Author Topic: Scorsese, Leone, and Kubrick  (Read 6354 times)

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Solo

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Re: Scorsese, Leone, and Kubrick
« Reply #60 on: February 15, 2007, 10:32:55 AM »
i could barely believe the dude wasn't really mexican.  when i found out it completely blew my mind.
what do you think of the extended cut?
it's probably the one director's cut i've seen where i'll take all i can get, content-wise.  i can't get enough tortured eastwood with cracked lips being drug through the desert

I actually prefer the US cut, SIMPLY because Eastwood's and Wallach's (and the Van Cleef wannabe) voices in the reinserted scenes really kill the continuity (especially Wallach, who sounds incredibly frail), and because I really dont feel the 18 minutes or so that was trimmed was important stuff. And that is what breaks my heart. I mean, here you have TGTBATU, my all time favorite film, and yet I cant watch it the way I want to. I can pop in my older MGM disc, and watch the cut I prefer, but with lousy A/V presentation. Or I can pop in the SE, and watch (what I see as) an inferior cut, but with an incredible restoration job done on the transfer. Why couldnt they have given us the option of watching either cut? :(

Also, I always thought, especially for 1966, that the makeup effects in the movie, especially on Clint's sunburnt face, were totally awesome.

Phoenix Dark

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Re: Scorsese, Leone, and Kubrick
« Reply #61 on: February 15, 2007, 10:41:15 AM »
I also must buck the trend and say I LOVE the Civil War scenes in TGTBATU, and dont think they feel out of place at all. Hell, the films tagline was "For three men the Civil wasn't hell. It was practice!". Besides, if we didnt have the civil war scenes, then we wouldnt have the other great scenes where Angel Eyes is having his thug beat information out of Tuco in the war camp.

By the way, Eli Wallach really did the stunt where he laid across the traintracks to cut his handcuffs. He was alsmot decapitated doing it. That was one of several times he almost died during production.

I agree. Although it might be as great as other parts of the movie, it includes some amazing scenes. Tuco getting the shit beat out of him is great, as is that first scene where Eastwood and Tuco meet the army and realize they're not confederate :lol

Or the prison scene with that music :hyper
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Solo

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Re: Scorsese, Leone, and Kubrick
« Reply #62 on: February 15, 2007, 10:45:11 AM »
Yup. Not only is it my favorite movie ever, it has my favorite score ever. Morricone is just incredible. The main theme, the prison camp song, The Ecstasy of Gold (Tuco running through the cemetary), and The Trio (the final shootout) are all just incredible pieces of music. Hell, the main theme still pops up all the time today. They play it several times a year during NFL telecasts!

Phoenix Dark

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Re: Scorsese, Leone, and Kubrick
« Reply #63 on: February 15, 2007, 12:26:17 PM »
The Departed (Scorsese, 2006)

In the last 6 months I've done a lot of catching up with respect to watching movies I should have seen earlier. While many lived up to the hype created by more hardcore film buffs - such as Brazil and Die Hard - others didn't, and instead rubbed me as either just good (Heat) or simply ok (Reservoir Dogs, Blade Runner). Like many of the movies mentioned earlier, The Departed was introduced to my consciousness with an interesting trailer and lots of hype. I must say I was somewhat skeptical going into the movie, but after watching it I can truly say this is not only one of the best crime movies I've ever seen, it's also one of the best movies I've ever seen.

When I watch movies I look for two things: great acting and great writing. The Departed not only does both of these things very well, it knocks them out the park. Leonardo DiCaprio and Matt Damon give wonderful preformances as undercover "rats" - the former as an undercover cop and the other as an undercover mob informant. Both are seperated by more than just career desisions; on one hand DiCaprio's character Cortigan is the blacksheep in a family knee deep in crooks, while Damon's character Sullivan is the product of a stable, calculated good life. Yet despite their contradictary differences they are brought together by a central, powerful similarity: Frank Costello. Nicholson's portrayal of the mob boss is brilliantly chilling. A true force of power, Costello is the main man involved in a plan to bring down the Boston mob.

The preformances of all three are simply magnificant. DiCaprio especially shines and effortlessly portrays a fragile, scared man who simply wants to do the right thing, yet is afraid that doing it could lose him his life. Throughout the movie he effortless shows a wide range of emotions, from anger to manic fear to vulnerability. Although I haven't seen the other movies featuring best actor nominees for the oscar, it's hard to imagine anyone giving a preformance more real and stunning as DiCaprio's. Likewise Nicholson's preformance is also stunningly real and effortless; it's hard for me to understand why he wasn't nominated for best supporting actor. Alec Baldwin and Martin Sheen also give standout preformances which serve to further balance the movie.

The script is simply amazing in nearly every aspect and really compliments the great acting. Yet the force which brings it to life the most is Scorsese, who masterfully orchastrates this tour de force. It's amazing how he's able to use short scenes to flesh out each character without anything seeming rushed or looked over. The opening of the movie is simply brilliant, and truly sets the view up for the next two hours. It's as if he gives you a slight tease of what's to come before finally pulling up the curtain and revealing his magic trick. Yet once he does show his hand it's impossible to look away; the story simply draws you in and never lets go. Even the more emotional scenes that seem to drag other crime dramas down are handled with a superior level of intensity.

Everything comes together perfectly and leads right to the shocking climax and ending, as DiCaprio and Damon finally meet, the story in the balance. I was left impressed over and over again by the movie.

If I have any complaints it would have to do with the rather forced, gratuitous profanity towards the beginning of the movie and well as a few puzzling plot holes. Yet these are minor flaws when compared to just how much the movie gets right. I simply cannot express how much I was impressed by this movie - it's a balanced, perfectly acted blueprint of how to make a compelling crime movie.

9.5/10
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Solo

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Re: Scorsese, Leone, and Kubrick
« Reply #64 on: February 15, 2007, 12:29:59 PM »
Did
spoiler (click to show/hide)
Leo's
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death make you just about crap your pants with surprise, PD? Ive seen IA, knew it was coming, and yet I swear I still jumped in my seat in the theatres.

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Re: Scorsese, Leone, and Kubrick
« Reply #65 on: February 15, 2007, 12:32:57 PM »
spoiler (click to show/hide)
Leo's death was so fucking well done, its unbelievable. One second he's standing there, victorious, the next blood splatters the back of the elevator and he's down, a bullet in his head. Perhaps my favorite death scene in any Scorsese film, ever.
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Phoenix Dark

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Re: Scorsese, Leone, and Kubrick
« Reply #66 on: February 15, 2007, 12:34:35 PM »
Did
spoiler (click to show/hide)
Leo's
[close]
death make you just about crap your pants with surprise, PD? Ive seen IA, knew it was coming, and yet I swear I still jumped in my seat in the theatres.

Sadly that was spoiled for me by am nintenho a month ago; but it still was a bit of a shock at how casual it happened. God dammit. But I was definitely shocked by the deaths of

spoiler (click to show/hide)
Sheen and Damon's characters, especially the GRAPHIC nature of Sheen's demise
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I definitlely didn't see that coming.
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Solo

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Re: Scorsese, Leone, and Kubrick
« Reply #67 on: February 15, 2007, 12:34:57 PM »
That was probably the most shocking/sad moment for me in a film in 2006.

spoiler (click to show/hide)
EDIT: That scene PD, with Sheen's demise, was THE best scene in the entire film for me. Leo is called on to do all the acting, without a single word. He conveys the feelings of shock, then extreme sadness (and hopelessness, as his only connection to his real life has effectively been cut off), all with his face. Then he has to quickly switch into indifference as to not make Costello's thugs suspicious. Incredible acting, and my favorite scene. I think this is why I REALLY loved Leos performance, and feel hes being robbed of Best Actor: because the performance is largely an interal one, relying more on body language and facial expressions, than on loads of dialogue and scene chewing.
[close]
« Last Edit: February 15, 2007, 01:11:19 PM by Solo »

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Re: Scorsese, Leone, and Kubrick
« Reply #68 on: February 15, 2007, 12:35:46 PM »
The am nintenho smear compaign is sickening. >:(
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Solo

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Re: Scorsese, Leone, and Kubrick
« Reply #69 on: February 15, 2007, 12:38:37 PM »
Edited my previous post for PD.

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Re: Scorsese, Leone, and Kubrick
« Reply #70 on: February 15, 2007, 12:39:57 PM »
That was probably the most shocking/sad moment for me in a film in 2006.

EDIT: That scene PD, with Sheen's demise, was THE best scene in the entire film for me. Leo is called on to do all the acting, without a single word. He conveys the feelings of shock, then extreme sadness and hopelessness, all with his face. Then he has to quickly switch into indifference as to not make Costello's thugs suspicious. Incredible acting, and my favorite scene. I think this is why I REALLY loved Leos performance, and feel hes being robbed of Best Actor: because the performance is largely an interal one, relying more on body language and facial expressions, than on loads of dialogue and scene chewing.

:bow

But, for me, nothing beats the awesome introduction scene. 11/10 if there ever was one; Nicholson's narration is so unsettling.
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Solo

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Re: Scorsese, Leone, and Kubrick
« Reply #71 on: February 15, 2007, 12:48:54 PM »
I have a problem with the intro, actually.
spoiler (click to show/hide)
Nicholson is awesome, no doubts there. My problem is that it doesnt have any relevance to the rest of the picture. I mean, the images Marty shows + Jack's VO almost set the film up as a study of racial tension/social classes, yet the film itself has none of that. So I really like it, but it feels like its part of another movie.
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« Last Edit: February 15, 2007, 12:53:42 PM by Solo »

Cheebs

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Re: Scorsese, Leone, and Kubrick
« Reply #72 on: February 15, 2007, 12:49:19 PM »
PD see Paths of Glory yet?

Robo

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Re: Scorsese, Leone, and Kubrick
« Reply #73 on: February 15, 2007, 12:52:52 PM »
Solo and Shake, spoiler tag your shit, yo.
obo

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Re: Scorsese, Leone, and Kubrick
« Reply #74 on: February 15, 2007, 01:01:47 PM »
Solo and Shake, spoiler tag your shit, yo.

Uhh, I did. ???
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Re: Scorsese, Leone, and Kubrick
« Reply #75 on: February 15, 2007, 01:02:38 PM »
I have a problem with the intro, actually.
spoiler (click to show/hide)
Nicholson is awesome, no doubts there. My problem is that it doesnt have any relevance to the rest of the picture. I mean, the images Marty shows + Jack's VO almost set the film up as a study of racial tension/social classes, yet the film itself has none of that. So I really like it, but it feels like its part of another movie.
[close]

I see it as more of a prologue to the film, introducing us to an abbreviated history of South Boston.
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Solo

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Re: Scorsese, Leone, and Kubrick
« Reply #76 on: February 15, 2007, 01:07:04 PM »
As I say, I really like it too (Gimme Shelter is perfect), and I dont feel it detracts from the movie. It just feels oddly out of place consider what comes in the next 2.5 hours. The only other thing that I thought Marty didnt use too well was Comfortably Numb. Both in the version he used (why use a shitty live cover, when the original is perfection?), and in the context he used it. Didnt seem to fit.

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Re: Scorsese, Leone, and Kubrick
« Reply #77 on: February 15, 2007, 01:08:25 PM »
As I say, I really like it too (Gimme Shelter is perfect), and I dont feel it detracts from the movie. It just feels oddly out of place consider what comes in the next 2.5 hours. The only other thing that I thought Marty didnt use too well was Comfortably Numb. Both in the version he used (why use a shitty live cover, when the original is perfection?), and in the context he used it. Didnt seem to fit.

IMO, the entire love scene was unnecessary. I would have preffered a fade out after they lock lips on the kitchen counter.
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Robo

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Re: Scorsese, Leone, and Kubrick
« Reply #78 on: February 15, 2007, 01:09:43 PM »
Solo and Shake, spoiler tag your shit, yo.

Uhh, I did. ???

I meant Solo's quote in your first post on the page.
obo

Solo

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Re: Scorsese, Leone, and Kubrick
« Reply #79 on: February 15, 2007, 01:10:35 PM »
Or that would have worked too. I think it was another excuse to get Leo's shirt off  :lol, since he seemed to be in great shape in this movie, for the first time in several years.

EDIT: robo, I will change that now.

CajoleJuice

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Re: Scorsese, Leone, and Kubrick
« Reply #80 on: February 15, 2007, 01:12:33 PM »
As I say, I really like it too (Gimme Shelter is perfect), and I dont feel it detracts from the movie. It just feels oddly out of place consider what comes in the next 2.5 hours. The only other thing that I thought Marty didnt use too well was Comfortably Numb. Both in the version he used (why use a shitty live cover, when the original is perfection?), and in the context he used it. Didnt seem to fit.

IMO, the entire love scene was unnecessary. I would have preffered a fade out after they lock lips on the kitchen counter.

I agree with Shake that the scene was unnecessary. And I agree with Solo that the version of "Comfortably Numb" that was used is terrible.
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Re: Scorsese, Leone, and Kubrick
« Reply #81 on: February 15, 2007, 01:58:54 PM »
If anything, the main fault with The Departed I have is the editing. Most of it is fantastic (Thelma <3), but there are a few times when it gets a bit... erm, sloppy. :(
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CajoleJuice

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Re: Scorsese, Leone, and Kubrick
« Reply #82 on: February 15, 2007, 02:01:22 PM »
If anything, the main fault with The Departed I have is the editing. Most of it is fantastic (Thelma <3), but there are a few times when it gets a bit... erm, sloppy. :(

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Re: Scorsese, Leone, and Kubrick
« Reply #83 on: February 15, 2007, 02:02:33 PM »
 :lol

As I said, like 90% of it is bliss. But that other 10%... :/
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Solo

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Re: Scorsese, Leone, and Kubrick
« Reply #84 on: February 15, 2007, 02:08:09 PM »
Its funny. As much is its predictable that Marty gets shafted, its always predictable that Thelma will get a nom.

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Re: Scorsese, Leone, and Kubrick
« Reply #85 on: February 15, 2007, 02:09:11 PM »
Its funny. As much is its predictable that Marty gets shafted, its always predictable that Thelma will get a nom.

Ugly bitch :punch

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