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4.235.144.89
For many years, its brilliance was unappreciated... by me.
Actually, I agreed with the critical comments made by the character (dirrector's assistant?) within the film itself. But, slowly, as I became familiar with the scenes, their interaction, the story of the director's life became clearer--- this autobiography must rank with the greatest.
It's as if I previously had looked into the sun and now, knowing to look to the side, I finally beheld the true radiance.
I know I'm babbling but it's impossible to say anything original about this masterwork. I will, anyway: the cinematography is as "new" today as it was decades ago.
Mastroianni gives an understated performance, eschewing all of his screen persona.
With "La Dolce Vita," I don't know of an equal one-two in any director's portfolio, unless it's Welles...
Follow Ups:
I love the opening dream sequence, and certain elements are really striking: The late-night "dance" down the hotel corridor, for instance, or the brightly sunlit spa with Wagner blaring overhead. But other portions, including the movie-production-as-circus scenes seem kind of forced in order to bring the movie to a close.My opinion might change somewhat with repeated viewings however! It wouldn't be the first time that a gem revealed itself to me only after the 3rd or 4th viewing: I found Jacques Tati's Hulot movies and Jour De Fete cute but kind of boring at first, but now they're among my favorites. The very lack of a central plot made them kind of frustrating at first, but after awhile, you enjoy the things for the experience rather than any simple story.
And for me too! I saw it when it came out and did not like it very much. So it will be time, to, like you, have a second viewing.
Coppola's Godfather 1 and 2 as up there with the greatest 1-2 punches, along with Citizen Kane/Magnificent Ambersons and Dr. Strangelove/2001. For that matter Kubrick's entire oeuvre would be a 1-2-3-4 etc. knockout.
novel which form their basis, strive to be... deeeeeep.
"This is a microcosm of America!"
Not.
These are thugs with no redeeming virtues who the director attempts to make noble by placing in dangerous circumstances. Yes, a brilliant and clever job of manipulation. Notice how in that early scene Luca is strangled so cowardly? Well, he did the same to many others. We should feel he deserves his fate. Yet, from the earlier scene showing such a hulk being boyishly shy, we are all but compelled to feel a certain... affection.
Great films, like all great art, must be more than the surface... they must be more than the sum of their parts.
Read Puzo's novel. It is better than the films. Is it a great novel?
I have to more or less disagree with both of you as to the 'best films' of all time from a historical standpoint, but no offense is intended. We are discussing subjective impressions, so there is no right or wrong.The greatest films on my silent cinema list include at least one that is arguably euro-mustard fare as well, but old grey poupon gains something from being more universal in an unrelenting use of the silent medium to great effect:
From Europe:
The Passion of Joan of Arc (Carl Theodore Dreyer); very potent mustard
Pandora's Box (E. A. Dupont)
Metropolis (Fritz Lang)
Spies (Fritz Lang), but only the restored version
Faust (F. W. Murnau), the restored domestic version (European release)
Napoleon (Abel Gance) Note: This version doesn't star Victor, but it has been sliced and diced by Francis Ford Coppola so that he could give his old man's music score acclaim. The original as restored by Kevin Brownlow is supposedly VERY close to the original with a beautiful orchestral score, but we may never get the opportunity to see it because of the Coppola clan's defensive meddling.In the U.S.:
Sunrise (F. W. Murnau)
The Gold Rush (Charles Chaplin); arguably City Lights is better
Greed (Erich Von Stroheim); unfortunately we're left with only the Cliff-Notes version of this masterpiece, but oh, what a film!Sound era films in the U.S. are somewhat sketchier in my estimation because they were heavily restricted as to content by code between mid-1934 and the mid-1960's when a rating system was devised, but even with the Hayes code in place several films stand out:
Citizen Kane (Orson Welles), which you mentioned
Casablanca (Michael Curtiz)
The Day the Earth Stood Still (Robert Wise) okay, this is a guilty pleasure, but it's also a great film that I doubt would feature prominently on anyone else's 'best films' list even with it's use of SF themes to debunk the prevalent anti-communist paranoia of the periodFrom Europe in this period:
Beauty and The Beast (Cocteau)
The Seventh Seal (Bergman), not one of my personal favorites; it's literally reeks of GP, but a classic of the genre none the less.With the code (english language releases):
The Wild Bunch (Sam Peckinpah)
Brazil (Terry Gilliam)
Godfather (Coppola), begrudgingly; I usually don't like Coppola's work
A Clockwork Orange (Kubrick)
Lord of The Rings trilogy (Peter Jackson)This is far from a complete list, but these selections for 'best films' are personal preferences; of course, YMMV.
AuPh
business wife can help you count that high? ;-)
Now, more seriously, "Pandora's Box." Pabst is the director, and a blue-ribbon one at that.
You're list is fine, I agree, until you get to modern film. "Brazil?" "The Wild Bunch?" "LoTR?"
Shirley, you jest.
Yes, Brazil, The Wild Bunch and Lord of The Rings are some of the best films ever made, although I must admit that my decision to add LoTR was intended more as a burr under Victor's saddle than a curiosity for you. Nevertheless, I think that this is a classic series of films and they'll stand the test of time. Note: Brazil is a dark dystopian masterpiece that stands as unique and brilliant an achievement as Kubrick's Clockwork Orange, IMO, and The Wild Bunch is Sam Peckinpah's epic vision of the disappearing American west (And the decline of those western values as seen through the eyes of those who couldn't adapt to the changing world around them). The Wild Bunch is a classic; it may not be on your best of list, but it is mine! In fact, I took a college level course on this film within a few years of it's release; it would behoove you to revisit it.BTW, my wife's name isn't Shirley, although she surely can be calculating when it comes to choosing films to watch. ;^)
Check out all the films on my list if you haven't seen them; you may not agree with those choices for your 'best of' list, but I doubt you'll deny that any of these entries provide a rich film experience.
Cheers,
AuPh
LOL!
.
Do you have the answer or are you part of the problem?
My favorite Fellini is a toss up between "8 1/2" and "La Strada" --- obviously for different reasons.You're right about the payoff from multiple viewings. It seems the little intricate details start to stand out once you're familiar with the overall story. I've watched the opening sequence countless times, and I seem to see something new each viewing, even in the first few minutes...
Hmmm, interesting, but a genuinely scary thought. How much? Are the bribes in gold or lire? ;^)AuPh
;^)
That's what watching the LoTR crap will do to your remaining brain cells.tin is right about the movie.
all of them reduce art to its "simple" essence, late Fellini is extraordinarily complex, using similar techniques to tell his story in novel ways, more like... Kandinsky. I'd say Stravinsky is the closest musical equivalent to those two. Diane Arbus may be the photographic member of this club.
I listened to "The Rite of Spring" the day after I saw "8 1/2" and they seemed so artistically similar, so truly revolutionary.
(BTW, did you find the link to Lilya 4-ever?)
There is always that combination of a very serious and a smile in Fellini's films, just like in Miro's paintings. You know I don't like Rothko...Yes, saw the link, thank you!
Tarkovsky. He takes a different mindset.
Stare at a painting of his and colors blend, disappear, reappear, and distort. It's kind of like a meditation. Art distilled to its core, color and form. No easy appeal to pre-formed emotions, i.e. a depiction of Madonna. No attempt to seduce the viewer with humor or cleverness, as the three aforementioned.
Unlike a lot of artists' works, Rothko's must really be seen in the original format. I never appreciated Warhol until I saw a collection of his works. The brilliant colors and perfection of the applications worked magic.
But in your case I'd recommend slathering the mustard on Elba toast. ;^)> > > "That's what watching the LoTR crap will do to your remaining brain cells." < < <
BTW, my impression of 8 1/2, while sarcastic, isn't lame and is indeed a genuine reflection of my thoughts on this film. My brain cells are just fine scabbard polisher, how about your's?
> > > "tin is right about the movie." < < <
There is no right or wrong, just informed opinions; everyone's mileage varies.
AuPh
... cut the mustard.
as
Sorry, that WWII vintage zinger may be a little obtuse for you, but rest assured, it fits better than OJ's glove here. So, unless you can come up with a more righteous riposte, and I have my doubts, that's game, set and match. ;^)Cheers,
AuPh
as
With what's at steak my condiments should be A-1 saucy; that's the rub, you baster. Oil vey, I guess I'll have to give you points for being a pesto since you caught me off guard and meant no mayonaisse by it.Salsa la Vista, baby.
AuPh :o)
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