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It's a busy next couple of days for me. I'll catch up on tagging on Sunday. Looks like people are getting off to a nice start



I watched Interiors (1978) for the first time this evening. Woody Allen is one of my top 10 favourite directors of all time and I have seen more films by him than I have by any other director. I have now seen 43 of his films. I'm not sure why I hadn't gotten around to watching this before. Interiors is Allen's most serious and somber drama and although it is well made, I would rank it in the bottom half of his filmography. The film features a strong ensemble cast and all give fine performances. I can't say I really enjoyed the performances, but they were convincing and effective. I felt the story was somewhat lacking though. There is potential here for it to have more impact and be more compelling. For me, Interiors was only mildly interesting. At times, the film felt a little too slow and a bit dull. It felt longer than what it was. There were some strong, dramatic moments though. I did also like the look of the film. I'm glad it was nominated so that I finally got around to watching it.



I forgot the opening line.



THE DUELLISTS(1977)



Awards Leaderboard

3 - Ridley Scott (2 wins)
2 - Frank Tidy (no wins)
1 - Tom Rand (no wins)

- Cannes Film Festival

WIN - Best First Work - Ridley Scott
Nom - Palme d'Or - Ridley Scott

- BAFTAs

Nom - Best Cinematography - Frank Tidy
Nom - Best Costume Design - Tom Rand


- British Society of Cinematographers Awards

Nom - Best Cinematography - Frank Tidy

- David di Donatello Awards

WIN - Best Foreign Director - Ridley Scott
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Latest Review : Le Circle Rouge (1970)



I forgot the opening line.


The Duellists - 1977

Directed by Ridley Scott

Written by Gerald Vaughan-Hughes
Based on the short story "The Duel" by Joseph Conrad

Starring Keith Carradine, Harvey Keitel, Albert Finney, Edward Fox
Cristina Raines, Diana Quick & Tom Conti

By the latter half of the 1970s Stanley Kubrick had set a new standard for period films with his Barry Lyndon, and in stepped television commercial maestro Ridley Scott, taking inspiration from him on a budget considerable more constrained to make The Duellists - an impressively rich and good-looking film steeped in it's historical setting - the Napoleonic wars. It traces the irrevocable course of blind hatred and dutybound honor which leads two officers into a series of deadly duels over a period of 16 years - two very different characters played by up-and-comers Keith Carradine and Harvey Keitel. The 'strapped-for-cash' invention makes this look like a film that had a bigger budget than it did, and features some beautiful cinematography, set decoration, production design and costuming - not to mention a captivating, period-rich score. It was greatly overshadowed by Scott's masterpiece and box-office hit Alien, but deserves to be noted as a great first-up effort from the filmmaker.

In Strasbourg, during the year 1800, Gabriel Feraud (Keitel) badly wounds the mayor's nephew in a duel over a matter of honor, and Lieutenant Armand d'Hubert (Carradine) is sent to inform him that he's under house arrest. In a classic case of "blaming the messenger", Feraud becomes enraged, and in the ensuing argument challenges d'Hubert himself to a duel with sabers. D'Hubert wounds Feraud in the arm, but before he can deliver a more telling blow Feraud's lover jumps on him and scratches his face. The two meet again in Augsburg, 1801, and this time Feraud deeply pierces d'Hubert's chest, after which he's unable to go on. Once recovered (and after practicing a great deal) the two go at it again, and this time it's a long, drawn out affair as they fight each other to a bloody, exhausted standstill - neither killing the other. In Lubeck, 1806, Feraud happens upon d'Hubert again and insists they duel on horseback to honor the cavalry - this time d'Hubert slashes Feraud's scalp, and as the flowing blood makes it impossible to see, he must withdraw. They meet in Russia, 1812, but they must fight together, instead of each other, in difficult circumstances. It won't be until 1816, after d'Hubert marries, that the final duel between them draws a curtain over their years-long feud.

My favourite part, other than the sterling cinematography and score? The way Carradine's d'Hubert reacts every time he finds out he's been spotted by Feraud or one of his men. Ever been hurriedly leaving a party before someone you dread sees you, only to be noticed as you're seconds from the door? He's a man caught by his own sense of what's right, and can't back down - not only for fear of being labeled a coward, but by reason of his own self esteem. As a high ranking Hussar, there is a strict code of honor to adhere to. Feraud, by contrast, is like a stubborn dog who'll never let go of a bone. By a certain stage in proceedings, both parties have pretty much forgotten what exactly caused their initial disagreement (d'Hubert still isn't sure when he ponders the matter immediately after the first duel.) Feraud just won't let it go however, and he's a man who will carry a grudge to the grave (no matter how quickly the grudge is made, nor what little circumstance causes it.) The fact that his initial duel with d'Hubert happens to be the second deadly duel he's involved with on the same day, pertains to how easily offended he his, and the fact that he carries this on for over 15 years tells you everything you need to know about his tenacity.

Ridley Scott brought cinematographer Frank Tidy with him onto this production, being familiar with the way he worked with him on television commercials. He does a very impressive job on his first feature film here - and you'd never guess it was his first movie. Scott wanted the visuals to reflect the still-life paintings and artwork of the period, much like Kubrick had done with Barry Lyndon. The next-to-last shot of the film is one of those remarkable shots you take away with you, as Feraud stands Napoleon-like and the sun at first peeks over the verdent, green scenery, and then unleashes it's bright majesty over the landscape. Pure luck that this beauty unveiled itself at that exact moment. There's a lot of great real-life French architecture, along with French and Scottish landscapes, to provide a solid background for many beautifully vivid moments. Interesting to note that Ridley Scott "operated" the camera while making this film, which basically means that Tidy would have set the shots up, and fixed the lighting, but Scott would have been the one looking through the viewfinder while shots were being filmed, operating the camera. This was apparently very unusual in European filmmaking at the time. The Duellists looks fantastic, and delivers on the visual front.

Howard Blake, the man who combined with Queen to give Flash Gordon a sonic accompaniment which absolutely, unequivocally rocks, is the man Ridley trusted to provide a very romantic yet simple theme which swells from time to time, and very varied, effective music throughout. One of my favourite aspect to the film was what Blake did with the music during the duel on horseback - which becomes almost horror-like and as crushingly daunting as you can get, matching the sudden and unexpected panic d'Hubert goes through. The repeating theme music, first heard during the opening credits, has stuck with me as well, and probably will for some time to come. Blake varies things a lot though, and there are many cues and differing approaches to what he's providing for the film - powerful, on edge, exultant or easy-going. Much of it gives the feel of belonging to the classical, early 19th Century setting of the film - probably what you'd expect for a period film of this nature. I enjoyed it very much.

Romance is provided for d'Hubert in this film - although we see Feraud's lovers, it's d'Hubert's story we follow for the most part. Keith Carradine's partner at the time, Cristina Raines, ended up playing d'Hubert's eventual wife, Adele. She had appeared in Nashville with Carradine a few years previously. Diana Quick plays d'Hubert's previous mistress, and we also get the pleasure of seeing Albert Finney and Edward Fox in the movie - both of whom manage to do a lot with their small roles. (It's said Finney was paid for his appearance with a case of champagne.) Overall a great cast, with actors I enjoy watching. Initially, Scott wanted Oliver Reed and Michael York for the two leads - but I prefer the two leads we ended up getting instead of them, and I think Reed and York would have dated the film, while Keitel and Carradine have a feeling of exuberant youth and vigour. Keitel looks like the kind of guy who'd harbour that kind of grudge and resentment - so he does a great job of embodying his role.

The only other aspect to The Duellists which is interesting is the true life story that Joseph Conrad's short story (which was expanded upon by screenwriter Gerald Vaughan-Hughes, and then expanded even further when novelized by Gordon Williams) is based on. Pierre Dupont de l'Étang and François Fournier-Sarlovèze were two officers in France's Grande Armée who ended up fighting at least 30 duels against each other. Much like in the film, the initial disagreement was over the delivery of a message, and the final duel ended up settling the dispute in very much the same way the film represents it did. The two historical figures are real, but I can't say for certain whether every other detail of their story is 100% factual. Makes for a good film - Ridley Scott initially wanted to make a film about Gunpowder Plot of 17th Century England, but I think it was a much better option to make this if his budget was going to be as constrained as it was - under a million dollars.

The Duellists is as solid as solid can get, and looks and sounds like a film tens times it's budget. I really liked the performers, the cinematography and the score. Gerald Vaughan-Hughes wrote a first-rate screenplay, and despite constant rain, Ridley Scott and his smallish crew chugged along in a professional fashion and made what is shaping up to be a cult favourite amongst film fans, and fans of Scott's oeuvre. I'd never heard of it until accidentally coming across it one day, surprised by it's very existence - all the more so after finding out it had the credentials and quality to bely it's lack of exposure. Last (but certainly not least) of all, to William Hobbs - the fight director and Swordmaster behind the brilliant and very realistic swordfights that make this movie - well done sir. I'm glad this film didn't buy into anything silly, but instead decided to take this in as real a direction as it could. Every little nuance is paid attention to, and every moment of mortal danger heightens the tension and thrills the senses. In the early 19th Century, a duel to the death marked the most important few seconds of a man's life, and perhaps the last few seconds of his life.




The Duellists



After seeing this mentioned a couple of times in the war threads, I was already planning on watching it for the upcoming war countdown. Well, I don't see it as a war film. Regardless, it's an impressive debut from Ridley Scott. It looks and sounds great and has a nice pace. I love Harvey Keitel but wasn't sure I'd get used to him in this role and those clothes, but his aura works great for the character. Keith Carradine is every bit his equal, and despite a fine supporting cast, it's their show. I appreciate that it wasn't dragged out because historical type pics often are. It's basically one duel to the next until the end. That was enough to make it an entertaining and worthwhile watch.






Herrod’s Law: This is the kind of comedy I dig. Not a belly laugher, just a very humorous tone throughout. All the humor being drawn through the characters and absurd situations. Really well written social satire. Glad to have seen it because the movie and director were not on my radar at all.
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Letterboxd





The Duellists: Probably the hall movie I was most looking forward to because it is a Ridley Scott movie I haven’t seen. Cricket said the pacing was good, but I found it feeling a bit chopped up at times. I enjoy a good period piece, and luxuriating in the era. That’s really my only negative thought, because the story is fun and told well. The movie looks amazing. I really love the setting and landscapes. I also settled into Keitel’s character, but why directors were casting him into roles where his accent stands out so much is beyond me. Overall I really enjoyed this. Cool choice.




I wouldn’t go so far as to call The Duellists ‘staggeringly beautiful’ like the movie poster says but it certainly has its beautiful moments. Especially that final shot of Harvey Keitel on top of the hill. I must say his character reminded me a bit of Yosemite Sam . The story is engaging the whole time. The sets, wardrobe and locations looked very authentic and worked very well to create an 1800s atmosphere. Was on my watchlist for a long time so I'm glad I finally watched it. Good film/nomination.

+ 72/100





I forgot the opening line.
Off to a good start with Interiors and The Duellists - that Leonard Maltin quote had me interested enough to go and read the full review :

The Duellists - "Competent screen version of Joseph Conrad's The Duel concerns long-running feud between French officers Carradine and Keitel during the Napoleonic wars. Supporting players are more convincing than two leads; film is among most staggeringly beautiful of it's time. Scott's first feature." (He gave the film 3/4)

Here's what he said for Interiors : "Allen's first screen drama as writer-director is an Ingmar Bergmanesque study of a family full of unhappy, frustrated men and women; this drama of anguished lives is not for all tastes, but extremely well done." (He gave it 3.5/4)



Days of Heaven -


This remains one of the most beautiful movies I've ever seen. With its iconic cinematography of the Alberta countryside, Ennio Morricone's score as well as the recurring use of music from Saint-Saëns' The Carnival of the Animals, the movie succeeds at making you believe that this stretch of Texas farmland is heaven on Earth and makes you feel like you're not watching a movie, but instead a moving Andrew Wyeth painting. Besides the obvious in our impulsive, dueling romantic leads, I like the various ways the movie reminds us that this paradise will soon be gone, whether it's the farmer's house - which looms over everything like a vengeful god that could take these vagabonds' lucky breaks away on a whim - or what Linda and her friend's locust-catching errand foreshadows. Speaking of, I forgot how amazing and horrifying the locust invasion sequence is. The best compliment I think I can give it is that I don't want to know how Malick and company pulled it off because I'd prefer to maintain the illusion. As for Linda - and R.I.P. to Linda Manz, who we sadly lost too early - making her the narrator and our guide could be this movie's secret weapon due to how well her innocence and good nature contrasts with this world’s cruelty and absurdity. I still have issues with how the movie is edited: while I approve of the use of fadeouts for how they make the scenes resemble half-recalled memories, they sometimes end abruptly or before it seems like they're supposed to end, which often takes me out of the moment. This is not enough of an issue to change my mind about this being one of the best movies I've ever seen, though, and it also deserves credit for being one of cinema's great "paradise lost" stories.



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Sunset Boulevard



This was my second watch and it had been a heck of a long time so I was glad to see it nominated. Like usual, Billy Wilder knocks it out of the park. I love the way the story is told, with the William Holden narration and the flashback scenes. Gloria Swanson is really good in this but the overall star for me is William Holden. The movie really ramps up in that last third of the film. It's just a film that gathers attention so well. I loved the angle of Joe and Betty getting thrown in there and Norma getting really jealous of it. While it's not my favorite Wilder film, it's damn close and it still may be his most effective. That end scene is quite grabbing and chilling too. It's one hell of a film.





Gone Baby Gone: Dennis Lehane crime dramas are like catnip for me. It had been quite a while since I watched this so, despite remembering the ending, it actually felt pretty fresh. I had forgotten how abrupt the middle feels as it takes a turn into a different movie. Despite liking the first half quite a bit more I really like the second half too. My favorite part of the movie is Casey’s character interacting with all the locals. The characters portrayed are obviously the worst version of themselves, but I still think it comes across as authentic. Really amazing casting in this, which I am sure owes a lot to Affleck and his love for Boston and those communities.

I knew this had to be a Rauldc pick as soon as it popped up in the noms. It was great to have a reason to rewatch. This is a tough lineup of movies, but this should place pretty high for me.




The Duelist (Ridley Scott 1977)

Impressive first film from the master of visual appeal, Ridley Scott. On his first outing as a feature film director, Ridley Scott shows to great effect his keen eye for all things visual. The compositions and lighting are superb as is the pre-film scouting for shooting locations that lend themselves to the Ridley treatment. Ridley uses smoke and early morning light to impart a visual eye feast for the viewer while giving depth to his compositions. I loved the look of the film, the sets & the costumes were all top notch.

I was surprised the Harvey Keitel was so effective in his role as a hell bent for a duel General. He was intense. I wish I could say the same for Keith Carradine but I didn't care for him much in this film.

What I did like was that this story was based on real events as hard as that might seem to believe. There really were two crazed duelist back in Napoleonic France. I loved the ending as I didn't figure that's how the story would wrap up, but then I read that's how it happened in real life too...Truth is indeed stranger than fiction.

Good movie.



I forgot the opening line.


Gone Baby Gone - 2007

Directed by Ben Affleck

Written by Ben Affleck & Aaron Stockard
Based on the novel "Gone, Baby, Gone" by Dennis Lehane

Starring Casey Affleck, Michelle Monaghan, Morgan Freeman, Ed Harris
John Ashton, Amy Ryan, Amy Madigan & Titus Welliver

MAJOR SPOILERS ARE GIVEN AWAY IN THIS REVIEW

I've slowly warmed up to Gone Baby Gone over the years, and I've slowly understood more about it's connections to Boston, along with a plotline that I wanted to follow in a precise manner - if I don't get every little step, I'm often frustrated and not satisfied. Obviously the moral dilemma, which starts to take shape when character Patrick Kenzie (Casey Affleck) murders a paedophile execution style, but which really hits hard at the film's conclusion, is something I took away from the film the first time I saw it. That ending arrives like a thunderclap, and is something that makes the film unforgettable. It was the ending that made me enthusiastic about returning to the film, and I've seen it on numerous occasions now - I have film critics and audiences to thank for giving this film much acclaim in late '07 - over 15 years ago. Is the right thing to do always the best course of action? What if doing the right thing causes more harm than good? It's an interesting question.

Patrick Kenzie and Angie Gennaro (Michelle Monaghan) are small-time private investigators, chasing down people with debts and finding missing persons in Boston, where they live. When four-year-old Amanda McCready (Madeline O'Brien), daughter of drug abuser and all-round bad mother Helene (Amy Ryan) goes missing, they're contacted by Amanda's Aunt Bea (Amy Madigan) and Uncle Lionel (Titus Welliver) who want them help augment the effort of the police in searching for the girl. They consult with Captain Jack Doyle (Morgan Freeman), along with Detective Sergeant Remy Bressant (Ed Harris) and Detective Nick Poole (John Ashton) who give them very little information to go on. It's through Patrick's contacts that he learns that Helene would associate with drug runner Ray, and this shakes the truth from the mother - she and Ray had stolen a large amount of money from crime kingpin "Cheese" (Edi Gathegi) shortly before her daughter disappeared. Ray is found beaten to death, and when an exchange is organised with the cops, a shootout occurs, Cheese is killed, and Amanda is seemingly drowned. It's only when Patrick learns that the police lied to him that he takes stock, and finds that nothing seems to add up...

I can't talk about the movie without letting massive spoilers roam free - so be warned, nothing will be left unsaid from here on out. Amanda's Uncle, Lionel had contacted Remy Bressant when Helene and Ray had stolen Cheese's money - he was hoping this would be the impetus for them to snatch Amanda and get her to a more proper and caring home. She ended up with Captain Doyle, who had stepped down from his duties after the controversies pursuant to the exchange-gone-wrong. The whole exchange had been a fraud, a show to put an end to Patrick and Angie's search. When Patrick finds Amanda at Doyle's place, the ex-Captain pleads for the investigator to let it go - Amanda's in a happy place now, and being looked after properly. If Patrick turns him in, Amanda will be sent back to a neglectful mother, and she'll be damaged as a result. But Patrick decides that it would be wrong to go back on his promise to Helene, and that no child-snatching can be justified by any means. When he visits little Amanda at her mother's house later, he finds a daughter that's once again being neglected, and in an impactful final exchange, learns that Amanda's mother had been getting the name of Amanda's favourite doll wrong the whole time - in other words, she paid no attention to her little girl. Regret starts to creep onto Patrick's face.

Why did Patrick make the decision he did? Well, he'd found a probable suspect in another child-snatching case, and when the house was raided he aided the police. Nick is hit in the neck by a bullet fired from the people inside the house, and Patrick goes in - heading upstairs to where he hopes to find the little boy. What he finds is a paedophile pleading that an "accident" had happened, a bloodied small pair of underpants, and a dead little kid. He vomits, and then, unable to control himself, shoots the sex offender in the head killing him. From that moment on, despite being congratulated by the police and not charged, he feels a nagging sense that he's done something very wrong. It eats away at him - there's no justification for killing a person in cold blood - even if that person is a monster. It's the fact he's dealing with the fallout that he makes the decision he does at the end - he does the "right" thing despite the circumstance. He's afraid that if he turns a blind eye to Amanda's abduction, he'll forever feel that nagging sense of guilt. So, despite the fact that Angie leaves him and Amanda is now in a bad situation, he turns Doyle in.

What would you do? What would I have done? It's not an easy question. Our sense of right and wrong can be influenced in exactly the same way Patrick's was - by a recent experience. Had we done the wrong thing, and been effected by a guilty conscience? Had we just done something right, and had a situation blow up in our face? Patrick regrets his decision at the end of Gone Baby Gone. Had he given Helene the benefit of the doubt? Had he overestimated how changed she'd be after losing her daughter? I always felt he was trying to salvage the mess by babysitting Amanda - that from now on in his life, he'd be little Amanda's special guardian. He'd be too afraid of meeting her later in life, damaged and addicted to drugs, and realise this was his fault. He was also afraid of being accosted by Amanda's mother later in life, with angry cries of "You knew, and you did nothing!" It's with these thoughts that we leave Gone Baby Gone. We think about situations where right and wrong are hopelessly tangled up, and even our moral compass is swinging about in a confused way. Life can be messy like that.

Director Ben Affleck got much praise for his directorial debut here, and picked up a few awards for his effort. He'd prove it wasn't just a one-off by making Argo in 2012, but the reaction to Live By Night in 2016 was more mixed - it was okay and ultimately forgettable. I enjoyed Air, which came out this year, 2023, and The Town in 2010 was solid. Despite that little nagging "nepotism" tag, Casey Affleck was okay - and I actually like this actor more than his brother. The big accolades came for Amy Ryan as white trash, neglectful mother Helene - she won over 20 varied acting awards, and was nominated for an Oscar. I thought she was great, but without knowing how feted her performance was I'd never have tagged it as above and beyond the ensemble in Gone Baby Gone - which I thought was a team effort. I think it was a huge shame that Affleck didn't give Michelle Monaghan more to do in this - she kind of follows Casey around, and has little impetus beyond that and making him feel guilty at the end. She really needed a couple of key scenes where her character was really important.

The score from Harry Gregson-Williams is subtle and understated - I like the fact that he allowed his work to take a back seat and not announce itself, but supplement certain moments. The cinematography was handled by a big name in the industry - John Toll, director of photography on The Thin Red Line and an Oscar winner for doing Braveheart and Legends of the Fall. What can I say - he handles the assignment well, as you'd very well expect him too. Production Designer Sharon Seymour has become a Ben Affleck regular, and editor William Goldenberg would go on to win an Oscar for his work on Affleck's Argo. Gone Baby Gone wasn't Ben Affleck being an actor overstretching himself - he knew exactly who he needed and seems to have found a natural fit as filmmaker. He knew the people who fit this project, and even Casey seems to suit the role he was given as much as Bobbie Kennedy suited being Attorney General despite being JFK's brother. Donna Morong and Carolyn Pickman won a Casting Society of America award for their work on this film.

Gone Baby Gone is a Boston film - Affleck's hometown, and most of the extras along with minor casting roles went to local Bostonians, at times being casted off the street as the production was rolling. You can tell that it's delving into a very specific time and place - a culture within a culture, and one that tells a very personal story as well as being an adaptation of a novel. The whole film starts with intimate little shots from the city streets, getting us to orientate ourselves to this Boston story. Of course, it's also a human story - a universal one. It translates, and it even had to be delayed in more than one country due to kidnapping cases that would have made it's release unseemly. There's nothing as heart-stopping as a kid being taken - or a small child lost somewhere needing help. In every city around the world, from time to time, parents who are frantically trying to find their child capture the attention of an entire city, or country. The power behind those moments are what bring us all together in that same fraught state of mind for most of Gone Baby Gone's running time - before the ending leaves us with that moral dilemma, and the story then stays with us long after the film has ended.




I rewatched Gone Baby Gone today. I had seen it once before and liked it, but was even more impressed with it this time. Directed by Ben Affleck, the film stars Casey Affleck and Michelle Monaghan as Boston detectives hired to search for a missing girl. However, the case and the truth end up being more complicated than initially suspected.

This is a very well directed film. Ben Affleck handles the materiel quite well. He blends the right amount of suspense, thrills, and mystery in an effective and smart way. The film is thought provoking and raises some interesting and worthwhile questions. I appreciated that the film doesn't give easy answers,leaving enough ambiguity and letting the audience decide how they feel about the characters and their actions. I never felt that the film was lecturing or preaching at me, which is appreciated and worked well. Gone Baby Gone is hard hitting, emotionally powerful and feels satisfying, while still leaving the viewer thinking about it.

The performances here are quite good. This is a really strong ensemble and for me there are no weak performances. Casey Affleck would be my pick for best performance in the film, although Amy Ryan is excellent too. Morgan Freeman and Ed Harris are effective in their roles too. Gone Baby Gone is a very well made and compelling film and a worthy nomination.