| WELCOME TO FILMIFANATICS!!!! UNREGISTERED MEMBERS: You are currently viewing this forum as a guest. This means you are only able to view a few sections. REGISTER NOW to view ALL SECTIONS and talk about the latest Bollywood movies, music, pictures, stars, and much more!! If you're already a member please log in to your account to access all of our features: |
| World Cinema; The other cinema around the world. | |
|---|---|
| Tweet Topic Started: Nov 29 2006, 05:16 PM (1,742 Views) | |
| Kenn | Nov 29 2006, 05:16 PM Post #1 |
|
Unregistered
|
Discuss and share the other movies from around the world here!! Soo many films, soo many gems of movies!! And not to forget the great actors, actresses, directors,......
|
|
|
| Ye[ll]oW | Nov 29 2006, 11:30 PM Post #2 |
![]()
I am Josey Wales!!!
|
i like Korean's the best B) |
![]() Under the weight of life, Things seem brighter on the other side... | |
![]() |
|
| Ishaqzaadi | Nov 30 2006, 10:59 AM Post #3 |
![]()
...
![]()
|
Great...I think this topic deserved to be pinned, because it isn't really a part of Hollywood Talk but most likely it's more apt here than the other forums. I've not seen many European films or anything... To be honest I never watch them as a hobby lol but I did watch quite a few during my Media A Level the past two years... Will be back here soon to discuss those! |
| "Films have been my only passion in life." - Yash Chopra. | |
![]() |
|
| imgr8 | Nov 30 2006, 12:14 PM Post #4 |
|
Kapoor Fanatic!
|
I have been watching a lot of Ghibli movies with English subtitles over the past few months I absolutely love their films Grave of the fireflies Howl's moving castle Kiki's delivery service Laputa My neighbor totoro Spirited Away Princess Mononoke Like the clouds, like the wind now I m planning to watch nausicaa I jsut love these fairytale stories
tho fireflies is really depressing
but Howl and Like the clouds are my favs. I am absolutely in the love with the concept of a Price Charming
but sadly they dont exist
|
| |
![]() |
|
| Kenn | Nov 30 2006, 03:32 PM Post #5 |
|
Unregistered
|
Of the asia cinema I used to like the Japanese and the Chinese/Hong Kong made movies. S Korea makes also good movies, some are on the realistic violent side though which I don like too much. I think you hacve seen thos Korean movies on MTV, right?
Thats great that this topic is pinned, thanks. And yes, come back to share the movies. Will do mysef also when I find the time.
Hi Pari, Yea, the Ghibli movies are great. I am just started to watch those movies. Grave of the fireflies, I still must watch. But know thats a great movie. fairy tales. Yea, they are great. |
|
|
| Chirpy_Sabz | Nov 30 2006, 03:32 PM Post #6 |
![]()
Newcomer
|
oh yes...Old Boy in particular was amazing Pari, I also really like Ghibli movies too....Grave of the fireflies, Spirited Away and Princess Mononoke were great movies. As far as European cinema goes - Amelie, The Third Man, Three Colors: Blue, Red, White, Picnic at Hanging Park, Run Lola Run, and Cache were awesome. Films made by Fellini, Godard, Sergio Leone, Melville, Bergman, Louis Malle, Fritz Lang, Truffaut, Antonioni, Renoir impressed me alot. |
| |
![]() |
|
| Ye[ll]oW | Nov 30 2006, 04:33 PM Post #7 |
![]()
I am Josey Wales!!!
|
Paradise Now - the only arabic movie i have seen and it was gr8. has anyone seen it?
no i havent seen em on MTV...i watch em on DVD's.
yes, the whole "sympathy" series is a classic B) |
![]() Under the weight of life, Things seem brighter on the other side... | |
![]() |
|
| Chirpy_Sabz | Nov 30 2006, 04:41 PM Post #8 |
![]()
Newcomer
|
I have! It won the Golden Globe earlier this year and I decided to check it out...very good movie. I have also seen Hamoun, but the dvd print was so bad - the film was difficult to enjoy
|
| |
![]() |
|
| Ye[ll]oW | Nov 30 2006, 04:50 PM Post #9 |
![]()
I am Josey Wales!!!
|
Indeed...i really luved the concept and it was executed perfectly. Hamoun - which movie is that
|
![]() Under the weight of life, Things seem brighter on the other side... | |
![]() |
|
| Chirpy_Sabz | Nov 30 2006, 05:01 PM Post #10 |
![]()
Newcomer
|
Its an Iranian film...LOL. |
| |
![]() |
|
| Ye[ll]oW | Nov 30 2006, 05:05 PM Post #11 |
![]()
I am Josey Wales!!!
|
oh...lol...then definitely not aware of it :-D |
![]() Under the weight of life, Things seem brighter on the other side... | |
![]() |
|
| Kenn | Dec 1 2006, 11:14 AM Post #12 |
|
Unregistered
|
Haven't seen it yet. It was not actually an arabic made movie. It was a co- production of Holland, France and Germany made by the Palestine dutchman Hany Abu-Assad. But the movie entered the awardshows as a Palestine made movie. That gave the extra commotion in the media and politics. |
|
|
| Ye[ll]oW | Dec 1 2006, 11:45 AM Post #13 |
![]()
I am Josey Wales!!!
|
hmm...interesting. Anywayz here is my take on.... Probably the best Revenge triology Symapathy for Mr. Vangeance: (2002) Sympathy for Mr. Vengeance opens with the narration of Ryu, a deaf man with bleached green hair who works in a smelting factory. Ryu is desperate to find a kidney transplant for his dying sister, and he assures her he will do everything in his power to save her. When his initial plans fail, however, he and his girlfriend, a leftist... with radical views, find themselves contemplating the unthinkable. All of the actors possess great talent, and are well-directed by Park (obviously). The film's cinematography is remarkable too, achieving an ordinary but utterly distinctive look. The movie is shot almost entirely in daylight, with little camera movement and almost no music. Although the momentum of the movie almost die sometimes, it still retains a great value of entertainment. If you are a fan of Chan-wook Park movies than dont miss this one but if you have a week stomach then feel free to pass it. My Ratings: ***1/2 Oldboy: (2003) The diabolically talented writer-director of Sympathy for Mr. Vengeance (2002), Chan-wook Park, has carefully plotted his counterattack, recruiting Min-shik and Ji-tae, devising a mystery plot that revolves not around the question of "whodunit" but that of "whydunit." Oldboy is not only my personal fav. korean movie but it is also considered as the finest work of Chan-woo Park. But here, the same credit goes to Min-sik Choi as he performs on the level which probably most of the actors cannot. Unlike last time, the pace is faster and the grip is more tighter. Infact, it catches the "speed of sound" in the last half hour where Min-shik faces Ji-tae and all the pieces of the puzzel comes together. In the end, even its excess and manic attitude becomes a part of OldBoy's design. Unwatchably ugly and breathtakingly beautiful, gut-wrenching and delicate, heartbreakingly emotional and coldly manipulative, mind-bogglingly entertaining and almost arrogantly artistic, OldBoy is a mass of contradictions that nonetheless unites aestheticly as a whole. It is clear that this movie had eventually claim the position of a world-class masterpiece, but one thing is certain for me: OldBoy is without doubt the most purely cinematic (both in form and content) piece of work, the truest motion picture i have ever witnessed. My Ratings: A complete 5 Sympathy for Lady Vangeance: (2005) Sympathy for Lady Vengeance is apparently the final film in director Park Chan-wook's "Revenge" trilogy that had begun with Sympathy for Mr. Vengeance (2002) and continued on to Old Boy (2003), three movies with strikingly different plotlines and characters. They are, however, united in their overarching themes: suffering, revenge and, most importantly, salvation, or its impossibility. Sympathy for Lady Vengeance, if anything, will add more dry wood to the fierce bonfire of controversy surrounding Park's status as an artist as well as the real worth of his undeniably spellbinding films. Lady Vengeance unfolds in three sections. First, we see Geum-ja being released from prison after a 13-year sentence for the cruel crime of kidnapping and murdering a pre-schooler. From a series of flashbacks, we learn that she was known as a saintly figure during her period in the female prison. Gradually, however, it is revealed that she is planning an elaborate revenge against Mr. Baek (Choi Min-sik, star of Old Boy), the orchestrator of the kidnap scheme for which she was arrested and convicted. She half-threatens, half-cajoles her former fellow inmates to help her carry out the revenge. Thus, then till the end we experience some more twisted ways of taking revenge along side learning that "In forgiving, we are forgiven. Those who commit the sin of revenge have condemned their souls." My Final Ratings: ****/5 |
![]() Under the weight of life, Things seem brighter on the other side... | |
![]() |
|
| Kenn | Dec 1 2006, 03:38 PM Post #14 |
|
Unregistered
|
Thanks for your reviews on these movies, Haris. Seems to be some intersting movies. And its asian. One of my fav region movies. :-)
Great!! You know, in fact I have this movie. Haven't seen it yet, because the interest lies at the moment with other movies. Will try to watch it soon. |
|
|
| Ye[ll]oW | Dec 3 2006, 12:06 AM Post #15 |
![]()
I am Josey Wales!!!
|
yes do watch it...but avoid ANY family while watching it. |
![]() Under the weight of life, Things seem brighter on the other side... | |
![]() |
|
| Kenn | Dec 4 2006, 06:22 PM Post #16 |
|
Unregistered
|
I just saw Old Boy. Yes, quite a remarkable movie with a twist. Great movie, it stands out from others movie because of the concept and puzzling theme of the movie. It keeps the attention througout the movie, wondering about were the serach will lead to. Although I already figured out the clue of the movie when the search got in the past I finded it a enjoyable movie till the end, and even the end was a twist in it self. Like the DVD is saying: A brutal movie as a daring movie. And that it is for sure.
|
|
|
| Ye[ll]oW | Dec 5 2006, 01:38 AM Post #17 |
![]()
I am Josey Wales!!!
|
i am glad you liked it. The last half an hour is just fantastic! although the pace gets a little slow in the first half. For me it is best "foreign movie" i have seen! B) |
![]() Under the weight of life, Things seem brighter on the other side... | |
![]() |
|
| Kenn | Dec 8 2006, 02:15 PM Post #18 |
|
Unregistered
|
Yes, the last half hour was great. But the whole movie was good. A different kind of movie. So it was interesting to watch the movie. A misty movie till you get the clue or till you reach the last half hour when it all comes clear. |
|
|
| Kenn | Dec 8 2006, 02:26 PM Post #19 |
|
Unregistered
|
![]() Hiroshima Mon Amour (1959) Directed by Alain Resnais Cast Emmanuelle Riva Eiji Okada Stella Dassas Pierre Barbaud Bernard Fresson Synopsis A cornerstone film of the French New Wave, Alain Resnais’ first feature is one of the most influential films of all time. A French actress (Emmanuelle Riva) and a Japanese architect (Eiji Okada) engage in a brief, intense affair in postwar Hiroshima, their consuming fascination impelling them to exorcise their own scarred memories of love and suffering. Utilizing an innovative flashback structure and an Academy Award-nominated® screenplay by novelist Marguerite Duras, Resnais delicately weaves past and present, personal pain and public anguish, in this moody masterwork. Time Indefinite- Kent Jones “I think that in a few years, in ten, twenty, or thirty years, we will know whether Hiroshima mon amour was the most important film since the war, the first modern film of sound cinema.” That’s Eric Rohmer, in a July 1959 round-table discussion between the members of Cahiers du Cinéma’s editorial staff, devoted to Alain Resnais’ groundbreaking first feature. Rohmer’s remark is in perfect sync with the spirit of the film, which, as he says later in the discussion, “has a very strong sense of the future, particularly the anguish of the future.” Read nearly half a century later, this “anguish of the future” describes the peculiar sensation that runs through all of Resnais’ films, before and after Hiroshima. In fact, it’s the anguish of past, present, and future: the need to understand exactly who and where we are in time, a need that goes perpetually unsatisfied. Is Rohmer’s query a useful one? Can it even be answered? Many would offer alternative candidates for the first modern film of the sound era—Citizen Kane, perhaps, or Voyage to Italy, or perhaps a dark horse like His Girl Friday or Les Dames du Bois de Boulogne. Or, for that matter, Resnais’ own Night and Fog. But it’s possible that Hiroshima mon amour is the first modern sound film in every aspect of its conception and execution—construction, rhythm, dialogue, performance style, philosophical outlook, and even musical score. Whether or not it’s the most important film since the war is another question altogether, and an oddly poignant one. Because looking for a “most important film since the war” may strike many of us today, in our spectacle-saturated world of capitalism unbound, as a quaint enterprise. Those among us who recognize “the war” as a historical benchmark, without a reminder from Hollywood or the Discovery Channel, are dwindling. In 1959, just fourteen years after the bombings of Hiroshima and Nagasaki, Rohmer and his estimable cohorts (including Jean-Luc Godard and Jacques Rivette) probably had something quite specific in mind with their quest to find a genuinely modern postwar cinema, one that would respond to the moral imperative of the moment (exemplified by Theodor Adorno’s famous banishment of lyricism after the Holocaust), and then somehow define that moment for all time. A tall order. The fact that Resnais’ unflinching film comes within hailing distance of accomplishing such an impossible task is a tribute to its greatness. Hiroshima mon amour’s status as a milestone in film history is both a blessing and a curse. It can be hard for new audiences to find their way to the actual movie, buried as it is beneath its own daunting reputation, monumental subject matter, and high cultural pedigree. Unlike Breathless, with its jump cuts and light, spontaneous feel, Hiroshima is deliberate, highly constructed, decidedly grave, and emotionally devastating. Where Godard is loose-limbed, Resnais has a spine of modernist steel. Where the Godard film feels like a free-jazz improvisation, the Resnais feels like a piece of atonal music with the weight of history on its shoulders—Ornette Coleman vs. Anton Webern. Such seriousness of purpose is now considered a high crime in most critical circles. But that’s a passing fad, and no allowances or apologies are needed for the terrible beauty wrought by Resnais and his key collaborator, the great Marguerite Duras. It’s difficult to quantify the breadth of Hiroshima’s impact. It remains one of the most influential films in the short history of the medium, first of all because it liberated moviemakers from linear construction. Without Hiroshima, many films thereafter would have been unthinkable, from I Fidanzati to The Pawnbroker to Point Blank to Petulia to Don’t Look Now (and almost every other Nicolas Roeg movie) to Out of Sight and The Limey. After he screened the answer print, Anatole Dauman, one of the film’s producers, told Resnais, “I’ve seen all this before, in Citizen Kane, a film which breaks chronology and reverses the flow of time.” To which Resnais replied, “Yes, but in my film time is shattered.” As it is, often for less dramatically compelling and sometimes more fanciful reasons, in many of the above films. But Hiroshima has also had another kind of impact, one less easy to trace. In laying out the particulars of this wholly new film and its relationship to the “nouveau roman,” Rivette made a very important point. He compared Resnais to novelist Pierre Klossowski : “For Klossowski and for Resnais,” he said, “the problem is to give the readers or the viewers the sensation that what they are going to read or see is not an author’s creation but an element of the real world.” This is, once again, a postwar aspiration, completely in keeping with Adorno’s dictum, which ran through all the arts. In cinema, there had already been many films (such as Citizen Kane) that had used reality effects to enhance the impact of their fictions. In the postwar era, beginning with neorealism, certain key filmmakers worked so that reality might maintain its integrity and declare its presence without having to blend into an artificially constructed fiction. Godard took the road staked out by Roberto Rossellini, dissolving the barriers between film time and real time, fictional space and real space, stories and documentaries. But Resnais worked in a vein more reminiscent of Sergei Eisenstein, erecting a complex, rhythmically precise fictional construction in which pieces of reality are caught and allowed to retain their essential strangeness and ominous neutrality. Resnais has always been recognized as an innovator, but the term has a hollow ring. As a morally responsible artist committed to catching pieces of unaltered reality in a carefully constructed net of fiction, he has paved the way for many filmmakers, from the Francesco Rosi of Salvatore Giuliano to the Dusan Makavejev of WR to the Scorsese of Goodfellas and Casino to the Terrence Malick of The Thin Red Line. Perhaps it’s not so surprising that Hiroshima mon amour began not as a fiction, but as a documentary. Dauman had successfully pitched the idea of a project about the bomb and its impact to Daiei Studios, and it was to be the first Japanese-French co-production. The title would be Picadon, the “flash” of the A-bomb explosion. It was only after months of reflection that Resnais settled on the idea that Picadon should be a fiction, and that the impact of Hiroshima would be refracted through the viewpoint of a foreign woman. It was Resnais who brought Duras to the project, at the end of the decade when she had achieved literary stardom with Un barrage contre le Pacifique and Moderato Cantabile. It took Duras all of two months to turn out a finished script, all the while working closely with her director. Although Resnais’ links to Eisenstein seem obvious, Griffith’s Intolerance was the film he and Duras had in their heads. “Marguerite Duras and I had this idea of working in two tenses,” he told Parisian journalist Joan Dupont in a recent interview. “The present and the past coexist, but the past shouldn’t be in flashback…. You might even imagine that everything the Emmanuelle Riva character narrated was false; there’s no proof that the story she recites really happened. On a formal level, I found that ambiguity interesting.” It’s often been said that Resnais is not an auteur in the proper sense, since the presence of his writers—Duras, Robbe-Grillet, Jorge Semprun, David Mercer, Jacques Sternberg, Jean Gruault, Jules Feiffer—is so deeply embedded in the finished products. But Resnais’ relationship with his writers is not very different from the relationship between, say, Howard Hawks and Jules Furthman. Only the sensibilities differ. “I’m always in search of special nonrealistic language that has musicality,” Resnais told Dupont, and he has gone out of his way to find writers with distinctively musical voices, many of them with little if any previous experience in movies . In a sense, Resnais could be thought of as the Pierre Boulez of cinema, a brilliant impresario with a mission to attune our eyes and ears to the sights and sounds of modernism (that would be Boulez the conductor, not the composer). But this “conductor” has always worked closely with his “composers” on shaping an object of which they are finally the co-creators. Resnais’ imagination is obviously sparked by sound, by music and words, and the music of words. The musical speech of memory that emanates from Duras’ characters sets a dominant tone against which the jagged ruptures in time and visual rhythm—sometimes like cut crystal, sometimes like rushing water—form a precise, often mysterious, always dynamic counterpoint. Is Hiroshima mon amour the story of a woman? Or is it the story of a place where a tragedy has occurred? Or of two places, housing two separate tragedies, one massive and the other private? In a sense, these questions belong to the film itself. The fact that Hiroshima continues to resist a comforting sense of definition almost fifty years after its release may help to account for Resnais’ nervousness when he set off for the shoot in Japan. He was convinced that his film was going to fall apart, but the irony is that he and Duras had never meant for it to come together in the first place. What they created, with the greatest delicacy and emotional and physical precision, was an anxious aesthetic object, as unsettled over its own identity and sense of direction as the world was unsettled over how to go about its business after the cataclysmic horror of World War II. With its narrative of an actress going to Hiroshima (to play a part in a film “about peace”) expecting to erase her tragic past, only to see her memories magnified by the greater collective memory of atomic destruction, Hiroshima never locates a fixed point toward which emotion, morality and ethics gravitate. The magnificent Emmanuelle Riva is less the “star” of the film than its primary “soloist,” to extend the musical metaphor––in comparison, Eiji Okada’s architect-lover is more of a first violin type. There is a dominant motif, which is the sense of being overpowered, ravished, taken––a French woman who wants to be overpowered by her Japanese lover (“Take me. Deform me, make me ugly”), an Asian man who is consumed by his Western lover’s beauty and unknowability, a fictional peace rally overwhelmed by its real-life antecedent, everyday reality drowned out by a flood of memories, a city devastated by nuclear force. “Hi-ro-shi-ma. That’s your name.” “That’s my name. Yes. Your name is Nevers. Ne-vers in France.” Appropriately for a film about the anxiety of irresolution, the end doesn’t tie up loose ends as much as it suggests a new and sober starting point. It’s a moment of realization that feels neither tragic nor affirmative, just crushingly exact. But there is another endpoint, a spiritual one, and it comes early—the final statement of the film’s famous and eternally alarming opening section. We are looking at shots of a rebuilt Hiroshima, a tourist attraction less than fifteen years after it had been levelled, probably filled with people like Riva’s actress, unconsciously and mistakenly expecting to see their own personal tragedies rendered insignificant in the shadow of a monumental tragedy. Resnais’ beautifully calibrated images move in sinuous counterpoint to Duras’––and Riva’s––verbal music. And we hear the actress’ sad voice carefully reciting the words that still ring true today, and probably always will: “Listen to me. I know something else. It will begin all over again. Two hundred thousand dead. Eighty thousand wounded. In nine seconds. These figures are official. It will begin all over again. It will be ten thousand degrees on the earth. Ten thousand suns, they will say. The asphalt will burn. Chaos will prevail. A whole city will be raised from the earth and fall back in ashes….” Source: http://www.criterionco.com/asp/release.asp?id=196#synopsis . ![]() . ![]() . ![]() |
|
|
| Kenn | Dec 17 2006, 05:37 PM Post #20 |
|
Unregistered
|
![]() Ieri Oggi Domani (1963) (Yesterday, Today and Tomorrow) Directed Vittorio De Sica Starring Sophia Loren Marcello Mastroianni Aldo Giuffrè Agostino Salvietti Armando Trovajoli Tina Pica Gianni Ridolfi Synopsis Each of the episodes in the three-part Yesterday, Today and Tomorrow (Ieri Oggi Domani) stars Sophia Loren and Marcello Mastroianni. In "Adelina-Naples", Loren assists husband Mastroianni in his contraband-cigarette racket. Each time the authorities close in, Loren eludes capture by revealing a swollen belly; back in 1964, Italian law forbade the arrest of a pregnant woman. In "Anna," Loren is the pampered wife of industrialist Mastroianni. So obsessed is she with material possessions that she's willing to walk out on her husband when her smashes her sports car. And in "Mara," high-priced prostitute Loren throws over her best customer Mastroianni to save the soul of a pious client. While the first episode is the funniest, it was the last episode which received the most press-coverage, thanks to Loren's "striptease" scene, revealing La Loren in skimpy bra and panties. Though the title Yesterday, Today and Tomorrow has absolutely no relation to the film at hand, it is a far more appealing cognomen than the film's British release title, She Got What She Asked For. DVD Savant Review The title Yesterday, Today and Tomorrow might be a response to the internationally popular Greek film Never On Sunday; the whole name of the game in Italian filmmaking of the time was to find the jackpot movie that would cross national boundaries and play in America. Ieri Oggi Domani was custom-fitted to appeal: It has a little comedy, a couple of sentimental scenes, and a sexy attitude. The sex needed to remain just an attitude, because the Italian censors were every bit as watchful over film content as the Americans, especially on a high-profile film such as this one. A few years later nudity and other content would be common in more exploitative Italian films, but not in 1963. The result is that all three episodes play the same tease game that American movies do. So U.S. audiences looking for something spicier than Doris Day found more or less a continental version of the same thing. The first episode is the best, even though the main joke of Sophia and Marcello as poor Neapolitans having babies to fend off a jail sentence runs dry a bit too soon. Loren glows as a lusty Earth Mother, even if she's still so stunning in rags that we expect both men and women to strain their necks as she strolls by. The best moment in the film is a walk she takes, proud of her pancia (big belly) while the other cigarette hawkers applaud and cheer her on. Mastroianni is just too robust for us to believe that the constant chore of keeping her pregnant is wearing down his sperm count, or whatever. The biggest cheat comes when it looks as though Loren will enlist the aid of her husband's best friend (Aldo Giuffrè) as a substitute, a temptation that lasts only a few seconds. The ending opts for a communal effort to obtain a pardon for Loren, once she's in the klink; one pleasant scene has Mastroianni asking a pal to sing a message to her cell window from far down below. The brief second episode has the literary pedigree (Moravia, Zavattini) but suffices mostly to put the stars in fancy dress to better contrast with the first chapter. The nattily dressed but still middle-class Mastroianni is slightly put off by the intimidating Sophia, who seems intent on dashing off from Milan to whatever ritzy love nest can be found on short notice. The point of the story is that Marcello has good reason to be sceptical about Loren's romantic fancy-talk, and he takes his lesson with a philosophical detachment. The final chapter is the sexiest and was probably considered daring for its time. Loren plays one of those 'happy, well adjusted prostitutes' that only seems to exist in the movies. It's a different kind of Earth Mother than the one in the first episode; here she's a Roman involved with two men, both of whom are sexual children to her overwhelming feminine power. Mastroianni is amusing as a high-strung lawyer helping his father pull political strings while spending as much free time as possible with Loren. He's plenty convincing sitting on her bed for 'the big show' tense with anticipation, like he was a kid and Loren was Santa Claus. The kind of show Loren puts on isn't what one went to Doris Day movies to see; when just unrolling her stockings she's a spectacular special effect. Again, I'll bet there were audible groans of misery in theaters when her strip was interrupted at the last second, along with the suspicion that the U.S. export version must have been some cleaned-up alternate cut. This Italian cut proves that was not so, but optimism is eternal. Balancing the striptease is the more central plot of Loren inadvertently luring young priest-in-training Giovanni (Gianni) Ridolfi away from his chosen calling, and then taking the responsibility of steering him back again. Although Ridolfi is appealing in his innocence, this is a sticky plot turn; Loren's call girl not only has a heart of gold but apparently is also a dedicated servant of the church. Even Ridolfi's insulting grandmother turns to Loren for help when it comes time to steer the boy back onto the bus to the seminary. It really plays like a plot turn designed to elicit approving smiles from the Catholic censors, and perhaps compensate for the unclean thought processes encouraged by the striptease scene that follows soon thereafter. Vittorio De Sica's direction is breezy and unaffected. He begins each episode with a pan across the city in question, which makes us wonder if an alternate title might have been Napoli, Milano, Roma. There's also a technically adept car mount in the Anna episode that predates the rigs used in Grand Prix; apparently De Sica didn't want to be stuck with the same three angles for the whole sequence. In defense of producer Ponti showcasing his wife and calling it art, Yesterday, Today and Tomorrow fares a lot better than Dino DeLaurentiis' 1966 Le Streghe, a valentine (or relationship-reinforcer) to his wife Silvana Mangano. Composer Armando Trovajoli also has a nice bit as a sports car driver in the Anna episode. Eagle-eyed Mario Bava fans will spot Carlo Croccolo as a lookout for the black market in Adelina; he's the truck driver in Danger: Diabolik. Robert Altman was obviously one American 'inspired' by Sophia Loren's striptease scene, as he restaged it for Ready to Wear in 1994. Source ![]() ![]() ![]() ********** ![]() ********** ![]()
|
|
|
| 1 user reading this topic (1 Guest and 0 Anonymous) | |
| Go to Next Page | |
| « Previous Topic · MovieTalk · Next Topic » |









I jsut love these fairytale stories
tho fireflies is really depressing
but Howl and Like the clouds are my favs. I am absolutely in the love with the concept of a Price Charming
but sadly they dont exist



. 
. 
. 







7:27 PM Jul 10