I Just Saw a Truly Great Film, I Think I'll Post it Here Thread
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Night of the Hunter (1955), directed by Charles Laughton.
Just amazing, on so many levels. It's the best use of lighting in a black-and-white film I can think of, and there are so many great scenes that have stuck with me for days (the car in the water, the river trip, the girl's song on the river, Lillian Gish being a badass). Robert Mitchum's voice is so powerful and he has such a presence, and his charming psycho is genuinely creepy. A great, surreal, beautiful film that is really difficult to describe. Highly recommended.
Just amazing, on so many levels. It's the best use of lighting in a black-and-white film I can think of, and there are so many great scenes that have stuck with me for days (the car in the water, the river trip, the girl's song on the river, Lillian Gish being a badass). Robert Mitchum's voice is so powerful and he has such a presence, and his charming psycho is genuinely creepy. A great, surreal, beautiful film that is really difficult to describe. Highly recommended.
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The Long Goodbye
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Yeah, there's no body mutilation in it
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A Woman Under the Influence
I couldn't imagine a better introduction to Cassavetes. A Woman Under the Influence is easily one of the most powerful dramas I have ever seen and a crown jewel of 70s cinema. Often painful but never less than captivating, I see now why Gena Rowlands' performance in this is hailed as one of the all-time greats. I especially loved how the film's most harrowing scenes were heightened even more by Cassavetes' realistic approach to filmmaking. An incredibly rich and textured examination of the modern nuclear family, social dysfunction, and psychological miscommunication.
I couldn't imagine a better introduction to Cassavetes. A Woman Under the Influence is easily one of the most powerful dramas I have ever seen and a crown jewel of 70s cinema. Often painful but never less than captivating, I see now why Gena Rowlands' performance in this is hailed as one of the all-time greats. I especially loved how the film's most harrowing scenes were heightened even more by Cassavetes' realistic approach to filmmaking. An incredibly rich and textured examination of the modern nuclear family, social dysfunction, and psychological miscommunication.
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"Puns are the highest form of literature." -Alfred Hitchcock
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Once Upon a Time in America
Definitely one of, if not, the greatest films that I have ever seen, so glad that I finally got round to watching this masterpiece from Leone, will write a lot more about it soon.
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Once Upon a Time in America
Definitely one of, if not, the greatest films that I have ever seen, so glad that I finally got round to watching this masterpiece from Leone, will write a lot more about it soon.
I consider it Leone's masterpiece.
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Best gangster movie ever made. Period.
Miller's Crossing, The Long Good Friday, Goodfellas, Casino, Donnie Brasco, Scarface, White Heat, The Public Enemy, Carlito's Way, Little Caesar and, of course, The Godfather (and Part II).
Those are just off the top of my head and I like Once Upon A Time In America. I mean, you might've seen all those and any others I can't remember and still think so, but I'd be surprised.
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Really?
Miller's Crossing, The Long Good Friday, Goodfellas, Casino, Donnie Brasco, Scarface, White Heat, The Public Enemy, Carlito's Way, Little Caesar and, of course, The Godfather (and Part II).
Those are just off the top of my head and I like Once Upon A Time In America. I mean, you might've seen all those and any others I can't remember and still think so, but I'd be surprised.
Miller's Crossing, The Long Good Friday, Goodfellas, Casino, Donnie Brasco, Scarface, White Heat, The Public Enemy, Carlito's Way, Little Caesar and, of course, The Godfather (and Part II).
Those are just off the top of my head and I like Once Upon A Time In America. I mean, you might've seen all those and any others I can't remember and still think so, but I'd be surprised.
Whilst I think Goodfellas and The Godfather are both masterpieces, I think this might just be better because not only does it succeed as a gangster film, but it is also better in the way it deals with it's characters and various human aspects - greed, violence, betrayal, friendship/relationships - we have characters like 'Noodles' who are some of the most disgusting, brutal characters we have ever seen yet you feel frustrated and sorry to them because of how they constantly make the bad choices when they think they are doing something right, or what they deserve/are entitled to. De Niro's performance is brilliant and there's just so much I could write about his character. Despite being four hours long as well, this film is constantly engaging, like a magical dream, it feels real yet has a mysterious and surreal aspect to, which is helped by the way the story is told.
This and Once Upon a Time in the West might just be the greatest films in their respective genres for me (Crime and Western), in the way they tell succeed in terms of their genre and story they tell as well as combining them with more surreal/magical elements to make it a gripping and enthralling experience, and for their superb character development, in 'West all the characters have their own superb stories that intertwine, in this film we explore different criminal personalities, albeit mainly on just Noodles and Max.
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Really?
Miller's Crossing, The Long Good Friday, Goodfellas, Casino, Donnie Brasco, Scarface, White Heat, The Public Enemy, Carlito's Way, Little Caesar and, of course, The Godfather (and Part II).
Those are just off the top of my head and I like Once Upon A Time In America. I mean, you might've seen all those and any others I can't remember and still think so, but I'd be surprised.
Miller's Crossing, The Long Good Friday, Goodfellas, Casino, Donnie Brasco, Scarface, White Heat, The Public Enemy, Carlito's Way, Little Caesar and, of course, The Godfather (and Part II).
Those are just off the top of my head and I like Once Upon A Time In America. I mean, you might've seen all those and any others I can't remember and still think so, but I'd be surprised.
It was one of my most satisfying movie experiences of all time.
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The Other (1972)
I watched this today. Very good movie along the lines of "The Omen" or maybe "The Good Son". The setting of a farm in the 30s overwhelmed me with nostalgia. I'm only 30 but my grandparents owned a farm that was very similar to the one in the film.
I watched this today. Very good movie along the lines of "The Omen" or maybe "The Good Son". The setting of a farm in the 30s overwhelmed me with nostalgia. I'm only 30 but my grandparents owned a farm that was very similar to the one in the film.
I also love One Upon A Time In America but, unlike Godfather which just flows,I find the first half of the film much more superior so the other seems not as good.Also,I found the ending not as pleasing as I expected.
But I really can not argue with the beautiful shots,great story and acting.
But I really can not argue with the beautiful shots,great story and acting.
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Trance (out next Wednesday in the UK, don't know US release details)
It's like Inception with hypnotism, rather than dreams, well made and very unpredictable
It's like Inception with hypnotism, rather than dreams, well made and very unpredictable
Weerasethakul managed to create really odd and genuinely original work of art. I've never seen anything like that and to be honest I don't even know what to think about it. The last scenes and song were truly powerful, though.
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The Face of Another (Hiroshi Teshigahara, 1966)
This is one of those films that is so thematically rich that I could write about it endlessly and still feel as though I haven't properly consolidated my thoughts on it. Plus, it deals with the nature of identity and the masks people wear when interacting with one another, which are topics that I find infinitely fascinating. Anyways, onto the film.
The Face of Another tells the story of a man whose face is horribly scarred in an accident at work, causing him to emotionally shut off from the rest of the world and continue wearing bandages on his face even after it's safe to take them off. He then meets with a psychiatrist, who attempts a radical experiment by giving him a new, synthetic face. The proceedings often feel like The Twilight Zone gone Japanese (not that that's a bad thing) but it's also much more brooding and existential.
The second half of the film, which deals with the protagonist wandering around with his 'new face' on, is especially interesting as a unique social experiment. What if, at any time, we could start over and become someone else? Would anybody recognize us? What kind of a background could we create? Who would we meet? What kind of a life would we live? The protagonist's situation in this part of the movie is intriguing simply based on its premise and the implications of the results.
As I mentioned, The Face of Another has quite a great deal to say about identity. I'd probably grasp more of that on another viewing, but the deterioration of the main character's social and mental condition by the end of the film suggests to me that any attempts to change one's identity and sense of self will only result in disaster and a loss of one's grip on reality (i.e., the great scene at the end, featuring a hallucination of a crowd of faceless people).
There's also a seemingly unrelated subplot in the film involving a beautiful girl in a mental ward, her face half scarred (this seems to have something to do with the atomic bombing of Japan). I'm not entirely sure what this whole subplot means, but the girl strikes me as some sort of inverse of the main character. She seems like a genuinely good person, eager to interact with the world, whereas he's hardly sympathetic and seeking constant isolation. If someone who has seen the film can elaborate on this for me, that'd be great.
Teshigahara's direction is amazing, too. He's clearly a master of surrealism and brings the story just the kind of avant-garde style that it requires. The sequence where the protagonist is given his new face by the psychiatrist is particularly captivating.
Overall, from a philosophical standpoint, I think this is one of the most fascinating movies I've ever seen. It's a daring social experiment, a disturbing exploration of human identity and isolation, and quite simply a bizarre masterpiece in every way. And I'd be remiss not to mention the score, which is awesome. I'll have to check out Woman in the Dunes next.
This is one of those films that is so thematically rich that I could write about it endlessly and still feel as though I haven't properly consolidated my thoughts on it. Plus, it deals with the nature of identity and the masks people wear when interacting with one another, which are topics that I find infinitely fascinating. Anyways, onto the film.
The Face of Another tells the story of a man whose face is horribly scarred in an accident at work, causing him to emotionally shut off from the rest of the world and continue wearing bandages on his face even after it's safe to take them off. He then meets with a psychiatrist, who attempts a radical experiment by giving him a new, synthetic face. The proceedings often feel like The Twilight Zone gone Japanese (not that that's a bad thing) but it's also much more brooding and existential.
The second half of the film, which deals with the protagonist wandering around with his 'new face' on, is especially interesting as a unique social experiment. What if, at any time, we could start over and become someone else? Would anybody recognize us? What kind of a background could we create? Who would we meet? What kind of a life would we live? The protagonist's situation in this part of the movie is intriguing simply based on its premise and the implications of the results.
As I mentioned, The Face of Another has quite a great deal to say about identity. I'd probably grasp more of that on another viewing, but the deterioration of the main character's social and mental condition by the end of the film suggests to me that any attempts to change one's identity and sense of self will only result in disaster and a loss of one's grip on reality (i.e., the great scene at the end, featuring a hallucination of a crowd of faceless people).
There's also a seemingly unrelated subplot in the film involving a beautiful girl in a mental ward, her face half scarred (this seems to have something to do with the atomic bombing of Japan). I'm not entirely sure what this whole subplot means, but the girl strikes me as some sort of inverse of the main character. She seems like a genuinely good person, eager to interact with the world, whereas he's hardly sympathetic and seeking constant isolation. If someone who has seen the film can elaborate on this for me, that'd be great.
Teshigahara's direction is amazing, too. He's clearly a master of surrealism and brings the story just the kind of avant-garde style that it requires. The sequence where the protagonist is given his new face by the psychiatrist is particularly captivating.
Overall, from a philosophical standpoint, I think this is one of the most fascinating movies I've ever seen. It's a daring social experiment, a disturbing exploration of human identity and isolation, and quite simply a bizarre masterpiece in every way. And I'd be remiss not to mention the score, which is awesome. I'll have to check out Woman in the Dunes next.
Last edited by HitchFan97; 03-23-13 at 12:28 PM.
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The French Connection (William Friedkin, 1971)
I'll post up more about this when I do my next Movie Tab post, but I just watched this and I honestly think it's one of the best films that I have ever seen, everything about it was great, fantastic direction, great atmosphere/suspense, how a chase film should be done, great performances and a fantastic villain, possibly the best use of sound ever, I could keep going on. Brilliant.
I'll post up more about this when I do my next Movie Tab post, but I just watched this and I honestly think it's one of the best films that I have ever seen, everything about it was great, fantastic direction, great atmosphere/suspense, how a chase film should be done, great performances and a fantastic villain, possibly the best use of sound ever, I could keep going on. Brilliant.
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Written on the Wind (Douglas Sirk, 1956)
Sirk is a director that I've been meaning to look into for quite some time now, and I can't imagine a better introduction to his work than seeing this on the big screen. This is a wickedly entertaining melodrama with fascinating and deliciously over-the-top characters, highlighted by an especially fantastic and memorable performance by Dorothy Malone. I won't waste words on the gorgeous cinematography, as Sirk is an acknowledged master of Technicolor, but this is a film with substance to match its style.
Sirk's bitingly ironic social commentary is at the heart of this film. His characters, while wealthy and privileged, are miserable; they are torn apart from one another by their own emptiness. The dialogue reflects this central theme. After one of them is killed, Malone's character remarks in a testimony that he "needed so much and had so little." Earlier in the film, this character says that "the truth is the only thing that counts, but the truth is ugly."
That's not to say Sirk sees these people exclusively as detached, spoiled wretches who have forgotten how to interact with one another beyond superficiality. By the end of the film, two of the characters are able to leave the lifestyle behind in the pursuit of their love for one another, while Malone's character finally transcends the pettiness of her schemes in favor of her (albeit unrequited) love for Rock Hudson's character. A typical Hollywood ending? Maybe, but I see it more as Sirk proclaiming his hope for these people.
Symbolism abounds in this film. The use of mirrors is especially prominent. They are found in nearly every scene, constantly reflecting the superficiality of these characters' lives. In one sequence, a character in a particularly heightened state of desperation finally shatters this constant motif by throwing a glass of alcohol at his reflection.
Two other examples that stood out for me: blatant phallic imagery near the end of the film (pictured below), and the use of autumn leaves chaotically blowing into the doorway of the house as a drunken character stumbles in, seeking to kill his best friend. To me, this represented the entrance of "nature" (man's most primal urges) into his home, at last demolishing the false pretenses of luxury and comfort that he has set up for himself. This was an especially powerful and visceral sequence for me.
Anyways, this was an absolutely stunning film that I'd recommend to anyone, especially someone unfamiliar with Sirk. I can't wait to see Imitation of Life at the same theater next week.
Sirk is a director that I've been meaning to look into for quite some time now, and I can't imagine a better introduction to his work than seeing this on the big screen. This is a wickedly entertaining melodrama with fascinating and deliciously over-the-top characters, highlighted by an especially fantastic and memorable performance by Dorothy Malone. I won't waste words on the gorgeous cinematography, as Sirk is an acknowledged master of Technicolor, but this is a film with substance to match its style.
Sirk's bitingly ironic social commentary is at the heart of this film. His characters, while wealthy and privileged, are miserable; they are torn apart from one another by their own emptiness. The dialogue reflects this central theme. After one of them is killed, Malone's character remarks in a testimony that he "needed so much and had so little." Earlier in the film, this character says that "the truth is the only thing that counts, but the truth is ugly."
That's not to say Sirk sees these people exclusively as detached, spoiled wretches who have forgotten how to interact with one another beyond superficiality. By the end of the film, two of the characters are able to leave the lifestyle behind in the pursuit of their love for one another, while Malone's character finally transcends the pettiness of her schemes in favor of her (albeit unrequited) love for Rock Hudson's character. A typical Hollywood ending? Maybe, but I see it more as Sirk proclaiming his hope for these people.
Symbolism abounds in this film. The use of mirrors is especially prominent. They are found in nearly every scene, constantly reflecting the superficiality of these characters' lives. In one sequence, a character in a particularly heightened state of desperation finally shatters this constant motif by throwing a glass of alcohol at his reflection.
Two other examples that stood out for me: blatant phallic imagery near the end of the film (pictured below), and the use of autumn leaves chaotically blowing into the doorway of the house as a drunken character stumbles in, seeking to kill his best friend. To me, this represented the entrance of "nature" (man's most primal urges) into his home, at last demolishing the false pretenses of luxury and comfort that he has set up for himself. This was an especially powerful and visceral sequence for me.
Anyways, this was an absolutely stunning film that I'd recommend to anyone, especially someone unfamiliar with Sirk. I can't wait to see Imitation of Life at the same theater next week.
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I've seen practically all of them, but I think Once Upon A Time In America is superior. The soundtrack is amazing, the story is vivacious, some scenes are absolutely beautiful and it's just an absolute gangster epic, in my opinion..
I couldn't hear you over the noise of that non-stop ringing phone
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