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Band e part in particular , Breathless(A Bout de souffle) and Le Petit Soldat in general. However, the last two were atleast more accessible. Le Mepris was typical too but more "human". It may get better on repeated viewings (with commentary perhaps) but "Jules And Jim" - :huh:. You too, Truffaut?Quote:
Originally Posted by thilak4life
neenga paathutteengala J & J? I'd like to know what you think about the characterizations, to start with (i'm not talking from a moral standpoint at all) :)
CR,
I remember liking the film thoroughly :P. Forget the shots/style of presenting, the film was a ride. Liked the characterizations, they were played a little too 'dramatically', but thats okay. :)
CR :shock: . Breathless effect-a? I personally found J&J to be one of Truffaut's finest films. It ranks along with, if not higher than, 400 Blows and Wild Child. Characters were unusual, but that's what makes the movie special and so memorable. Scenes I liked: the one where they walk along the river bank, the one where Catherine recounts her encounters with the stranger to Jim and of course the final scene. That one was totally unexpected and shook me out of my chair. As I have said before, this one is Truffaut's masterpiece and poetry on screen :D.
PS: The plot of Hazaaron Khwaishen Aisi reminds me very much of J&J
Same same..pinch pinch :) And, we know that Pulp fiction paid homage to this film through that memorable line. But, I can also see where QT's passion for the geeky bohemenian lines comes from :D[/b]Quote:
Originally Posted by kannannn
Thilak, :exactly: QT's love for New Wave is well known. In fact, I owe my love for foreign language and art house movies to his interviews. His enthusiasm is so contagious :D.
Thilak/Kannan,
:omg: :shock: :shock: :twisted:
A few kostins:
1) I understand that a film with spineless and/or totally unpredictable and contradictory characters is not necessarily bad. However, i couldn't empathize with even a single character from that movie - Catherine(!!), Jules, Jim and even Gilberta. Are they humans? Do they react like humans? Do they have basic human qualities like anger, *jealousy*, love, hatred etc?
When the fundamental is flawed, how does it matter how the film is made or what innovations were used as far as technique is concerned?
2) OK, like i said, just because a film might portray these characters doesnt mean that the film can't be a great one.
I would like to know what was great or even good about these characterizations - Will anyone we know do the things they do? - Very unlikely (yes, its autobiographical and that's all the more sickening).
It's not that the characters are *unusual* that's my crib here. It's not funny, powerful, or anything of that sort. It's like, "what is the point??"
OTOH, say a film like ACO is about utterly despicable characters mainly but it has the viewer riveted all throughout. You may hate the characters but they are real.
3) To me, a good film would make me feel, and/or "see", and/or "think". J & J did nothing.
4) I knew the last scene was inevitable and it was only a matter of time before she did it.
Well, like the cliche goes, we should agree to disagree or disagree to agree or whatever :)
Yes, HKA - 2 guys and a girl but then, KK and SA aren't "close" friends like J & J, are they? Moreover, HKA had real human beings as characters :razz:
[Sudhir Mishra-ve J&J padatha potrinaalum kutram kutrame! :) ]
I think the characters don't need our empathy. That's just the way they are. Both Jules and Jim find in Catherine the woman they were looking for, the 'perfect pair'. But Catherine is not someone who would be bogged down by 'love' as we know the term. She is free spirited, choosing to live life the way she wants - which incidentally is fine by both Jules and Jim. So there is no question of jealousy or hatred, though it is the unconditional love for Catherine that dooms both J&J.Quote:
Originally Posted by crajkumar_be
Sickening? Wow, that's a strong word for the kind of movies we watch :lol: . I thought we have come beyond that characterisation. ACO was more surrealistic. J&J is a simple story of two men's obsession with something that yearns to be free. Does that obsession have to be exclusive? IOW, does love itself have to be exclusive? What stops someone from loving more than one person? And what stops someone from sharing his object of affection with others? J&J is an attempt to answer these questions.Quote:
Originally Posted by crajkumar_be
Agreed :lol:Quote:
Originally Posted by crajkumar_be
As for HKA, I think neither KK nor SA is really possesive. Theirs is as complicated a relationship as J&J have with Catherine :D.
Kannannn, CR
It's a long time since I watched this film. But, I almost relived it, looking back in a sort of introspective way as I read both your posts. Now I should watch it again :D
But, CR, I don't think new wave is all about 'neo-realism'. The unconventional characters dwelling in a reflective world (of reality) is the 'central' theme. Lets take 400 blows , it's the film which is claimed to be the most realistic of Truffaut films. It is, no doubt, but even that deals on the protagonist breaking free from 'conventionality'. New wave films also embodies the new wave itself, breaking traditions and modalities. J et J characterizations is no different. But, the beauty of NW characters is, they are not mere stereotypes. Same holds good for Kubrick's protagonists, Herzog's, etc having their own unique patterns, although the way it works, is different!
And NW films, I could connect to the what the 'character' is going through, I like the way it doesn't throw it out at our face. But, it's still effective. However, it looks like, it didn't work for you.
BTW I had already said, let's forget the way the film is presented, didn't I! :?
Have anyone watched "The Prestige" ?..
i was glued to seat watching how magicians struggled to maintain their prestige those days...very nice movie...
"Empathy" was not the right word. My bad English :oops:Quote:
Originally Posted by kannannn
It's the way they are (or portrayed to be) which is the problem. Even Sithan's character in Pithamagan can be justified saying "that's the way he is" :huh:
The point is, who would be the way he is?
Catherine is a manipulative unstable and extremely contradictory character. If a character in a film is not realistic, he/she should be funny, interesting or powerful in some sort of a way (like ACWO). Catherine was just plain irritating IMO.Quote:
Originally Posted by kannannn
Unconditional *love*?? LOVE? idha love nu sonna appo love-a enna solradhu? Don't get me wrong, i'm not rattling off some Murali type sermon here :) The problem is, this whole triangle or rectangle is a bunch of spineless men taking all the crap that's sent their way by Catherine. It's difficult to decide who is more irritating - Jim, Jules or Catherine?
No. Jim does, infact mention that he is jealous when he sits in the rocking chair while Catherine is trying to "seduce" Jules upstairs. I think the narrator also mentions about their jealousy.Quote:
Originally Posted by Kannannn
A porn orgy would have been more realistic, and effective. It would have been a better attempt instead of a typical French poetic excuse like this, IMO :)Quote:
Originally Posted by Kannannn
:shock: :omg:
Fast Food Nation - Yet another parallel-plots film, though it makes sense in this film.
The film is slow but raises a few important questions. Worth a watch, not because its a great film but atleast for the questions.
P.S: I didn't understand the college kids complaining about the way "the cows are treated" (unless they are vegetarians).
Rush Hour 3 :thumbsup:
If your looking for 2 hours of non stop comedy and entertainment then go for it :wink:
Rush Hour is a sentimental comedy film for me...first great memories with friends at the theatre for the RH 1&2... :)...Quote:
Originally Posted by manmadan
gotta watch the 3rd...!
Bourne Ultimatum - Best so called "blockbuster" movie released this summer.
Didn't think the first two Bourne movies were that great, but this one kicks ass (literally!). Mind blowing action plus a worthwhile storyline. Most, if not all the action sequences were done without the use of CGI, but they are still very very impressive!
Defo worth a watch. I give it 5/5 :2thumbsup:
Also saw Rush Hour 3. Personally thought it was a waste of time. RH 1 & 2 were funny(ish), but this one just dragged on. Same jokes, same action. I think Jackie Chan and Chris Tucker themselves are getting bored of doing these films. The "chemistry" they had in the first two films was lacking in this one. I think I read somewhere they were thinking of simulataeously shooting RH 4 with this movie! Good thing they didn't!!!
We Own the Night...:thumbsup:...good...
Knocked Up
another movie from the fratt pack camp. Its good though i donno what all the hype was about.
Noir weekend
Le Doulos (The Finger Man): A thief on his first job after coming out of jail is set up by his friend, and what follows is a roller-coaster ride of intrigue, double-cross and misplaced loyalties. Melville constructs his characters like only he can, confusing the viewer into taking sides before realising too late that they were done in.
Le Samourai (The Samurai): A paid assasin is seen leaving the scene of crime and with the police hot on his trail, he must find who his contractors were to extract revenge and possibly find time carry out one last assignment. This is without doubt THE BEST 'contract killer' movie I have ever seen. It was a pleasure to watch Melville unfold the plot at his own, leisure pace with great BGM to boot.
L'Armée des Ombres (Army of the Shadows): Not exactly a noir. The movie follows the hopeless efforts of a French resistance group during World War II to overturn Nazi rule and in the process desribes in stark detail their struggles to come to terms with betrayal, revenge and above all, commitment to their cause. Easily one of the best WWII movies I have ever seen and Melville's finest.
I had only seen (and liked immensely) Melville's Le Cercle Rouge before, but hadn't expected such consistency in his works. I am in awe of the man :notworthy: :notworthy:
Same here - i've seen only LCRQuote:
Originally Posted by kannannn
Thanks for the recommendation :thumbsup:
I'm addicted to this film, the way it's made, and the way it unfolds. Deadpan protagonist has never been as apt! :lol:Quote:
Originally Posted by kannannn
Yes, and the way he remains cool even with a gun thrust on his face..
"Nothing to say? "
"Not with a gun on me. "
"Is that a principle?"
"A habit."
And towards the end when he goes on his final assignment..
"Why Jeff?"
"I've been paid to."
Melville is both expressive and illustrative in his visual narrative, the mise en scène is utilized to the T. It's a feminist film in my estimation, especially the key here is to juxtapose Jane and Valerie, and study Jeff's motives, & the deceits from the other men, and it fits my claims. The general mood of the film is in line with the character's, in turn a Samurai or a Ronin's bushido (married to the noir elements, making it all the more special.)
P.S: The slow death of cagebird gave it away though, not to say the symbolism is impertinent.
That is a compelling argument :D. A common feature of Melville's movies, as far as I have noted, is the strong female characters. The defining moment of the film is, according to me, the scene where Valerie decides not to pick up the phone, instead choosing to move over to the Boss' side of the house, thereby pushing Jeff to become passive to an extent. I think the statement he makes to Valerie in the end is much more than what Wiki says - it is as if Jeff wants Valerie to see the implications of her refusal to help him.Quote:
Originally Posted by thilak4life
The starting scene (with the caged bird) pretty much sets the mood for the film, with the noir element accentuating the feel of solitude. It is perhaps this solitude that forces Jeff to choose his path later on.Quote:
Originally Posted by thilak4life
Another common characteristic I noted in Melville's movies: The background music is mostly in live form - it is either the piano being played in a club house or a radio that has just been turned on. In fact, I didn't expect Valerie's character to have any significance, dismissing it as just another Melville trade mark. I was pleasantly surprised when her character turned pivotal :D.
:exactly: I also thought the water bottles in the apartment, the hats, coats, cars, keys, etc symbolizing the consumerist bourgeoisie, further resonated by the redundant life of Le Samourai. The confined apartment life. Furthermore, the bird's sound is repetitive and best resembles the monotony.Quote:
The starting scene (with the caged bird) pretty much sets the mood for the film, with the noir element accentuating the feel of solitude. It is perhaps this solitude that forces Jeff to choose his path later on.
On Valerie, I read a review with an interesting take,
As a myth, on the other hand, Le Samourai is a variation on the theme of Orpheus being called to the underworld. If, in Orphée, it was the otherworldly Princess who becomes susceptible to human feelings and returns Orpheus's love, here it is the icy, solitary Jeff whose feelings are awakened and who, thus shorn of his strength, deliberately accepts death and destiny. And just to underline the parallel with Orphée, the Princess is a white woman dressed in black, while Valérie is a black woman dressed in white.
The ronin in Jef (the cold ruthless hardwilled warrior) is actually vulnerable, and it's the woman who finally wins him over. Valerie (translates to valorous ) is ultimately the pivotal.
Very interesting review there. Thanks Thilak :D. As I was reading the review, I couldn't help but notice the contrast in 'Le Samourai' and 'Le Cercle Rouge'. While the former heavily plays on the softer side of Jeff (vulnerable, as you have observed), the latter is stripped down of any such emotions. It is a purely masculine movie (I am sure CR would agree :D) with just hints of how our hero (?!), again immaculately played by Alain Delon, comes to realise the true betraying nature of his lover. In fact, the female character speaks all of one line in the whole movie. In 'Le Samourai', he deliberately lets himself to be led by Valerie. OTOH, in 'Le Cercle Rouge', he chooses his path as a means of getting back - and being defiant- at his previous love. Hmm.. maybe I should revisit 'Le Cercle Rouge' to look back at the finer points.Quote:
Originally Posted by thilak4life
Kannannn, I thought LCR was a lighter film, but as you said, there must be finer points. That's an exciting juxtaposition with Le Samourai.
BTW, the opening quotes with a revolving laughing budda!
"Siddhartha Gautama, the Buddha, drew a circle with a piece of red chalk and said: 'When men, even unknowingly, are to meet one day, whatever may befall each, whatever the diverging paths, on the said day, they will inevitably come together in the red circle.'"
Wiki says that Buddha said no such thing, and Melville made it up, just like the budisho epitaph in Le Samourai (There is no solitude greater than the samurai's, unless perhaps it be that of a tiger in the jungle.)
Check this out,
Looking forward to this film
Continuing with Noir, my latest is 'Rififi' (Boy, am I enjoying the Holidays!!). A demoralised and physically weak ex-convict is trying to turn clean when his associates coax him into leading them on one last job - to burgle the most famous jewellery shop in Paris. All goes well until one small mistake leads them into direct confrontation with one of Paris' most dangerous underworld gang. The film is most famous for its 30 minute, tersely silent heist scene, but that was not what engaged me. The screenplay, the dialogues, the portrayal of inner turmoil of the characters were so mesmerising that I found myself contemplating its near perfection much after it ended. The DVD comes with a 4 page booklet that details the fine points of the movie and provides an interesting account of its production history. Buy one and you won't regret it!!
I enjoyed it, but for the lady's song - that was sitting in a hot stove! Except that you could read the characters (I suggest muting that piece and read the subtitles)!
:lol: I actually liked the song, especially the way she goes, 'R..i..f..i..f..i..', and explaining what it meant (I didn't know what it meant too).Quote:
Originally Posted by thilak4life
A few snippets from the booklet
1. Dassin was a communist suffering the consequences of the McCarthy commision and was blacklisted by Hollywood. He apparently hated the novel, but since his family was broke he found himself saying 'yes'.
2. The author of the book came to Dassin after reading the screenplay and placing a gun on the table demanded, 'where is my book?'. :lol:
3. There were two versions of the heist scene: one with BGM and the other without. When shown the muted version, the composer agreed that the score he wrote should be removed.
Really interesting to know all that, Kannannn! Thanks!
The Golden Compass is reallly goood!
its the book northern lights made nito a movie...but i must say the movie is a very dumbed down version of the book and the endings slightly wrong
but its a good movie! :D
Following - One of the lesser known movies of nolan! but fantastic :)
Yeh following is a terrific movie. You don't know what you are following until the climax. And the climax is just out of the world :PQuote:
Originally Posted by Sid_316
Actually I never expected such climax, I thought it would be another Split personality :oops:Quote:
Originally Posted by Nerd
I am Legand :thumbsup: very good movie.
Definatley worth a watch.
Quote:
Originally Posted by Nerd
Yeah, i agree too...the movie is a good watch...
I haven't watched his "Batman Begins" yet...any reviews on that movie... :?:
watched 'Juno'....:thumbsup:...a very funny, down-to-earth comedy that had an awesome actress!...she was straight-forward and real...
the best part of the movie is the soundtrack...wow...one of the coolest soundtrack in a loooong time....songs are very very cool! 8-)....