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Joined on: Apr 29, 2024 5:15:58 GMT -5
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Post by Deleted on May 31, 2015 7:34:35 GMT -5
Miami Blues; very nice choice Parch...I haven't seen it in a while, but from what I remember a very cool performance from Baldwin...
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Post by Parchandri on May 31, 2015 16:17:57 GMT -5
Nice thread! I do Media Studies, just finished my first assessment for this term got a grade C Love reading these! Last film I saw was yesterday, I re-watched Scream 2 Awesome! I study communication, and I've had several classes tied to the media. It's fascinating.
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Post by Himmy! on Jun 1, 2015 13:40:37 GMT -5
Enjoying these Parch, keep it up.
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Post by Parchandri on Jun 6, 2015 22:57:04 GMT -5
There aren’t enough adjectives to qualify the work of Orson Welles and his impact on the film industry—and radio and theater for that matter. His first feature film, Citizen Kane, is etched, seemingly by default, into every film enthusiast’s list of all-time greatest movies. That’s not a bad first attempt in the director’s chair. After Citizen Kane, Orson Welles wouldn’t go on to be a one-and-done phenomenon, such as actor-turned-director Charles Laughton with his brilliant and unsettling film, Night of the Hunter. Orson Welles, rather, would go on to direct over 40 projects while acting in over 100 films and television shows. Whether starring in his own features, lending his voice for someone else’s work, or everything in between, he was an omnipresent, inspiring force in Hollywood for roughly four decades. But one shortcoming of being such a prolific filmmaker is that some of his or her works can be overlooked or forgotten, especially when the filmmaker’s first feature lands the hallmark of greatest film ever made. Admittedly, I haven’t seen a lot of Welles’s work, whether in front of or behind the camera, because of how captivating his most iconic efforts (Citizen Kane, Touch of Evil, The Third Man) are. Well, after having The Lady from Shanghai, this week’s recommendation, nested in my to-watch list for several years, I finally have it notched under my viewing belt. The prestigious Orson Welles directed, wrote, and starred in The Lady from Shanghai. He plays an Irish seaman, Michael O’Hara, with a distinctive, thick brogue. In the beginning of the film, O’Hara meets a beautiful femme fatale, Elsa Bannister (Rita Hayworth), who O’Hara promptly rescues from three ruffians and becomes infatuated with. Elsa tells her rescuer that she is married to Arthur Bannister (Everett Sloane), infamous criminal defense attorney, who just happens to be looking for a seaman to work aboard his yacht. O’Hara, motivated by his fondness for Elsa, accepts the job invitation. Later, George Grisby (Glenn Anders), Mr. Bannister’s partner, joins the three on their aquatic outing. Soon after, Grisby proposes a plan to O’Hara to help fake Grisby’s murder, leaving O’Hara $5,000 richer and Grisby absolved of his unhappy marriage. Intending to use the money to run away with Elsa, O’Hara agrees. The rest of the story plays out in an unpredictable bout of twists, turns, and whodunits The Lady from Shanghai is one of many showcases displaying Welles’s versatility as an actor, as well as his virtues behind the camera and pen. Like in all of his roles, Welles completely embodies his character, a transformation that skirts the brink of complete metamorphosis. And these merits aren’t just because of his ability, for example, to emulate an Irish accent as he does in The Lady from Shanghai, but they’re in the way he carries himself, the mannerism he develops, and all the deliberate nuances he employs for each role. For me, the most indelible aspect of Shanghai, and I’m not sure if intended or not, is the way the film plays out in a dream-like, almost nightmarish state. O’Hara is the only bit of binding normalcy the film has with its audience. Nearly every character is psychologically amiss, while others are downright bizarre. It gives the audience a sense of inescapable foreboding that lingers the entirety of the film. A foreboding that ends in an unforgettable reflective crescendo that was way ahead of its time. The Lady from Shanghai from a narrative standpoint is captivating. From a technical standpoint it’s a feat. The film is a crest in a wave with few troughs.
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Post by Parchandri on Jun 12, 2015 23:32:31 GMT -5
A few months ago I cancelled my Hulu subscription, not the first time and certainly not the last. Hulu is like a pesky neighbor. You hate him. You try to forget he’s there. But you can’t help envying his swimming pool and top-of-the-line BBQ leering at you from the other side of the fence. Hulu’s Criterion film collection is that alluring pool and BBQ that forces me to grit my teeth while enjoying the amenities. So, for the moment, I am enjoying my otherwise contentious relationship with Hulu, especially after watching Spoorloos, or The Vanishing as it’s known in English
The film is about Dutch couple Rex Hofman (Gene Bervoets) and Saskia Wagter (Johanna ter Steege) who at the beginning of the film are traveling to France for a vacation. After stopping at a gas station, Saskia vanishes without a trace—fittingly, the Dutch word spoorloos translates to “traceless.” The film partitions into two distinct but similar narratives. One we follow Rex and his obsession with discovering what happened to Saskia, even three years after her disappearance. The other portion of the film follows Raymond, the film’s sociopathic killer who is played to disturbing perfection by Bernard-Pierre Donnadieu, and his dealings with his own much more unsettling obsessions. As you can imagine, the two are predestined to meet (predestination being one of the interesting sub-themes of the film). What then plays out is an unpredictable, unlikely, and troubling series of scenes.
The Vanishing is an unnerving film brilliantly told through a disjointed narrative and flashbacks that forces a deep descent into the mind of psychopath. This film is like nothing you’ve ever seen—unless of course, being a 27-year-old movie, you’ve already seen it or its remake.
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Joined on: Apr 29, 2024 5:15:58 GMT -5
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Post by Deleted on Jun 13, 2015 7:20:59 GMT -5
wasnt that remake with Sandra Bullock and Kiefer Sutherland Parch? Bridges as the bad guy? Or am I thinking of that movie with Kurt Russell and Kathleen Quinlan......Breakdown was it?
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