Magnificent Seven (J. Sturge 1960) is a western remake of Seven Samurai, like A Fistful of Dollars is the remake of Yojimbo (A. Kurosawa 1961), and each are good. In this way, this is not a question about a remake or an original story, it’s more about the ability to make own a story, even if it is not yours, and do something with that.
Cocorico Monsieur Poulet is one of the first movie i’ve seen as children, and i’ve seen it a lot. About a selling man, selling chicken all over the “brousse” in an old car he has to brake with is foots sometimes. An amazing immersion by the road in African living, culture, sense of communication. Really Great.
And i was also astonish by is short film in the six vignettes about Paris, Gare du nord. I remember a very long and uncut shot from an appartment, to the corridor, the lift, the street, across a bridge i use every week with the subway going out of the ground and giving this incredible scene of the big rail track of the Gare du Nord. When i saw this train station from the subway i often remember the long Rouch travelling down the street with is impressed actor.
Gare du Nord is one of the best short of this six shorts movies with the hilarious Place de l’Etoile d’Eric Rohmer.
For IMDB Breathless is superior by 3.2 point on ten. For my point of vue, i don’t know how a film could be superior to another film. Really, this is no tomatoes. As i know, Breathless was a revolution in the way of filmaking, with new camera lighter, according new move and action. And now i’d like to see see Ernest Goes To Camp and see what make it special to be in this battle.
Mark, for the retrospective i’ll say be patient. La Cinémathèque Française just made a complete retrospective of all Jim Carrey’s movie, one thing at the time. But maybe one day, soon.
To come back at the comparaison of Ernest Goes To Camp and Breathless, both use the “regard camera” (camera look?) for talking directly to the spectator and make burlesque. But Ernest is funnier and is superior iin this domain. I’m more divised for the architecture of the scenario neither both are very wildfull don’t really care about realism sometimes (as you notice, they walk in the middle of the road.)
It’s also right that Ernest got colors and Breathless don’t. That’s making two points for Ernst but i will find new arguments.
p.s. : we are taking bath (even if it is preferable to take shower save the planet) and using soap.
Mark, there is Jean-Pierre Melville in Breathless and he didn’t play in Ernest goes to Camp. That’s a fact and maybe make a point for Breathless, to come back at the topic and deviate from your soap fantasy.
With friends, Starship Trooper comes oftenly in the discussion.
To M. Söze, 2001 give a real good vision of the no gravity effect, avoid now by most of film in space, and ending travel time sequence is something, still in 2010. Avatar is mostly just one big special effect, double by the pseudo 3D glasses technology. But the screenplay use it very well and make the spectator part of it. A very good thing that explain is massive success, i think.
I also love the beast in the corean movie The Host, of Bong Joon-ho, a great movie.
Very nice topic, and the different aspect you point reconstruct my memory about Visconti. It’s great.
About the Marxist part, that’s remind me another italian movie, Prima della Rivoluzione of Bertolucci, more political but in the same way than tthe Neo realist does with frontal and documentary style. Visconti reconstruct those battle in interior, in the family area, separate but attached to the society.
I’ve got to mention for the pantheon of Italian movie that early Pasolini are such a cinematographic extase including the social commitment and the esthetic point of vue. But Visconti have developed it in a better way i will say. Staying good with different kind of screenplay, in different social classes. And Antonioni is a movie maker that i will put near Visconti, just on is left bohemian arty side.
By the way i will mention to participate to this topic that i’ve recently watch a re-issue of L’étranger (The foreigner ? from the book of Albert Camus). He make a real good job filming litteraly the roman with just a little twist in the first sequence. He’s really close to the original and create the loud and hot atmosphere with bright lights surrounding exterior scene. And Marcello Mastroianni is great, as usual.
Hell yeah, Panic Room was really upgrade by the camera special effect movement. And the “North by Northwest” stylie debut generic on the skycrapers was beautiful.
Josey Wales
Unforgiven
Johnny Guitar
My Darling Clementine
She Wore a Yellow Ribbon
How The West Was Won
El Dorado
Broken Arrow
The Magnificent Seven
Butch Cassidy And The Sundance Kid
Wild Wild West
I agree with Hans Lucas (salut Jean-Luc) and i will say the content direct the style. In the same mouvement, the style light the content, focus keys elements and the point of view of the director on the content.
Maybe i’m wrong but i think film noir golden era begun in the early 30’s (i will say 32 with Hawk’s Scarface) and go to the late 50’s (maybe to the 58’s Touch of Evil which is a summit). I completly agree with the films mentioned above like Maltese Falcon, Asphalt Jungle, the very dark Third Man even if the fact that a movie is very dark and with polar issue doesn’t make it automaicaly a film noir. The infuence of the german 20’s expressionist light is for my point of view a good bridge between those two genre.
For Yojimbo, the case is different. We are out of the traditional US detective with a coat limit. But the plot, all the treason, the come and go of omniscient Yojimbo and the tragic issue reveal all the architecture of the film noir, with sabre, yes, and in a medevial era. But there western which are also film noir and every historical country period can produce film noir.
Maybe Gerry by Gus Van Sant, The Wind by Victor Sjostrom, Monte Hellman’s Ride in the Whirlwind for the impact of the nature with the wind on the men, and some Tarkovski’s, Fellini’s and Teo Angelopoulos movies full of smog.
For his last movie, Jim Jarmush made a lpt of interview where he talk about film noir, maybe some good quotes to precise some idea about this genre that this big cinema lovers adore.
Seven Samurai Remake, anyone? over 3 years ago
Magnificent Seven (J. Sturge 1960) is a western remake of Seven Samurai, like A Fistful of Dollars is the remake of Yojimbo (A. Kurosawa 1961), and each are good. In this way, this is not a question about a remake or an original story, it’s more about the ability to make own a story, even if it is not yours, and do something with that.
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JEAN ROUCH about 3 years ago
Cocorico Monsieur Poulet is one of the first movie i’ve seen as children, and i’ve seen it a lot. About a selling man, selling chicken all over the “brousse” in an old car he has to brake with is foots sometimes. An amazing immersion by the road in African living, culture, sense of communication. Really Great.
And i was also astonish by is short film in the six vignettes about Paris, Gare du nord. I remember a very long and uncut shot from an appartment, to the corridor, the lift, the street, across a bridge i use every week with the subway going out of the ground and giving this incredible scene of the big rail track of the Gare du Nord. When i saw this train station from the subway i often remember the long Rouch travelling down the street with is impressed actor.
Gare du Nord is one of the best short of this six shorts movies with the hilarious Place de l’Etoile d’Eric Rohmer.
Go to Comment
WHICH FILM IS SUPERIOR? JEAN LUC GODARD'S BREATHLESS OR JOHN R. CHERRY III'S ERNEST GOES TO CAMP? about 3 years ago
For IMDB Breathless is superior by 3.2 point on ten. For my point of vue, i don’t know how a film could be superior to another film. Really, this is no tomatoes. As i know, Breathless was a revolution in the way of filmaking, with new camera lighter, according new move and action. And now i’d like to see see Ernest Goes To Camp and see what make it special to be in this battle.
Go to Comment
WHICH FILM IS SUPERIOR? JEAN LUC GODARD'S BREATHLESS OR JOHN R. CHERRY III'S ERNEST GOES TO CAMP? about 3 years ago
Thanks for the tips.
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WHICH FILM IS SUPERIOR? JEAN LUC GODARD'S BREATHLESS OR JOHN R. CHERRY III'S ERNEST GOES TO CAMP? about 3 years ago
Mark, for the retrospective i’ll say be patient. La Cinémathèque Française just made a complete retrospective of all Jim Carrey’s movie, one thing at the time. But maybe one day, soon.
To come back at the comparaison of Ernest Goes To Camp and Breathless, both use the “regard camera” (camera look?) for talking directly to the spectator and make burlesque. But Ernest is funnier and is superior iin this domain. I’m more divised for the architecture of the scenario neither both are very wildfull don’t really care about realism sometimes (as you notice, they walk in the middle of the road.)
It’s also right that Ernest got colors and Breathless don’t. That’s making two points for Ernst but i will find new arguments.
p.s. : we are taking bath (even if it is preferable to take shower save the planet) and using soap.
Go to Comment
Some non-Bergman Swedish Film Suffestions? about 3 years ago
The last i saw was really good, a lo-fi vampire story of Tomas Alfredson called Morse.
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WHICH FILM IS SUPERIOR? JEAN LUC GODARD'S BREATHLESS OR JOHN R. CHERRY III'S ERNEST GOES TO CAMP? about 3 years ago
Mark, there is Jean-Pierre Melville in Breathless and he didn’t play in Ernest goes to Camp. That’s a fact and maybe make a point for Breathless, to come back at the topic and deviate from your soap fantasy.
Go to Comment
What film has the best special effects? about 3 years ago
With friends, Starship Trooper comes oftenly in the discussion.
To M. Söze, 2001 give a real good vision of the no gravity effect, avoid now by most of film in space, and ending travel time sequence is something, still in 2010. Avatar is mostly just one big special effect, double by the pseudo 3D glasses technology. But the screenplay use it very well and make the spectator part of it. A very good thing that explain is massive success, i think.
I also love the beast in the corean movie The Host, of Bong Joon-ho, a great movie.
Go to Comment
What film has the best special effects? about 3 years ago
and what about Le voyage dans la Lune (Travel to the moon, 1902) by George Miélès
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Luchino Visconti about 3 years ago
Very nice topic, and the different aspect you point reconstruct my memory about Visconti. It’s great.
About the Marxist part, that’s remind me another italian movie, Prima della Rivoluzione of Bertolucci, more political but in the same way than tthe Neo realist does with frontal and documentary style. Visconti reconstruct those battle in interior, in the family area, separate but attached to the society.
I’ve got to mention for the pantheon of Italian movie that early Pasolini are such a cinematographic extase including the social commitment and the esthetic point of vue. But Visconti have developed it in a better way i will say. Staying good with different kind of screenplay, in different social classes. And Antonioni is a movie maker that i will put near Visconti, just on is left bohemian arty side.
By the way i will mention to participate to this topic that i’ve recently watch a re-issue of L’étranger (The foreigner ? from the book of Albert Camus). He make a real good job filming litteraly the roman with just a little twist in the first sequence. He’s really close to the original and create the loud and hot atmosphere with bright lights surrounding exterior scene. And Marcello Mastroianni is great, as usual.
Go to Comment
What film has the best special effects? about 3 years ago
Hell yeah, Panic Room was really upgrade by the camera special effect movement. And the “North by Northwest” stylie debut generic on the skycrapers was beautiful.
Go to Comment
Best Westerns about 3 years ago
Now, and in disorder :
Josey Wales
Unforgiven
Johnny Guitar
My Darling Clementine
She Wore a Yellow Ribbon
How The West Was Won
El Dorado
Broken Arrow
The Magnificent Seven
Butch Cassidy And The Sundance Kid
Wild Wild West
Go to Comment
Is style as important as content? almost 3 years ago
I agree with Hans Lucas (salut Jean-Luc) and i will say the content direct the style. In the same mouvement, the style light the content, focus keys elements and the point of view of the director on the content.
Go to Comment
Film Noir Style almost 3 years ago
Maybe i’m wrong but i think film noir golden era begun in the early 30’s (i will say 32 with Hawk’s Scarface) and go to the late 50’s (maybe to the 58’s Touch of Evil which is a summit). I completly agree with the films mentioned above like Maltese Falcon, Asphalt Jungle, the very dark Third Man even if the fact that a movie is very dark and with polar issue doesn’t make it automaicaly a film noir. The infuence of the german 20’s expressionist light is for my point of view a good bridge between those two genre.
For Yojimbo, the case is different. We are out of the traditional US detective with a coat limit. But the plot, all the treason, the come and go of omniscient Yojimbo and the tragic issue reveal all the architecture of the film noir, with sabre, yes, and in a medevial era. But there western which are also film noir and every historical country period can produce film noir.
Go to Comment
Film Blanc almost 3 years ago
Maybe Gerry by Gus Van Sant, The Wind by Victor Sjostrom, Monte Hellman’s Ride in the Whirlwind for the impact of the nature with the wind on the men, and some Tarkovski’s, Fellini’s and Teo Angelopoulos movies full of smog.
Go to Comment
Film Noir Style almost 3 years ago
For his last movie, Jim Jarmush made a lpt of interview where he talk about film noir, maybe some good quotes to precise some idea about this genre that this big cinema lovers adore.
Go to Comment