Review older films here: 1979 and earlier - Page 46 - AVS Forum
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post #1351 of 1373 Old 08-06-2014, 08:12 AM
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Does anyone know is Scarface, yes the Howard Hawks version, has ever been released on BD?

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post #1352 of 1373 Old 08-06-2014, 08:19 AM - Thread Starter
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I'm not seeing it in any of the usual places, US or International. You might try The Official BD Wishlist and "When or will this movie come out on BD? Thread

-Bill
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post #1353 of 1373 Old 08-06-2014, 08:35 AM
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TY Sir... they need to get on that ASAP. Howard Hawks Scarface is stunning movie!

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post #1354 of 1373 Old 08-06-2014, 12:35 PM
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Bill -- Thanks for reminding me of Harvey, staring Jimmy Stewart. It was based on Mary Chase's Pulitzer Prize winning play of the same name. When I was a schoolboy, I saw a national touring company production of the play, staring Joe E. Brown. Brown won a special Tony Award for his work in the touring production. What a lovely story! We are lucky to have the wonderful film to remember it by.
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post #1355 of 1373 Old 08-08-2014, 08:30 PM
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Barry Lyndon (1975)

A masterpiece of cinema if ever I saw one. Gorgeously filmed, rich, and filled with Kubrick's cold but intimate style, this film must not be missed!

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post #1356 of 1373 Old 08-09-2014, 07:24 AM
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My favorite single shot from BL


the scene plays out like a still life painting with flattened perspective... morphing into reality/real life when the camera begins to pull back revealing the vastness of the back ground as it shoots upwards at what appears to be an unnatural angle until the entire scene is exposed. The water feature is actually above the actors heads, perfectly placed there by Kubrick as the back ground slowly comes into focus.

mastery at it's finest.

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post #1357 of 1373 Old 08-09-2014, 07:33 AM
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I watched A New Leaf on BD a few days ago and I was surprised at how funny it was and the pq was pretty good too. I suspect it could be classified as little known gem.

A bit more known is the Magic Christian which I watched a couple of months ago. Some elements are disturbing but overall a blast and Peter Sellers os at the top of his form and I was quite pleased with the film like pq.

If I may comment on Barry Lyndon which I watched recently, while good I do not consider it one of Kubrick best. For one thing I just did not care in the slightest for any the characters.

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post #1358 of 1373 Old 08-09-2014, 09:33 AM - Thread Starter
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I had a review and thumbnails a while ago: Barry Lyndon (1975).

-Bill
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post #1359 of 1373 Old 08-09-2014, 04:39 PM
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Quote:
Originally Posted by wuther View Post
If I may comment on Barry Lyndon which I watched recently, while good I do not consider it one of Kubrick best. For one thing I just did not care in the slightest for any the characters.
I am going to go out on a limb here... and say that I rarely care about kubricks character's
To me they appear more like chess pieces in which a story is maneuvered around strategically in order to convey a much more important ideology then the overly simplistic character study and human condition story lines.

Surely, there are memorable characters and most certainly we do learn to care for characters like bowman or danny... but they seem less important than the message or construction of the circumstances in which they are placed.

Kubrick doesn't fit into the broader spectrum of the way normal films are judged such as character empathy because of the nature of the way he made films.

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post #1360 of 1373 Old 08-09-2014, 05:09 PM
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I watched Network (1976) the other day and it is a rare breed in films, not just intellectual but fiercely intellectual and quite funny as well. It does have some offensive moments like 'She grew up watching Bugs Bunny', I grew up watching Bugs Bunny dammit. As per usual it was on a blu-ray and while maybe a tad sharpened it had film like pq.
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Originally Posted by MSchu18 View Post
I am going to go out on a limb here... and say that I rarely care about Kubrick character's
To me they appear more like chess pieces in which a story is maneuvered around strategically in order to convey a much more important ideology then the overly simplistic character study a human condition story lines.

Surely, there are memorable characters and most certainly we do learn to care for characters like bowman or danny... but they seem less important than the message or construction of the circumstances in which they are placed.

Kubrick doesn't fit into the broader spectrum of the way normal films are judged such as character empathy.
But the OP said not to argue the merits. I was quite expecting someone to make such comments but Kubrick has made movies where you care for the characters including really care. I challenge you not to care about the characters in Paths of Glory, Lolita, Dr. Strangelove and yes even 2001 and A Clockwork Orange (those loveable scamps...).

It's Barry Lyndon and on that Kubrick's films became ice cold.
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post #1361 of 1373 Old 08-10-2014, 12:32 PM - Thread Starter
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Adventures of Don Juan (1948), directed by by Vincent Sherman.

The notorious lover and swordsman (what actor for that role...think...think...) takes a break from his avocation to faithfully serve a queen in need.

This is a bit better than I remember, without being an actual good film. In the declining era of the swashbuckler the magic is gone. In the declining phase of his career Errol Flynn struggles, a victim of disappointment and too much hard living.

Still: the charm and twinkle remain and he can fence. He's able to balance the character and play up the humor without overdoing it. According to my wife: "No one looks more natural in tights."

We have a grand (studio) palace, lots of sword-fighting and an impressive burning tapestry stunt.

Viveca Lindfors is an intelligent Spanish Queen, succumbing to his charms (well, kissing) even when she knows better.

This is Alan Hale's thirteenth and last picture with Flynn. He was one of the most feared men in Hollywood because he could -- if he wanted to -- effortlessly, invisibly steal a scene.

Brief but rousing Max Steiner score.



-Bill
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post #1362 of 1373 Old 08-10-2014, 04:08 PM
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Originally Posted by wmcclain View Post
The Magic Christian (1969), directed by Joseph McGrath.

The title has no meaning.
Actually the title is the name of the luxury liner where all sorts of fun happens.
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post #1363 of 1373 Old 08-10-2014, 07:09 PM - Thread Starter
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Actually the title is the name of the luxury liner where all sorts of fun happens.
Sure, but that has no meaning either. I don't recall that it's explained in the book, but it's been a long time.

-Bill
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post #1364 of 1373 Old 08-11-2014, 12:58 PM
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Originally Posted by wmcclain View Post
Adventures of Don Juan (1948), directed by by Vincent Sherman.

We have a grand (studio) palace, lots of sword-fighting and an impressive burning tapestry stunt.

-Bill
It might not be as impressive, but the producers reportedly had a devil of a time getting a stunt man to agree to leap head and shoulders forward down a grand staircase and into the arms of another man. Stunt man Jock Mahoney, an actor in his own right in later years and Sally Field's step-father, accepted the job but only if they paid him an additional $1000.

You can see the stunt in the trailer at 1:04


It might not be as flashy as other stunts. But since they wanted to capture it fully in a single shot with no hidden/off camera cushion or wires, it was an open invitation to broken bones, a smashed skull, dislocated shoulders, you name it. Not something that could be tested and rehearsed over and over again before the camera rolled.
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post #1365 of 1373 Old 08-11-2014, 05:53 PM
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Sure, but that has no meaning either. I don't recall that it's explained in the book, but it's been a long time.
Well you said not to debate stuff but anyway you can say that about many film titles especially comedies like Blazzing Saddles or It's in the Bag.
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post #1366 of 1373 Old 08-14-2014, 03:58 AM - Thread Starter
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Sanjuro (1962), directed by Akira Kurosawa.

While their elders are away at court, nine young samurai discover a plot to take over the district. Full of naive warrior spirit, they are eager to do battle with the conspirators. Luckily, crafty, scruffy ronin Sanjuro is on hand to help and keep them out of serious trouble.

This sequel to Yojimbo is lighter in tone, more of a boy's adventure. The humor is less bitter. Sanjuro has also become more philosophical: although he can still take on a small army, he would rather avoid fighting if he can. "The best sword is kept in its sheath".

Still, we have even more fights with lightning-fast swordplay. Kurosawa was the first to use "flesh" sound effects, and we hear the moans and whimpers of the vanquished. To that point, true to the genre, it had been bloodless. In a shocking final scene, the duel results in vast blood spray, fountains of chocolate syrup foaming and pooling on the ground. It's his way of saying: this has been fun, but I'm not laughing.

For funny bits: keeping the kids from killing themselves is a full time job. We have a friendly enemy prisoner living in the closet who pops out with advice from time to time.

Criterion Blu-ray. Good image and valuable commentary track.

He says that the relation of Sanjuro to the young men is the sort of mentoring Kurosawa wanted to do for younger film directors. They weren't having it though: he was such a dominating character that they wanted to break out and do new things.

As always, Kurosawa makes action/adventure pictures where conscience and compassion are more important than adherence to a warrior code.



-Bill

Last edited by wmcclain; 08-14-2014 at 06:51 AM.
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post #1367 of 1373 Old 08-18-2014, 01:58 PM
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Sanjuro (1962), directed by Akira Kurosawa.

-Bill
You have a way of making any B&W motion picture look utterly appealing in your collages. Love it, great stuff!
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post #1368 of 1373 Old 08-18-2014, 07:08 PM
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I browsed every page of this thread to check whether someone mentioned Shane (1953) http://www.imdb.com/title/tt0046303/ . Apparently not, but sorry if I double post.

It's a typical good vs evil mini-epic Western movie. A stranger arrives at a farm and finds the family struggling to have a life while being bullied by cattleman Stryker and his gang. The ultimate bad-guy was played by Jack Palance http://www.imdb.com/name/nm0001588/ and it was this character that inspired René Goscinny to create Phil Wire in the Lucky Luke comics http://ifarm.nl/luckyluke/

The movie was from 1953 and it's kinda odd to realise all leading role actors have died, including the young kid.

IMO recommended!
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post #1369 of 1373 Old 08-18-2014, 07:23 PM - Thread Starter
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I browsed every page of this thread to check whether someone mentioned Shane (1953) http://www.imdb.com/title/tt0046303/ . Apparently not, but sorry if I double post.
Thanks for your comments, and for the record: double dipping on past titles is perfectly fine. I do it pretty often.

-Bill
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post #1370 of 1373 Old 08-19-2014, 04:21 AM - Thread Starter
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Torn Curtain (1966), directed by Alfred Hitchcock.

When an American scientist defects to East Germany, his sorely perplexed fiance follows and becomes tangled in cold war intrigue. Having gotten in, can they get out again?

This moves a bit better than I recall, but will never be ranked as top-shelf Hitchcock. Might it be a "B" rather than a "C"? I'm doubtful.

The problems:

  • Paul Newman is just not a Hitchcock star. He's fine with what he does, but lacks the wryness that brings life to the picture. Julie Andrews is actually better suited in her part.
  • It might have worked, in that Hitchcock seems to be trying something new here: a more dramatic, less ironic, realistic political thriller. It's not his genre, and he reverts to the darkly comic escape segment starting with the bus ride.
  • Not a lot of chemistry between the leads.
  • I remember the rear projection during the bus trip to be terrible; it doesn't seem that bad now. No worse than other instances. Hitchcock just didn't care about a higher degree of realism, although he did complain to Truffaut about the quality of those shots.
  • That little hill where the lovers reconcile: painfully bad.
  • The framing looks a bit off to me, but maybe he wanted a new look. He was without his long time cinematographer and the new guy worked mostly in TV and did some of the Hitchcock TV programs.
  • The strange, pathetic case of the Polish countess doesn't really fit. Does it? She reminds me of the farmer's wife in The 39 Steps (1935), in that she needs rescuing and it's not going to happen.
  • Bernard Herrmann is sorely missed for the score. He and Hitchcock had a blow-up and never worked together again.

Good bits: the famous difficult murder in the farmhouse. The "cunning plan gone wrong" is always tension-inducing. The suspense in the theater as the police arrive is well done.

Hitchcock was not happy with the stars or the script. It was a troubled production.

Available on Blu-ray.



-Bill
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post #1371 of 1373 Old 08-19-2014, 08:08 AM
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Thanks for your comments, and for the record: double dipping on past titles is perfectly fine. I do it pretty often.

-Bill
even if I don't make comments, I always read this page!
great work.

Torn curtain has great parts to it, but it always seemed a bit "lite" from the Hitchcock corp. still, any Hitchcock is better than no Hitchcock.

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post #1372 of 1373 Old Yesterday, 07:59 PM - Thread Starter
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The Big Sleep (1946), directed by Howard Hawks.

Weary of waiting for a Blu-ray (of which I have heard no rumors) I hope that my rewatching the ancient flipper DVD will move the Warner gods to produce an edition as fine as their Casablanca disc.

Because this is one of my essential, must-have titles.

There are two scenes where Bogart is driving at night and Bacall just leans back and watches him, thinking her mysterious thoughts. I think these are among the sexiest moments in classic cinema. I don't know why, unless it is that famous sideways look she uses to cloud men's minds:



You see complaints that the plot is incomprehensible, and that even author Raymond Chandler confessed he couldn't figure out who killed one character. He may have meant it, or he may have been joking or drunk. Everything is explained in the book, and although the movie is altered from the text, it does makes sense, although perhaps only if you already know what is going on.

You have to mentally introduce the pornographic bookstore, recognize the gay characters, and imagine kid sister Carmen naked in Marlowe's bed. The movie amps up Marlowe as a ladies man, and really turns up the romance with Vivian.

Chandler did apologize for the plot complexity, and for the high body count. It was his first novel, pasted together from earlier short stories. In all the books, I remember Marlowe killing only one man: Canino.

It helps to see the movie split almost evenly into two halves, each with its own mystery:

  • How many people have to die for the blackmail racket being run from the pornographic bookstore? (Carmen modeled for the owner in exchange for drugs).
  • What happened to Sean Regan? (Carmen again; she's a psycho).

Misc notes:

  • Philip Marlowe and Sam Spade are completely different characters, and yet Bogart is both. Isn't that amazing?
  • Martha Vickers as Carmen looks a lot like later actress Rene Russo.
  • I'm certain I heard an electric guitar at the gambling club. I'll have to pay more attention: when did they start appearing in soundtracks?
  • Bogart shot Bob Steele in another film: The Enforcer.
  • That odd performance in the bookstore: he's supposed to be gay.
  • Chandler described the porn in the bookstore as "indescribable filth". Ordinary hard-core stuff by today's standards, I suppose.

Max Steiner score.



-Bill
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post #1373 of 1373 Old Yesterday, 08:26 PM
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The Big Sleep (1946), directed by Howard Hawks.

Weary of waiting for a Blu-ray (of which I have heard no rumors) I hope that my rewatching the ancient flipper DVD will move the Warner gods to produce an edition as fine as their Casablanca disc.
-Bill
Doesn't Turner still own this one?
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