The Girl on the Train:
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Archived from the IMDb Discussion Forums — Classic Film
morrison-dylan-fan — 9 years ago(January 30, 2017 05:31 AM)
The Girl on the Train:
Getting on-board during early stage of her pregnancy, (kept secret from cast/crew!) Emily Blunt gives a blistering anti-Femme Fatale Film Noir loner performance as Rachael. Dimly looking at the "perfect" couples across the tracks with eyes caked in black,Blunt superbly unseats the staggered nature of the Noir loner, pouring Watson out in bitter blends of over-confidence in protecting her "perfect" images,and a Noir pit that lands Watson with harsh reality. Joining in this prime cut "Women's Picture" Neo-Noir and also taking a liking to twitchy Justin Theroux's Tom, Rebecca Ferguson and Haley Bennett give excellent performance as Anna and Megan,with Bennett making Megan a bundle of sexy Neo-Noir temptation, whilst Ferguson fractures Anna's suburban, picket-line fence image created by Rachel,to release the bubbling Noir Fury.
Changing tracks from the London setting of Paula Hawkins's book to New York,the screenplay by Erin Cressida Wilson corkscrews the thrills for a simmering Neo-Noir atmosphere. Dovetailing fragmented flashbacks to Rachael going off the rails,Wilson presents with a sharp clarity the slurring state of Rachel,lit in sudden turns of aggression and a tense piecing together of her "forgotten" train ride. Opening the bottle to Tom's various relationships,Wilson cuts into an evil under the sun Noir mood, shining from a subtle, gradual changes in perspective,seeping a crisp Noir awareness under the nails of Anna and Rachael.
Buying a Noir Thriller ticket for the first time in his credits,director Tate Taylor & cinematographer Charlotte Bruus Christensen stylishly tap at the burnt Noir loner state of Rachael with grubby low-lighting opening the blackened,decayed wounds of Rachael. Backed by a shimmering score from Danny Elfman,Taylor layers the darkness with chilling stylisation of slow-motion rain hitting the frosty tracks,and screams from a horror-like nightmare linking Rachel's torn ticket memories.
Evil Dead 2
Setting the mood for the flick, John Peakes gives a charming performance as Knowby,whose eerie voice in the opening whips up a Gothic chill. Picking up the chainsaw again, Bruce Campbell beams with a real growth in confidence as Ash,via Campbell hitting the quirky Comedy shotguns with a demonic glee,and taking down the living evil dead with brash one-liners.
Kicking the cabin doors open,the screenplay by co-writer/(along with Scott Spiegel) director Sam Raimi leaves no waste on the bone,with the 20 minute set-up of the first film being replaced by a rolling 5 minute intro. Not needing to set anything up,the writers tear the horror jugular with outrageous slap-stick and cackling demons. Playing fast and loose with the plot,the writers grip all of the horror chills and comedy spills on Ash's grisly fight or flight survival instinct.
Finding themselves with some decent cash for the first time in the series,director Sam Raimi & cinematographer Peter Deming masterfully mash gooey Horror,vicious slap-stick Comedy and quirky stop-motion Fantasy animation for a deadly delight. Splashing the screen in green and red ooze burning in lighting fast tracking shots circling the cabin,Raimi unexpectedly dips into Horror surrealism. Hitting Ash with buckets of demon blood,Raimi uses the surrealism to stop the flick becoming overly serious,via darkly hilariously bonkers set- pieces where Ash chainsaws a demonic head and fights against his own hand!,with Ash finding himself facing the evil dead for the second time.
To Walk Invisible: The Bronte Sisters
Initially appearing to be a bio flick focused on the relationship between the sisters,the screenplay by writer/director Sally Wainwright spends most of the running time looking at the tragic alcoholism of the Bronte's brother Branwell Brontë,which dips into the traditional Period Drama tragedy of the BBC,but pushes Branwell's sisters to the side lines,due to Wainwright largely examining it from Branwell's point of view,instead of from the family. Freeing their quills for the final 30 minutes,Wainwright gives the title a much needed fountain of energy, flowing with the passion of writing that the sisters keep in their difficult lives,and a surprising unmasking of a light comedic bond,as the Bronte's decide to reveal themselves to the world.
Filmed "Opp North" in God's Own Country of Yorkshire,director Sally Wainwright & cinematographer David Raedeker elegantly walk on the beautiful rugged terrain of the Bronte family's old stomping ground with gliding shots of the countryside looking at the heaven below. Completing a family which includes Jonathan Pryce soulful performance as dad Patrick and Adam Nagaitis giving Branwell a burnt-out tiredness, Finn Atkins/Charlie Murphy & Chloe Pirrie each give marvellous unique performances as the sisters,with Pirrie's outspoken Emily neatly being balanced by Murphy's reserved Anne and Atkins considerate Charlotte,as the Bronte family reach wuthering heights.
Ethel & Ernest (2016)
Opening with a live act -
ali-112 — 9 years ago(January 30, 2017 06:29 AM)
Night Will Fall
, Andre Singer, 2014
. A recent remounting of footage shot by the Allied troops who liberated the concentration camps in 1944, which was collated just after the war with the intention of making a feature-film in Britain, then shelved for assorted political reasons which Singer's frame-narrative nods to. The original footage, as I understood it, was intended to be documentary evidence for the prosecution at Nuremberg, rather than any kind of public display, and I am of course aware - although the film doesn't appear to be - that the debate over the use of these images is live and emotional. Singer is obviously following Geirges Didi-Huberman's tendency towards contextualisation and visibility; he doesn't try to reconstruct what the original film-team (which included Hitchcock, as Singer can't stop telling us) might have produced, but reframes the images along with interviews with filmmakers and survivors. This is the terrifying and effective part. Cameramen from Britian, Russia and the US are interviewed (although Samuel Fuller's presence is forgotten - maybe his estate refused permission?). There are however mistakes. Helena Bonham-Carter's narration is a huge mistake. She adopts the comfortingly informative tone of old BBC documentaries, and she keeps/ stopping/ after a few words/ just in order/ to catch her breath/ often/ between someone's first name/ and surname/ and for no other/ apparent reason. She's both inappropriate and distracting. And while the early footage has all the power the filmmakers presumably hoped for it, the later travails of the footage are recounted in rather less satisfying mode: the projected British documentary is talked up, and the curtailed American version which was actually produced dismissed (along with Billy Wilder, even though he has a word to say in German); the narration grovels to Alfred Hitchcock's star-power to the point of suggesting it would have been 'his' film; the focus blurs and the messiness of history is ignored rather than confronted (although to its credit the film doesn't follow the Western powers blindly into the Cold War). A flawed but valuable piece.
mixed
Adventure in Baltimore
, Richard Wallace, 1949
was something of a surprise: Shirley Temple as an adolescent, Shirley Temple old enough to be a little bit sexual and flirty, and Shirley Temple determined to revolt in the name of women's equality and creativity - although, as the current user-comment quite rightly says, we're led to accept a wife and daughter's rebelliousness because a wise and all-knowing father-figure endorses it against the small-town gossip which surrounds them, so all is safely and patriarchally framed. A period setting also allows for rebellion: women's suffrage was a 'safe' cause. If Dinah had espoused civil rights instead, even under that warm patriarchal protection, maybe Hollywood wouldn't have been so complacent at encouraging her to march down the street and get into fisticuffs with the locals. Neither is her briefly evoked wish to go to Paris to study painting ever followed up on once the boy next door has told her she's marvellous: indeed Paris is otherwise associated with the repellent vanity of her rival and foil. There seems little chance that she will take that plan further, but there is a brief quivering moment when she seems capable of it. It's fresh and fun, however harmless, and gets
mixed/yes
The River Wild
, Curtis Hanson, 1994
. The plot isn't in the least original, in fact I saw it again later in the week in a completely different context and realised exactly the same mechanisms were in play, it's all good family entertainment because it reinforces ideals of fatherhood and how important it is that father and son bond, otherwise the lad will be led astray; and in the end it's amazing what you can do to reunite that happy little unit. Yes, but not only is this a film taken in hand and swept along by Meryl Streep, the incontestable - and uncontainable - protagonist, but also there's another character which haunts and owns the whole film. Which is, of course, the river, even more uncontainable than Streep: you can't tame or master it, you just have to work with it. The river, and its banks, own the film entirely. It's only surprising, and a bit disappointing, that they're uninhabited: Hanson has a story to tell which he's putting into the river-channel, he hasn't got time to drift downriver looking at hawks and hearing strange noises. Otherwise the River Wild might have treated all its servants like the Ornithologist.
So it's a Hollywood formula story, but it wants to rage out of its channel.
yes
Tarajal
, Xavier Artigas, Xapo Ortega, Marc Serra, 2017 (?)
.
https://www.youtube.com/watch?v=81MQN-6IaFM&t=245s
. I'm not entirely sure of the date but this is a recent documentary, which has won prizes for its treatment of a scandalous incident when Spanish border police fired rubber bullets and tear gas at refugees in the sea, with obvious immediate dange -
Friend_of_Milhouse — 9 years ago(January 30, 2017 06:43 AM)
Manchester by the Sea
(US-2016) dir. Kenneth Lonergan
http://www.imdb.com/board/14034228/
After the death of his brother, Lee Chandler (Casey Affleck), a withdrawn, introverted loner, gets custody over his 16 year old nephew.
Director Kenneth Lonergan has a theatre background and it shows: he wrote a good script with believable dialogue and performances are excellent, but it's cinematically dull, with a drab, uninspired TV-movie aesthetic.
Also, some of his music choices are far too obvious and on the nose.
**1/2
The Great Wall
(China/US-2016) dir. Zhang Yimou
http://www.imdb.com/board/12034800/
During the Middle Ages, two European adventurers (Matt Damon and Pedro Pascal) travel to China, looking for the secret of gunpowder. They soon find themselves at the Great Wall, embroiled in a war between the Chinese army and a spawn of monsters.
This Chinese-American co-production is silly but fun, with tons of acrobatic battle-scenes (think Lord of the Rings meets Cirque du Soleil).
Director Zhang Yimou films with the dazzling virtuosity you can expect from him, but also demonstrates something I never suspected he had: a sense of humour.
La La Land
(US-2016) dir. Damien Chazelle
http://www.imdb.com/board/13783958/
From its exalting opening to its bittersweet ending,
La La Land
lives up to its high expectations.
However, for a musical that so heavily refers back to Hollywood's golden age of musicals, it does run into the problem that this golden age is no more: back in the day, stars were sought after and groomed to be able to act, dance and sing. Ryan Gossling and Emma Stone can act, but they're sorta winging it through the rest. There's a scene late in the movie where Stone should be losing herself in a song, instead, she's clearly struggling just to remain in key.
***1/2
I've seen the future, baby: it is murder! -
cschultz-2 — 9 years ago(January 30, 2017 07:12 AM)
No road is as difficult as the one leading to success in the arts. In seeking success with a pursuit which requires such sensitivity, the artistactor, musician, dancer, singer, painter, sculptor, poetmust conversely steel himself to repeated rejection and sometimes even ridicule. Before a musician plays a note during a performance, the audience seldom realizes the song has been practiced and rehearsed hundreds of times in private.
Early in life we all are taught, If at first you don't succeed, try, try again. But how many times should we try? Hundreds? More?
The decision to either abandon one's dream of success in the arts, or to compromise one's own artistic vision and modify a dream to conform to someone else's, is a heartbreaking and emotionally traumatic moment in the life of a performer. And it is during that transitional moment in the lives of two performersan actress and a jazz pianistthat the movie
La La Land
occurs. How the two reach that decision, how they visualize itand most importantly, whether or not they can survive it together, as a coupleforms the plot of the picture.
And what a picture
La La Land
turns out to bea 128-minute swirling, colorful explosion of a movie, equally brimming with elation and heartbreak, drama and comedy, but all filled with singing, playing, and dancing not in movies sincewell, maybe ever. Comparisons to 1985's
A Chorus Line
or 2002's
Chicago
or even 1933's
42nd Street
are inadequate. And to measure the film against 1952's classic
Singin' in the Rain
, often considered the best musical ever made, is just simply inappropriate.
La La Land
stands on its ownit is its own unique, exhilarating self. Even for those of us who don't enjoy musicals,
La La Land
is an inspiration, because more than about art or music or performance, it's about life itself. You think you've had a bad day? Take a look at these poor unfortunate souls as they realize they might have squandered their entire lives on a dream no more substantial than a Land of Lollipops and Cotton Candy, Somewhere Over a Rainbow.
Just after the movie screen opens up and widens to reveal the picture will be presented in glorious CinemaScope, the widest and largest film presentation available, and in vibrant and breathtaking Technicolor, the very first scene takes place on a steamy day in a traffic jam outside Los Angeles. One single, frustrated driver exits her car and begins to tentatively sing a song about how she's remaining optimistic despite the misery of the day.
That solitary driver is soon joined by another driver, and then another, and another, until moments later the entire freeway is filled with a breathtakingly entertaining musical production piece involving hundreds of drivers, all performing an optimistic song to a driving tempo while displaying spectacular synchronized jumps and whirls and high-steps in a variety of dance styles. It's a tough act to followbut as Al Jolson said in 1927's
The Jazz Singer
, Hollywood's very first musical,
You ain't seen nuthin' yet!
Nominally the stars of La La Land are the vibrant and lovely Emma Stone as Mia, an aspiring actress, and the laconic, handsome Ryan Gosling as Sebastian, a jazz pianist performing for tips in a lunchtime restaurant. Stone and Gosling also teamed effectively earlier in their careers, in supporting roles in the 2011 comedy
Crazy, Stupid Love
, starring Steve Carell and Julianne Moore.
In
La La Land
, Stone's Mia is a young actress toiling as a waitress at an upscale coffee shop. Mia accepts the slights, low tips, and casual cruelties of both customers and co-workers with an indefatigable sense of optimism while religiously attending auditions for acting roles, when she can find them. She believes in her dream, and is aggressively pursuing the opportunity that will vindicate her vision and show that all her effort has been worthwhile.
Emma Stone with her luminescent eyes and expressive smile opens her heart, and shares with the audience nuances of every tiny triumph and discouraging failureher feelings quickly become ours, until we're praying for her success almost as much as she is.
Gosling as Sebastian, the jazz pianist, turns in a less effecting performance than Stone, but that might be a subjective pointsome viewers simply don't quite comprehend the actor's performance method: Gosling often appears inarticulate, murmuring his dialogue while looking downward or away from the other character, then looking up to assess the impact of his lines, followed by a wistful smile, as if the actor's recalling a sweet memory from long ago. Gosling is effective in his role as Sebastian, but some of that success is earned as a result of the belief Mia places in himwe trust her trust.
Both Gosling and Stone, however, dazzle in their musical scenestheir singing and dancing are impressive, and at times exhilarating. The canny viewer will notice, however, that often the dancing is presented in very small segments of two of three seconds duratio -
pad264 — 9 years ago(January 30, 2017 08:18 AM)
Listed from best to worst:
The Cameraman (Keaton and Sedgwick, 1928): 10/10 -
During my recent binge of Buster Keaton's miraculous 1920s, I uncovered my favorite film by him, also one of the greatest films I've ever seen. It's as funny as anything from the era and it's as deeply moving as anything from Chaplin.
The General (Keaton and Bruckman, 1926): 9/10 (rewatch) -
I enjoyed this far more upon second viewing almost a decade later. The sense of adventure Keaton creates during the train sequences is phenomenal. The only time the film sputters is during the brief rescue attempt in the woods toward the middle of the film.
Safety Last! (Neymeyer and Taylor, 1923): 8/10 -
My first foray into Harold Lloyd and I was very pleasantly surprised. He's more of the everyman than Keaton or Chaplin, but what the film lacks in Keaton's courage and Chaplin's sentiment, it makes up for in humor.
Tortilla Flat (Fleming, 1942): 8/10 -
I greatly enjoyed Fleming's take on Steinbeck's classic novel. I understand the criticism of the film's ethnicity insensitivity, casting Spencer Tracy as a Latin American, but that didn't take away from my engagement or the film's great messaging.
Lilith (Rossen, 1964): 8/10 -
Before One Flew Over the Cuckoo's Nest, Rossen was giving his biting take on mental institution drama. If not for the poor performance from Beatty, the sky was the limit for this film it's well worth the watch.
Nocturnal Animals (Tom Ford, 2016): 8/10 -
Dripping with symbolism, Tom Ford directs a tight, fascinating film. Ford is able to strike just the perfect notes at times, creating brilliant tension. Great performances all around, especially by Jake Gyllenhaal. I won't call the film's resolution a let down, but I didn't feel quite as satisfied as I hoped.
Snowden (Stone, 2016): 7/10 -
Stone's recreation of the Snowden security leak is formulaic and one-note, not accomplishing much more through film than what could have been accomplished in writing. With that stated, it's by no means bad or unenjoyably. For those interested in Snowden's life and his decision to hack national secrets, this film provides great perspective.
Stage Fright (Hitchcock, 1950): 6/10 -
Certainly minor Hitchcock, but there's a enough here to merit a viewing for his fans.
Pather Pachali (Ray, 1955): 6/10 -
I was left profoundly disappointed by this film. It is visually gorgeous and engrossing, but it didn't feel like a self-contained film. I'm aware that it's part of a trilogy, but I feel the best film series work well apart and together.
The Getaway (Peckinpah, 1972): 5/10 -
Contrivancescontrivances everywhere. McQueen is great in the lead and Ali MacGraw is wonderful to look at on screen, but every plot point is forced and illogical. And can someone please explain to me what the purpose of the cuckold subplot was?
Lion (Davis, 2016): 5/10 -
A heartbreaking story that doesn't get the film it deserves. The filmmaking is just all wrong from start to finish. Director Garth Davis and writer Luke Davies misjudge Saroo Brierley's entire journey, focusing on so much that doesn't matter and missing all the moments that do.
Inferno (Howard, 2016): 3/10 -
Ron Howard needs to step away from Dan Brown's series. This is embarrassingly poor filmmaking from a man who should know better.
Moonlight (Jenkins, 2016): 3/10 -
I really hated this film and I find the critical acclaim it's receiving dangerous to the profession. It's a bad script helmed by a director clearly learning on the job and an amateurish cinematographer who I will actively seek to avoid in the future. Anyone who is claiming merit to this film beyond its social commentary is either lying or very misguided in their understanding of the filmmaking process. The film's only genuinely redeeming quality is the strong performance from Naomie Harris.
Shorts:
The Paleface (Keaton and Cline, 1922): 7/10
Cops (Keaton and Cline, 1922): 7/10
The Scarecrow (Keaton and Cline, 1922): 7/10
Convict 13 (Keaton and Cline, 1922): 6/10
Hard Luck (Keaton and Cline, 1922): 4/10
"My only enemy is time." - Charles Chaplin
http://paulopicks.blogspot.com/ -
papyrus beetle — 9 years ago(January 30, 2017 11:02 AM)
it's Monogram
it uses location shots in Hollywood to save money
But it's kind of funbecause it is like stepping back to an ordinary day in 1941, and don't we all want to do that?
"We will bury you"-NIKITA KHRUSHCHEV -
Darksidecrew — 9 years ago(January 30, 2017 06:57 PM)
FIRST TIME MOVIE VIEWING
The Handmaiden (2016, Chan-Wook Park)
This tale of a woman who is hired as a handmaiden to a Japanese heiress, but is secretly involved in a plot to defraud her is scripted like a puzzle that is directed to perfectly come together as a while picture. The sex scenes are the most intense I have seen since Blue is the Warmest Colour and the costume design is immense also.
7/10
Manchester by the Sea (2016, Kenneth Lonergan)
In this rather somber film Casey Affleck plays an uncle who is made guardian of his teenage nephew after the boy's father dies. The film is well acted and the scenes are all well done but it doesn't really fell like it goes anywhere in the end.
7/10
Silence (2016, Martin Scorsese)
This film is the long gestating passion project of famed director Martin Scorsese that follows two priests (Andrew Garfield, Adam Driver) as they travel to Japan in an attempt to locate their mentor (Liam Neeson) and propagate Catholicism. It is a well made and acted somber film in which i found most of the first 90 minutes to be a bit of a chore to get through. The second half however was a lot more engaging with some powerful scenes between Garfield and Neeson.
6.5/10
American Pastoral (2016, Ewan McGregor)
This is actor Ewan McGregor's (Trainspotting) feature directorial debut and it is certainly a good effort. The story follows an All-American college star (McGregor) and his beauty queen wife (Jennifer Connolly) who watch their seemingly perfect life fall apart, as their daughter (Dakota Fanning) joins the turmoil of '60s America. I was never bored throughout the film and found it all quite interesting but it never felt like the real world to me despite some scenes being quite gripping.
6.5/10
REPEAT MOVIE VIEWING
Gremlins (1984, Joe Dante)
netflix
This story about a boy who inadvertently breaks three important rules concerning his new pet that unleashes a horde of malevolently mischievous monsters on a small town is certainly a product of its time. The tone is all over the place with this one which is one of the biggest problems. I do however love the puppet and stop animation effects which are still more effective than cg effects if not for the visible strings on the puppets (how I missed that when i saw this on the big screen i'll never know).
5/10
FIRST TIME DOCUMENTARY VIEWING
Welcome to Leith (2015, Michael Beach Nichols, Christopher K. Walker)
This is a feature documentary chronicling the attempted takeover of a small town in North Dakota by notorious white supremacist Craig Cobb. It follows the events which seem to just fizzle out but it is still interesting throughout.
Recommended -
jdidaco — 9 years ago(January 30, 2017 09:55 PM)
Hi zetes and Everyone,
Horror (and
fantastique
)- related viewings last week (in
bold
)
A batch from Latin America:
(Mexico; Argentina; Chile; Uruguay; Venezuela)
Ahí está el detalle (You're Missing the Point, 1940) - Juan Bustillo Oro. 8/10
El monstruo resucitado (The Resurrected Monster, 1953) - Chano Urueta
. 8/10
Todos mienten (They All Lie, 2009) - Matías Piñeiro. 8/10
Los ausentes (The Absent, 2014) - Nicolás Pereda. 9/10
El botón de nácar (The Pearl Button, 2015) - Patricio Guzmán. 10/10
El apóstata (The Apostate, 2015) - Federico Veiroj. 8/10
Toponimia (Toponymy, 2015) - Jonathan Perel. 9/10
Desde allá (From Afar, 2015) - Lorenzo Vigas. 8/10
A batch from Poland:
Ludzie z pustego obszaru (People of the Vacant Area, 1957) - Kazimierz Karabasz and Wladyslaw Slesicki. 8/10
Chcialbym sie ogolic (I Would Like to Shave, 1966) - Andrzej Kondratiuk
. 8/10
Korkociag (Corkscrew, 1971) - Marek Piwowski. 9/10
Jak daleko stad, jak blisko (How Far, How Near, 1972) - Tadeusz Konwicki
. 9/10
Krakatau (1986) - Mariusz Grzegorzek
. 10/10
11 minut (11 Minutes, 2015) - Jerzy Skolimowski
. 8/10
Visions of America through European Eyes:
Lions Love (1969) - Agnès Varda. 9/10
Histoires d'Amérique: Food, Family and Philosophy (American Stories, Food, Family and Philosophy, 1989) - Chantal Akerman. 9/10
The Other Side (2015) - Roberto Minervini. 9/10
American Honey (2016) - Andrea Arnold. 8/10
Recently Animated:
Akmeni Manaas Kabataas/Rocks in My Pockets (2014) - Signe Baumane. 9/10
Moulton og meg/Me and My Moulton (2014) - Torill Kove. 8/10
Kimi no na wa. (Your Name., 2016) - Makoto Shinkai
. 10/10
La tortue rouge (The Red Turtle, 2016) - Michael Dudok de Wit
. 9/10
Moana (2016) - John Musker, Ron Clements, Don Hall and Chris Williams
. 8/10
Inner Workings (2016) - Leonardo Matsuda
. 7/10
Raury's "God's Whisper" the perfect song to accompany Sasha Lane's transcendent maturing at the beautiful ending of Andrea Arnold's 'American Honey':
,
jd -
jdidaco — 9 years ago(February 03, 2017 10:22 AM)
ali
I guess I can be happy that the last request, and probably my last report, on the weekly thread, was for a film I loved, Varda, plus a handsome Hungarian.
And how appropriate it is, that one of the most unforgettable moments in 'Lions Love' is the last scene, Viva's transfixing breathing for the camera, the final exhale Oh, it's playful Bobby Kennedy's assassination on live TV, Shirley Clarke's fake suicide with pills, Viva on the phone receiving news of Warhol's attempted murder, all happening in the same time-space ("So many deaths around me", exclaims a deliciously bepuzzled Viva) -, it's sexy - love the threesome's mude poses in Greek statuary tableaux, or their sensual gathering around the pool -, it's meta/self-reflexive - Shirley and Agnès having a little on-set friction about how to commit suicide! -, it's of its time, it's now.
I had a crush on Lajos Balázsovits mostly because of Jancsó's films (he made several with him), and particularly 'Vizi privati, pubbliche virtù' and 'Magyar rapszódia', but you inspired me to finally watch a film I've been wanting to see for a long time, Cavani's 'Milarepa', where he plays both a contemporary student and the Tibetan yogi (by way of a clever narrative trick), and he's not only handsome (perfectly balancing masculinity/femininity through a beautiful and expressive body language), he has the "eyes of madness", those that can inspire both sin and beatification, fall and ascension, in the same tradition of Cavani's favorite actors (Castel, Clémenti, Powell). I loved him even more.
bientôt,
jd -
Schmenkie — 9 years ago(January 31, 2017 03:56 AM)
My week:
Café Society (2016)
4/10
Il bidone (1955)
6/10
Romance pro kridlovku (1967)
6/10
McFarland, USA (2015)
7/10
Birdman or (The Unexpected Virtue of Ignorance) (2014)
7/10
Sadie Thompson (1928)
5/10
Iedereen beroemd! (2000)
6/10
Le dîner de cons (1998)
4/10
La La Land (2016)
8/10
The Age of Adaline (2015)
6/10
In Nacht und Eis (1912)
3/10