I’d say the ending of Cinema Paradiso is breathtaking. And the one of Kind Hearts and Coronets is very impressive, too.
let’s stay on track with “the killing”. this is a true masterpiece. one of the few films i can honestly call “perfect”. watching it gives one complete satisfaction — that you’re in the hands of a brilliant cinema magician. the film fits together like a watch. its truly one of the gems of cinema, and most all non-linear/non-oneiric films owe a debt to it.
Sterling Hayden is great in this film…that sharp yet laconic, slightly condescending approach to it all. I’d forgotten about this one. I wouldn’t claim it to be the “greatest ending ever”, but it is damn good.
I like it when older Hollywood films defy expectations from current viewers, and they’re surprised to see a downbeat ending such as in this film, as opposed to happy-go-lucky endings. It sorta reminds me of when I leant “Treasure of the Sierra Madre” to a friend, and after viewing the film, he said to me: “I didn’t realize it had such a bleak ending.” That’s only half-right (Walter Huston’s laugh saves it from being completely downbeat), but it just goes to show that sometimes people actually need to see these films in order to get the most out of it, as opposed to watching it on cable with commercials.
Bobby-Great film. I remember reading a bio of Jim Thompson years ago where it gave a lot of credit to him for the structure of the film. He’s credited with dialogue only on the official credits.
I absolutely have to plug Ugetsu’s ending right here. I could pretty much see the very end coming, because of the “ghostly” developments that occurred during the last 20 minutes of the movie. Heck, the last 15-20 minutes is where I’d count Ugetsu’s ending as beginning. I haven’t seen or felt anything like it while watching a movie, ever. The little kid at the end absolutely, ABSOLUTELY had me bawling…..and kinda makes me wanna cry even thinking about it right now.
Ugetsu, what a movie, what an ending!
And I’d throw in Sansho The Bailiff’s ending in there as well, although it didn’t have the impact on me the second time I watched it as it did the first time.
wow. still no chance to stay on track with “the killing” after all this time! haha!
I like the way the departed ended.
MAtch Point was great…amazing…moraly insulting.
Winter Light…preaching to an empty congregation, a doutfull priest begins…
Annie Hall…The way everything is so bittersweet. You see his life is a tragedy, yet it is a comedy to us, which makes Annie Hall asume tragic proportions.
I like the way the departed ended.
MAtch Point was great…amazing…moraly insulting.
Winter Light…preaching to an empty congregation, a doutfull priest begins…
Annie Hall…The way everything is so bittersweet. You see his life is a tragedy, yet it is a comedy to us, which makes Annie Hall asume tragic proportions.
so, there’s this movie kubrick made called “the killing”. some call it a masterpiece. but what did you guys think about it?
I love it, Bobby. Prior to seeing it I kind of grouped it with Fear and Desire, and Killer’s Kiss, because I had heard Kubrick didn’t fully become Kubrick until Paths of Glory. This is incorrect. Actually I even think Killer’s Kiss is a pretty damn decent film, but that’s a different topic. The Killing is exciting and intense, and yes has an amazing ending.
The Killing’s ending can seen as somewhat flawed by the fact that it is, to an extent, based on coincedences. However, I feel that it ties in with the underlying theme of the film that “crime doesn’t pay”. Kubrick’s direction also adds much style to the ending sequence hence I feel that although it is not that strong in terms of substance (and thus cannot be labelled the greatest ending ever, a great ending maybe), Kubrick makes up for that through his direction and keep his viewers awed.
Maybe not the greatest ending ever, but perhaps one that embodies the real essence of film noir the best. Those last lines “What’s the difference?” are magnificent.
I am the double posting champion!
yeah the last line was pretty amazing to me, i got the same feeling with a clockwork orange ’ i was cured alright’ ending.
The Killing’s ending can seen as somewhat flawed by the fact that it is, to an extent, based on coincedences.
yeah, and then that last line…… almost like a bad joke without a punch line, but K was just getting warmed up
I can’t be the only person who didn’t really like the killing. I love Stanley Kubrick but this film didn’t really do it for me. As for the ending, I wouldn’t say it was even close to the greatest ever. My favorite might be something like Brazil.
definitely standard noir. for that reason, it cant be flawed based on the fact that its motivated by coincidences. thats pure noir, and call it fate.
Greatest ending ever?! Corniest ending ever. The ending ruined the whole movie for me. I don’t think Ive ever rolled my eyes quite like when I saw the ending to The Killing.
Fate necessarily always bad, is it?
Too many coincidences right at the end!
The main character is a take-charge guy and he says: what’s the diff?
dp
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QP
The Killing having the greatest ending ever? I can think of several other KUBRICK films with much better endings – 2001, ACO, Dr. Strangelove, Paths of Glory – all vastly supeior films and endings.
As for the Greatest Ending Ever, here are some I consider to be in the running:
Solaris (1972)
Aguirre, the Wrath of God
M
The Deer Hunter
Apocalypse Now
Das Boot
More like greatest fucked over ending of all time?
I’m in the club that didn’t much care for the ending, unfortunately. I loved the entirety of the film up until the last couple of minutes. The whole dog scenario is so far-fetched that it kind of left a sour taste in my mouth. I still think of it as a 5-star quality picture, but I wish it had ended a little differently.
the beauty in the shot is what makes the ending so vital. all that money just flying away like that is an image i think we love to see.
im not sure its THE GREATEST ENDING EVER but it sure had my mouth open in shock.
kinda like when i saw the end to LA HAINE. @WhatsUpWill: now thats one fucked over ending.
“I like it when older Hollywood films defy expectations from current viewers, and they’re surprised to see a downbeat ending such as in this film, as opposed to happy-go-lucky endings.”
I think this has more to do with the fact that, for whatever reason, people have such a condescending attitude in regards to the past. We seem to have this innate understanding that somehow our elders were incapable of profound sentiment or undoted with creative expression.
In any case, I’m not hugely fond of the ending. It seems like a pretty obvious genre approach. The general concept is fine but the little dog is just over the top.
I like what Armands said above about films defying expectations (though I wouldn’t limit it to Hollywood films).
I was floored by the ending of Bicycle Thieves not just because it’s such a poignant ending, but because I had no idea the filmmaker had the balls to end it that way. That ending IS the film in so many ways.
The image of the money in the jetwash in The Killing is spectacular.
Ibetolis
Having just watched Kubrick’s classic noir for the first time, I was blown away, not only by the non-linear approach and tense narrative, but also by the sheer brilliance of it’s ending. Anyone care to agree/disagree? Anyone care to venture their own classic ending?