cartoonish stylization, the lingering mood is surprisingly heavy. It's pre-WW2, and the era of European opulence is coming to an end. Anderson takes us there by gently peeling back the pages of history, using an old writer's memory of a decades-old encounter with a hotel owner, who jumps further back to his own memory of the famous Grand Budapest Hotel's concierge. It's a loopy narrative journey back to the 1930s, but once you're there, the characters and plot skip from one tight scene to the next. I kept waiting for the film to sag, but it never did.

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