Posts Tagged ‘director’
Watch S21 The Khmer Rouge Killing Machine Movie Online
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Watch S21 The Khmer Rouge Killing Machine Movie Online.
Movie Title: S21 The Khmer Rouge Killing Machine S21 The Khmer Rouge Killing Machine is available for streaming or downloading. Click Here to Stream or Download S21 The Khmer Rouge Killing Machine |
Rithy Panh’s award-winning documentary, endorsed by Human Rights Peep, will be painful for any compassionate human being to ogle. The documentary brings together two surviving prisoners and a group of venerable Khmer Rouge cadre, interrogators, executioners, guards, describe keepers, and the photographer who staffed the rotten S-21 prison where over 16,000 Cambodians were tortured, interrogated, and trucked off to be killed and cast into mass graves.
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The scenes were filmed inside the level-headed standing prison and at the Choeung Ek killing field. The Khmer language dialogue is crisply and accurately subtitled in English.
The executioner sits in his home enduring the lecture by his mother, who bemoans the fate of her son, turned into a killer by the Khmer Rouge. She raised him to know better. His father urges him to explain the truth and buy responsibility for those he killed.
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Former prisoner Chum Mey collapses in tears in front of the prison, unable to direct, as painful a scene as I have ever watched on film.
Interrogators sit holding photos and confessions of their victims and discuss specific cases — beatings, torture, forcing female prisoners to strip off their clothes, unspeakable sexual violations. Customary guards re-enact their prison routines on place, escorting incoming prisoners, monitoring the cells, taking prisoners to interrogation, taking them to the trucks headed to the killing field. Executioner and driver re-enact the execution and burial routine. The outmoded prison staff re-enact political indoctrination and training meetings they attended in the prison, using valid archival photos and documents preserved by the suited NGO, the Documentation Center of Cambodia, which is led by Cambodian-American director Mr Youk Chhang. The interrogators admit “embellishing” the interrogation reports. The prisoners admit “implicating” everyone they knew because that was what the interrogators wanted.
Surviving prisoner Vann Nath sits with the shamed primitive Khmer Rouge staff to try to fathom what was in their minds when they carried out the atrocities. “There are no more ideals, no more human conscience. We become dust in the wind.” One of the final scenes is of dust blowing inside the upper floor of the prison during a thunderstorm.
It is in vogue this very week for some of our leaders to publicly challenge Human Rights Peruse and Amnesty International, calling them haters of America with ridiculous charges not to taken seriously. God knows the work of these two organizations is intended in fragment to insure that we never have to sit in shame in front of any human who suffered abuse at our hands or in our name. Documenting human rights violations around the world helps us to retain constantly alive in our minds the stark differences between “freedom-lovers” and “evil-doers.” We must operate with the utmost transparency and openness with daily international inspections and ask the same from all of our momentary allies of convenience around the world.
Every American interrogator, intelligence officer, and prison guard and military officer should peer and learn and pride himself in shiny that he is in no blueprint like the interrogator in the film who says, “I was arrogant. I had power over the enemy. I saw him as an animal.”
A different kind of a documentary yet incredibly great and interesting.
When we were young we were told that after our life on earth we would be resurrected before the God of death. Our crimes, every bit of them down to the minutest detail would then be read out and the punishment for the crimes would then be executed in Hell. Based on the intensity of the crime the appropriate mode of punishment would be meted out sparing no one and most importantly no small sin or crime committed during our earthly life. No would be allowed to die but endure the plump measure of his/her punishment. To avoid telling lies or stealing or being dis-obedient a hideous and detailed list of various kinds of punishments were also told to us.
The Khmer Rouge brought a hell worse than this to earth. Their hell defies human imagination. Unlike the hell we frail to be told in the stories, at S21 none of the victims knew what crimes they had done in their previous lives or in their display. There is so noteworthy talk about Karma in the documentary. The victims were not allowed to die, or even commit suicide. They had to go through torture, then forcibly impress confessions of crimes they never did and then executed for those crimes. So they were looked after to be tortured unto death. They were also told that their punishment would be reduced if they divulged the names of other people. Out of distress and alarm of torture victims would name their believe kith and kin. The Khmer Rouge had impartial found another valid reason to rope in more victims.
Like another reviewer wrote, these guards manning the prison and indulging in such crimes under the orders of the Khmer Rouge supremos were suffering from some collective mental disorder. Were the perpetrators doing all this out of horror of their have survival in the Khmer Rouge. Like Macbeth after the first destroy and the second the rest fair seemed like a habit. People were slaughtered like animals. The worst of torture methods performed on them.
The documentary is about the meeting of painter Vann Nath and carpenter Chum Mey, survivors of S21 with the worn guards of the prison. Van Nath and Chum Mey were two of the 7 survivors of the 14,000 prisoners who were tortured at S21 and subsequently killed at Choeung Euk. Vann nath himself admits in the documentary how lucky he has been as many painters, some even better than him were executed.
The guards, most of them who were in their teens when they did these crimes perceive serenely tranquil but having gone through hell themselves you wonder what is going on in their minds, remorse? regret? Sometimes they seem lost too maybe having realized what they have done and why they could do nothing about it. The enactments seem so natural and automatic as they might have done it ritually a zillion times. Even when Van nath asks them in an offending fashion they answer calmly, but not remorselessly or feeling offended. From deranged minds to minds of unexcited they glimpse like victims who have been through hell too in the post-Khmer Rouge era. The death cries and screams, blood and the suffering of the victims they tortured and killed will never leave them and will haunt them till their have deaths.
In the beginning of the documentary when the Cambodian song is being played there is a murky and white describe of the Cambodians working hard in the fields. It is a pathetic gawk of them running around and working. So dismal they never could reap the benefits of that labour, whether they worked hard out of scare or for the betterment of Cambodia. Also earlier in the documentary one of the killers (perpertrators of the crime) is shown handling a baby, his believe I guess. I was wondering if the
thoughts of killing babies and children ever went through his head or maybe it serene does and haunts him as he says he many a time suffers severe headaches and goes without eating for nights. At the slay of the film, Van Nath is seen searching through some burnt rubble and picks up a button. How many times would have the victim wearing the shirt or skirt stale that button on his/her cherished dress. How many times would have she or he cleaned it, polished it…
An innovative style of documentary making. Highly recommended if you are aware of the Cambodian genocide or better aloof, if you have watched Roland Joffe’s “The Killing Fields”.
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The Godfather The Coppola Restoration Discount.
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The Godfather The Coppola Restoration
Product: The Godfather The Coppola Restoration Discount. List Price: —- Amazon Price: $5.99 Add to cart to see low price@ Availability: In Stock Usually ships in 24 Hours Free Shipping Available |
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- Amazon Sales Rank: #342 in Movie
- Released on: 2008-09-23
- Running time: 178 minutes
The New Restoration Collection does not disappoint!
The new transfers for The Godfather Parts I and II are stunning. It really is like seeing them for the first time. All of the murky, faded colors have been restored to their original glory while still retaining the warmth of the film stock. Gordon Willis’ then-controversial cinematography can finally be seen they way it was intended on these new discs. If you have the original box set, it is worth it to double dip if only for the restoration job on these two films.
Carried over from the original set are all of Francis Ford Coppola’s commentary tracks for the three films. On The Godfather one, he appropriately enough, starts off by talking about the film’s famous opening scene and how it was supposed to start with the wedding but a friend suggested he do something else. Coppola talks about how he organized the elaborate wedding sequence and shot it only 2-3 days! He talks about the pressure he was under by the studio and in read danger of being fired because they didn’t like what he was doing. This is pretty solid track that we’ve come to expect from the veteran filmmaker.
Coppola’s contributes another excellent commentary for The Godfather Part II. Initially, he had no interest in doing a sequel and dealing with studio bureaucracy. He suggested Martin Scorsese for the job. The studio balked at this idea and accepted all of Coppola’s terms. The veteran filmmaker talks at length about the development of the Corleone family from Part I. Coppola is engaging and very articulate, delivering a top notch track that is well worth a listen for any fan of this movie.
Finally, there is Coppola’s commentary for The Godfather Part III. One of the heated debates the filmmaker had with the studio was over Pacino’s hair. He wanted Michael to look older and like a man in crisis, while the studio didn’t want to mess with Pacino’s distinctive looks. Coppola defends his casting of Sofia and feels that she delivered a “real” performance because she wasn’t an actor. He also addresses the scathing criticism she received as in fact an attack on him. This is a solid track with good observations and analysis by Coppola — better than the film itself.
The rest of the supplemental material is spread out of two discs. Thankfully for those who did not buy the first box set all of the extras from it have been carried over with a whole other disc of brand new material.
The fourth disc features all the brand new material and starts off with “Godfather World,” which takes a look at how The Godfather films influenced popular culture, including parodies on The Simpsons and South Park, and how it informed the characters on The Sopranos. All kinds of celebrities, from William Friedkin and Alec Baldwin to author Sarah Vowell who sing its praises with clips of shows and films that reference it.
“The Masterpiece That Almost Wasn’t” tells the story of how Hollywood had changed at the end of the 1960s with the demise of the studio moguls and the rise of the film brats, the first generation of film students who became filmmakers. One of them, Coppola, ended up being picked to direct The Godfather. This is an excellent look at how the director almost didn’t get the gig and why.
“…When the Shooting Stopped” examines the post-production phase of the first film. Coppola battled with the studio over the length of it. Executives initially did not like Nino Rota’s score for the film and samples of some of his original and revised cues are played.
“Emulsional Rescue: Revealing The Godfather” takes a look at the newly restored transfers for Part I and II and how they preserve Gordon Willis’ gorgeous cinematography. This featurette takes us through the restoration process, showing before and after examples.
“The Godfather on the Red Carpet” is a forgettable featurette shot during the premiere of Cloverfield with various minor celebrities gush about the films.
“Four Short Films on The Godfather” features celebs citing which one they prefer, Part I or II. Another one has Richard Belzer, and the man who adapted the films for the stage, quote their favourite lines, which turns out to be quite funny. The third one sees Coppola talk about his love of cannoli and how made it into the film. Finally, Coppola answers the question about what happened to Clemenza in Part II and why he died.
The fifth disc starts off with “A Look Inside,” a feature-length documentary about The Godfather trilogy done when Part III was being made. As a result, a lot of the major players were interviewed. We see Coppola at work on this film with on-set footage of the director working with Pacino. We also see Coppola working on the script with author Mario Puzo. The doc then goes back to the first film with Coppola’s battle with the studio over casting Brando, Pacino, et al. with fascinating vintage screen tests and rehearsal footage. This is an excellent extra that goes into great detail.
“On Location” revisits key locations in the lower east side of New York where they shot parts of all three films and how they transformed them into various historical periods.
“Francis Coppola’s Notebook” examines how he adapted Puzo’s book into the first film. Coppola shows us his notebook that he used as his master document that he would constantly refer to. This featurette provides fascinating insight into the man’s creative process.
“Music of The Godfather” features an audio excerpt of a conversation Coppola had with composer Nino Rota about the music for the film. Also included is footage of composer Carmine Coppola (Francis’ father) working on Part III. Francis talks about working with his father.
“Coppola and Puzo on Screenwriting” features the author talking about the origins of his novel while Coppola discusses adapting it with Puzo into the films.
“Gordon Willis on Cinematography” features the man talking his approach to the look of the film and the choices he made and why.
“Storyboards – Godfather Part II and Part III” allows you to see sketches for the look of both films and see how Coppola planned to shoot them.
“The Godfather: Behind the Scenes 1971″ is a vintage promotional featurette done at the time of the production of the first film. This is a fantastic snapshot of the times.
“The Filmmakers” are text biographies of key crew members.
Also included are 30 additional scenes from the four eras, spanning the entire trilogy. Much of this footage was inserted into the first two films when they were shown on television.
“The Family” gives you a handy organization chart for the Corleone family. You can see who everyone is and how they are related.
Finally, there are “Galleries” with trailers for all three films, stills, a collection of portraits of enemies of the Corleone family, and footage of the Academy Awards wins for the first two Godfather films.
THE GODFATHER, The Coppola Video Game Giftset
This Review is based on The Standard DVD format Restoration, not The Blu-ray Version.
I’m on the fence about this New Restoration Box Set(The Restored GODFATHER III is a cleaner version), but I’m leaning towards an all-out PAN of this New Restoration. Unfortunately, I listened to some of the reviewers here and purchased this Set. (A couple of you owe me a few bucks.) It doesn’t look like any of the reviewers here did a side-by-side comparison test of The New Restoration and The Original Versions of these films on DVD. I did mine on a 50″ Panasonic plasma.
Yes, the New prints have fewer scratches, dirt, and grain than The Original Set, (which is not as bad as some reviewers suggest). But, the COLOR ENHANCEMENT of The New Restoration Set is OVERLY saturated in many parts. Especially, in the Red Scale. Yellows and orange flesh tones are extremely pronounced, overly brilliant, and unnatural looking in this Set. And it still contains scratches, dirt, and grain. Not as much as The Original Set, but it’s still there. A lot of the grain in certain frames has been removed, while other frames remain untouched and appear to be just as grainy as The Original Version. A very uneven transfer in my opinion.
In the opening shot of THE GODFATHER, the Undertaker is so overly saturated with yellow that as the camera pulls back to reveal Don Corleone’s desk, it renders The Undertaker almost out of focus. Trust me, this shot looks far better in The Original Set. Compare the shot in THE GODFATHER of Luca Brasi in his apartment, donning his bulletproof vest, in preparation for his meeting with Sollozzo. The colors in The Original Version look natural, while The Restoration renders Luca’s apartment in a blazing wash of bright sunshine yellow. These frames are entirely over-saturated with color. I assure you, certain frames of this Restoration DO NOT look anything like the Original film stock print. The warm and natural looking sepia tone of The Original film has been blasted away with digital color in many frames, almost making them look unreal.
THE GODFATHER II has been compressed onto one disc, while The Original Version was compressed onto 2 discs.
(By the way, I could care less about The TV Saga Version. It’s not the way these films were shot, and it’s not the way they were intended to be seen.)
Some frames of The New Restoration look very grainy, some look incredible, while other frames make these films appear as if Ted Turner Colorized them. At times, I wasn’t sure if I was watching THE GODFATHER, or SPEED RACER.
Is this version worth a Double Dip? I’m still on the fence about that. But, I think I prefer The Original Box Set over this half-baked attempt at improving this Classic with an over-saturation of color.
I get the feeling that The Blu-ray Version must look really odd. Blu-ray is great technology for newer films. Older films tend to suffer from over-saturation with this technology. The public is so enamoured with Blu-ray, they don’t realize some of the classic older films don’t resemble their original celluloid color exposures anymore. And that’s a shame. It’s going to take some more time before remastering technicians understand the remastering treatment that some of these classic older films deserve. Sometimes less is more.
If you must have The Restoration, turn the brightness and color way down on your TV.
I’m calling this THE GODFATHER: THE COPPOLA VIDEO GAME GIFTSET.
Act accordingly.
UPDATE:
There is no question that this Standard DVD Remastered Version is overly saturated with color. Here is a pretty SIMPLE ADJUSTMENT SOLUTION that seems to work quite well, reproduces truer color, and makes these Remastered films much more enjoyable. At least it did on my 50″ Panasonic Viera plasma. (I also use this for The Anniversary Remaster of SCARFACE which is also overly saturated with color.) Stay away from the VIVID and CINEMA Picture Settings. Use the STANDARD Picture Setting which will give you the following numbers: Picture 50, Brightness 50, Color 50, Tint 0, and Sharpness 75. Simply tune the COLOR setting down from 50 to 35. I found that changes to the other settings were not necessary. This should take care of the overly saturated playback color issue. I do not know whether this adjustment will work as well with an LCD, Projection, Tube TV, or Blu-Ray Disc.
Too bad I didn’t refuse the offer for the original release !
I don’t really care that much about the new extras, the real need to double-dip for this release is the improvement of the video for the three films. If you own the original release you’ll have noticed just how un-watchable the three movies were, specially because of the incredible amount of specs and marks which I’ve found distracting and downright intolerable; there’s not a +/-5 second period in which a spec does not appear on I & II while the video in III is affected by terrible color and brightness.
While watching the new release of the Bond fims a few months ago I concluded I couldn’t be long before the GODFATHER series received a similar treatment and sooner rather than later, here we are. I really hope the price for this edition is brought down by Amazon from the 62.99 it currently stands but, even if it doesn’t, two of the greatest films of all time are worthy of just swallowing and making such expense. I like III very much too but obviously it isn’t in the same league with the first two, just about no other film ever made is.
10/13 UPDATE TO THIS REVIEW: Having finally seen this DVDs: fantastic picture, much improved sound. There are plenty of images and sounds there to find which simply couldn’t be appreciated in past editions. But you’d think that for $62.99 they’d get the labels on disc 4 & 5 right ! $62.99 !!!! You can find this collection on e-bay for half the amount. Very sorry to say that for the last several months, Amazon has been pricing themselves out of being considered the best option in DVDs.
Streaming Army of Darkness Online
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Streaming Army of Darkness Online.
Movie Title: Army of Darkness Army of Darkness is available for streaming or downloading. |
Confused by all the Army of Darkness DVD releases (some in print, some out of print, some lingering halfway between)? I know I was. But I’ve done some research and figured it out, and here’s how it breaks down:
Buy,Download, Or Stream Army of Darkness! Click Here
1. The fresh DVD release– was the unique theatrical version of the movie with few extras. Beneficial characterize, great sound, S-Mart ending. If you unbiased want to look the best available version of the movie, you might collect this one (if you can tranquil gain it; it’s out of print now) . It also has the familiar movie poster mask with an overly muscled Bruce and the hokey “Vulgar on gas” slogan.
2. The director’s cut– with the laughable Molly Hatchet hide and the unique ending. There are many minuses: key lines are changed (not necessarily for the better) . Grand of the footage looks really depraved, including the entire concluding battle. All the deleted scenes have the feel of an eBay-purchased bootleg. Bottom line: AOD fans will like to examine the material, but this is hardly the movie’s best presentation. It’s calm circulating but they’re not making any more of them.
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3. The special edition– probably the best DVD release of the movie to date. The 2 disc version (which, like the director’s carve, is nearing the demolish of its availability) is substantial. It features both the watchable theatrical version and the borderline-unwatchable director’s sever. It has commentary, unlike every other release, although the commentary is only available when viewing the director’s slash. It has a making-of featurette.
The single disc version (now the distinguished version of AOD available) is only a miniature downgrade; basically, it’s the theatrical release, lookin’ and soundin’ dazzling, with the unique ending as an extra, and the making of featurette also included. (The commentary is sadly missing.)
In summary: You can’t go unfriendly with the single disc special edition or the even better double disc special edition. Avoid the director’s slice unless you already hold the modern DVD and unbiased want to spy all the current footage in all its grainy glory. The new DVD is a blooming win if you unbiased wanna survey the movie, already.
2009 edit: to distinct up some confusion in comments on this review, I wrote this eight long years ago. “Army” probably has five current DVD editions since then, and I’m sorry to portray that I don’t care enough to retain buying and comparing them. My experience so far has been that they withhold releasing recent versions with dinky regard for what people really want. In my eyes, a definitive version would be:
1. The main feature would be the theatrical version, fully restored and anamorphic.
2. Deleted scenes and the alternate ending would be cleaned up and well-presented as extras – I know this is possible because I believe an Australian DVD of the movie that has them looking a lot cleaner than I’ve seen on all the older American versions. It would be also large if they had a menu option to gaze the theatrical slit with some of the deleted scenes added abet in – in particular the longer (and more cohesive) windmill battle with the mini-Bruces should never have been trimmed down; I’d cherish to view that in stout as section of the movie. There’s a sever that plays on some TV channel (AMC maybe? ) that includes this scene, but unfortunately other parts are changed to their detriment – not a titanic trade-off. I judge most fans of the movie bewitch the fresh version of the movie – the S-mart ending, the new one-liners, etc. – but don’t mind seeing some additional scenes thrown in.
3. Commentary, making-of featurette, etc. all included. The track recount of this stuff on previous releases has been very spotty.
4. And finally do it legal – achieve this version (probably a 2 DVD state) in print and score rid of the other ones, and Hold it in print. Fans are tired of re-buying this movie unprejudiced to score out that it’s the same damn thing with a line or scene changed… if that. Let’s tie a desirable bow on this thing and be done with it. I’m as ample a fan as they near and I stopped buying the modern DVDs a couple versions ago.
For the sake of clarity, I unprejudiced want to say that there is no draw I could review any version of Army of Darkness without giving it five stars. It is a novel classic which I can behold over and over again. Seeing the Dinky Wrong Ashes consume on Ash causes me to laugh out loud with every “My elegant lady.”
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Having said that, I can’t imagine why they are releasing yet another SE DVD residence of it. I hold the 2-disc Tiny Edition which came out a few years ago. I can’t win anything different about this unusual “Boomstick Edition” that isn’t on the weak Little Edition. Both have the unique theatrical release and the director’s slit with 15 additional minutes of footage. Both have the Men Unhurried The Army featurette. Both have the Raimi, Campbell, Raimi commentary. The only thing I’ve noticed so far is that the Boomstick edition comes with some kind of 10 page collectible book which my LE region didn’t have. But unless they made some drastic changes to either the video or audio to certain up imperfections which I never noticed in the first spot, I couldn’t explain buying this novel edition. But if you don’t yet hold Army of Darkness, don’t be a used screwhead. Click on the Occupy It Now link and come by it.
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Watch Trainspotting – Director’s Cut Movie Online
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Watch Trainspotting – Director’s Cut Movie Online.
Movie Title: Trainspotting – Director’s Cut Trainspotting – Director’s Cut is available for streaming or downloading. Click Here to Stream or Download Trainspotting – Director’s Cut |
I’d like to initiate this review with my pre-viewing expectations – - ZILCH! I had never heard of this movie, had not viewed the trailer or read the box, I unbiased sat down on my sofa as my husband pressed “play” on the remote and jumped just in with both feet. The first few minutes made me squirm, I was thinking “oh no, a movie glorifying drugs, with lots of F-words and thick accents”, but the narration of the main character, Impress Renton, was intellectually stimulating, so I listened more closely and allowed myself to become immersed in the myth. The characters in this memoir are horrible, heroin-addicted losers, but they are portrayed as very dependable people – - yes, they are unpleasant, but they are not snide. Their lives are extremely grim and homely. I’ve always wondered how people addicted to heroin can live their lives thinking they are living normally, and the addiction is so great it renders them powerless to live any other draw, but then I realized almost anything can be considered an addiction – - we all wrestle with something, be it our weight, our ethics, our punctuality, etc.. Moments when we convince ourselves it will be the last time, until the next time.
The film makes some piquant comparisons between a “normal” life, and the crooked lives of these characters. You study shrimp hypocrisies, such as the friend in the pub railing against drug employ, while he obviously has an alcohol and an anger-management spot. This film also addresses the issues of loyalty, culture, politics – - with some scathing commentary on consumerism and capitalism – - and some digs at the “Fair Say No” and “Decide Life” rallying cries. I particularly liked the ending – - there were no sweeping revelations for the characters, they remained upright to their weaknesses, right to their characters.
There are plenty of unlit, sick moments, and there are some very amusing moments, even through the darkness, and the wit of each character is astounding. Some of the most imaginative sequences I enjoyed immensely, but felt as though they could’ve done without the extremism and level-headed kept a honorable flowing legend. Mild, they certainly made a strong point in the scene captivating the most disgusting toilet in Scotland. As for the dialogue, I am going to have to contemplate it again, objective to gain definite I caught it all. My husband and I finally admitted we weren’t belief the dialogue as fully as we would’ve liked, so we switched to the “hearing-impaired” sub-titles about 30 minutes into the film. The Scottish accents are the thickest!
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The acting is terrific, across the board. I was troubled – - objective flabbergasted! – - as the film ended and I saw Ewan McGregor was Note Renton! He looked so gaunt and ill, not the charming and pretty Ewan McGregor of ‘Moulin Rouge’!
Definitely not a movie for the kids, ‘Trainspotting’ is a film everyone should scrutinize once, even if the topic is unsettling. Plus, I give it extra stars for utilizing my approved descriptive noun – - “wanker”. I also appreciated the integration of Iggy Pop’s song “Lust for Life”, vivid that it was written after Iggy had kicked his heroin habit and had a newfound lust for life. I’m honest blissful to hear that song weak anywhere other than car commercials!
Is the rhetorical ask asked by Renton (Ewan McGregor) early on in the movie. That sums up the complete gain that heroin exerts on the lives of main characters of the movie and the horrendous consequences of this addiction.
I have heard that Trainspotting has been criticized as glorifing drugs. People making this comment must be out of their minds. I have never seen such a noteworthy indictment of heroin and its effects and I ever had any inclination to try the stuff then a single viewing of the movie cured me forever.
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Most movies that I study leave no lasting impression on me but many of the scenes in Trainspotting will discontinue with me for a very long time. There are moments that originate you laugh out loud (Spud’s job interview for example) and others that are some of the most great and disturbing film images that I have ever seen.
Danny Boyle and co. have do a marvellous job of making a film about exact people and true lives while making it compelling viewing at the same time. The soundtrack is obedient impartial to round off the experience.
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Porn Theatre Description:
- Amazon Sales Rank: #7285 in Movie
- Released on: 2009-08-12
- Running time: 87 minutes
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A Sector the Kinsey Report Missed: The World of Genet and Gide
‘La Chatte à deux têtes’ (PORN THEATER) is a somber study of a sector of life few know, an aspect of human sexuality that didn’t make it into the Kinsey Report, a part of the underbelly of city life most would rather not accept existed. Does that mean it should not be examined, should not provide the impetus for an art film? Writer/director and actor Jacques Nolot thinks otherwise. In this dark little film we are invited into the inner sanctum of a dirty old movie house in Paris that shows only straight pornography for a clientele of men of various types: military men, straight men look for gay sex, married men in need of exploration of their senses, transvestites, old men for whom such places provide the only sexual outlet, and the regulars who spend their evenings in the dingy darkened atmosphere for anonymous sex.
The theater is a theater of life for these people, and the ‘stage manager’ is the sole female Italian ticket cashier (Vittoria Scognamiglio) who has seen every aspect of sexuality, embraced it, and therefore is wholly non-judgmental. She converses with her straight projectionist (Sébastien Viala) who is attracted to her on several levels, and with one of her regulars (Jacques Nolot), a man of fifty who is living with AIDS in a responsible way, but finds his only sexual outlet to be this theater scene. During the course of the film the cashier manages to discuss her open views of sexuality with these two men and the three of them seem headed for a communal experience.
This open view of human behavior is set with the background of the various acts within the theater. We watch transsexuals ply their wares, group encounters in bathrooms, and various odd approaches and rejections for gratification that in the end represent a group of men who find connection to each other as human beings far more difficult (?impossible?) than quick satisfaction in the dark. There is considerable frank acting out of encounters that are usually not seen on film and that may be more than the regular viewer can tolerate. But at least one director has the courage of Genet and Gide and Burroughs et al to tackle this subject matter in a wholly realistic way. The result is a film of social significance, even though it may not be for everyone. It is an art film, very well made, with a brave cast and an even braver writer and director. To not see it is to miss some important messages about human sexuality and about human needs too frequently dismissed as non-existent. In French with English subtitles. Grady Harp, February 06
A Unique Slice of Life
Unlike the other reviewers, I enjoyed a glimpse into the quiet lives of desperation these characters lead. Depressing and unappealing at times? Yes. But that’s life. It’s what isn’t said that makes this movie work. Thank God Europeans can still make films in which nothing explodes into fiery oblivion or pretty boys preen and rule the roost. I viewed this twice in a row and found the second time even more rewarding. Look between the lines, and you’ll find that the search for human connection comes in different shapes and forms.
Provoking and enjoyable
My brother questioned my taste in movies when he saw this DVD in our apartment, but after viewing it- I am glad that I did! The director takes us out of “common decency” and into a Parisian adult cinema to view the comings and goings of the crowd and their guide- an Italian woman of advanced age selling tickets, the only employee. Beyond the visible sex and nudity (nothing like this in American cinema!), there are many stories of human longing. People who desire the touch and intimacy that only another person can give them, but fear gets in the way. Fear of infection, fear of learning about one’s true self, fear of being left alone again….the list goes on and on. No one group is focused on- there are soldiers, transgendered people, gay, straight, bisexual, all walks of life. Because desire is the same across the board- desire to be loved, to be touched, to be aroused, to arouse, and to make that human connection that often seems to escape us. Kudos to the people behind this film- it is truly an intelligent, beautiful and provoking look at human nature.
Stream Finian’s Rainbow Online
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Stream Finian’s Rainbow Online.
Movie Title: Finian’s Rainbow Finian’s Rainbow is available for streaming or downloading. |
I’ve been waiting to watch a decent print of FINIAN’S RAINBOW for sometime. Though not an all-time popular, I do like the rep, and I’m a great Petula Clark fan. Other video versions I’ve seen were abominable pan-scan versions with immoral color and dreadful sound. Warners has done the film justice. Widescreen, 5.1 Surround and a lunge down memory lane with Francis Ford Coppola, the director.
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An exciting stamp, this is the first time I am aware of where the lead actress in the film has dubbed the foreign language track. Petula Clark, being a ample singer in several languages, had a large French-language career going at this time, parallel to her English-language one. Also being an actress from childhood, she fits perfect as Sharon here. However, this is the first time I’ve heard her French vocals of the pick up, as well as the dialog. The male leads are other artists (one doing a unpleasant Chevalier for Astaire), but it is definitely Petula in French, as well as the unique English soundtrack. This is an absolute treat and collectible for all Petula fans around the world.
Recommended!
Opening on Broadway in 1947 with music by Burton Lane and lyrics by E.Y. “Yip” Harburg (who wrote the lyrics for 1939′s THE WIZARD OF OZ), FINIAN’S RAINBOW was an unexpected break that generated one pop classic after another–”How Are Things In Glocca Morra?,” “Stale Devil Moon,” and “Contemplate To The Rainbow” to name but three. But when talk turned to a film version, not a single studio in Hollywood would touch it: although the anecdote was fantasy, it was also extremely satirical, contained elements that had a decidedly socialist edge, and made one of the most wickedly comical statements on racism seen up to that time. With Hollywood operating under the production code and the nation drifting into the communist paranoia of the 1950s, the whole thing was impossibly hot. And so FINIAN’S RAINBOW remained off the hide for over twenty years… until 1968, when a sudden splash of current shroud musicals prompted Warner Brothers to bankroll it.
The place is deliberately ridiculous, and finds Irishman Finian McLonergan (Fred Astaire) and his long suffering daughter Sharon in Tennessee, where Finian plans to bury a crock of gold stolen from a leprechan (Tommy Steele) on the theory that the land around Fort Knox will form the gold grow. But things retract an unexpected turn when they come in Rainbow Valley, where they encounter a commune-like community of sunless and white tobacco sharecroppers who are doing battle with a viciously bigoted Senator (Keenan Wynn.) And when daughter Sharon is outraged by the Senator’s racism and happens to be standing by the hidden crock of gold–she accidentally “wishes” the Senator murky!
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Unlike the 1947 stage display, the gigantic conceal version of FINIAN’S RAINBOW tanked at the box office, and it is cramped wonder: both producers and then-novice director Francis Ford Coppola made a host of very basic mistakes with the material, the first of which was not keeping the film consistently within its unusual 1940s context; they instead give it a ‘contemporary’ tone that not only undercuts the fanciful storyline but makes many of the story’s elements seem heavy-handed. In the process they manage to blunt the edge of the recent in a very considerable sort of device. There are also a number of cinematic problems with the movie, which feels awkwardly filmed and smooth more awkwardly edited, and the film visibly shifts between outdoor set-ups and studio soundstage sets in a very unfortunate sort of blueprint.
All of that said, there is detached a mountainous deal to indulge in in FINIAN’S RAINBOW–the aforementioned obtain for one and the truly memorable performances for another. Astaire is timeless, Tommy Steele almost walks away with the indicate, Keegan Wynn–in spite of some rather ill-advised make-up–gives a memorable performance as the bigoted Senator, and Al Freeman Jr. is absolutely hilarious in the sequence where he applies for the job of butler in the Senator’s home–I laugh honest thinking about it! But the trusty revelation here is Petula Clark. Best known as a pop singer, Clark is perfection as Sharon McLonergan; it is a spacious pity that she was never again so well-cast on hide. And together they manage to gloss over most of the film’s weaknesses; if you’re a musical fan, you’re likely to delight in it.
A word of warning, however. At exhibit, FINIAN’S RAINBOW exists only on videotape, and while the VHS release is not dreadful per se, it is also pan-and-scan. Admittedly, the cinematography wasn’t distinguished to commence with, but purists (of which I am one when it comes to ratios) will be frustrated.
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Streaming The Reader Online
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Streaming The Reader Online.
Movie Title: The Reader The Reader is available for streaming or downloading. |
I am writing this review on Oscar Nomination morning (although due to the fact that I refuse to post a review until the DVD has dropped you will be reading this mighty later) mostly due to my elation that it has been nominated for not only the agreeable performance by Kate Winslet (in the good category mind you) but also for Best Characterize, Best Director and Adapted Screenplay. I’ve been chomping at the bit to write this review ever since I walked out of the theater a few weeks wait on, and since then I’ve seen the film a represent three times and I would notice it again apt now if I could. I’ve pondered this film, discussed this film, relived this film and can honestly designate it the best film of the year and quite possibly one of the best films I’ve seen in a long time.
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Sure, you can be rapidly to pinpoint it’s supposed faults, and you can try and sign it something that it is not, but if you allow your eyes to launch and your mind to enjoy you may be able to peek this for what it really is; a masterpiece.
When sitting down to write this review I asked my friend how I was going to be able to do so without being redundant or irritating. I mean, how many different ways can you say masterpiece before someone says “I fetch the point, now go on”? I’m going to try and catch all that out of the map upright now so that my review will be savory.
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`The Reader’ is a masterpiece.
Okay, I’m done now.
Having read Bernhard Schlink’s glowing recent I was really anticipating this film. I feel that Kate Winslet is the finest working actress today and this impartial seemed like such an ideal role for her (Oscar, if you pass her over this year I bid to never stare another telecast) . I of course try and shrug off all `high expectations’, and thankfully with `The Reader’ there was no hype. It hasn’t been hailed as the best of anything, and while it has landed on a few top ten lists it rarely breaks stop to the top. The reviews have been mixed, some raving it as a masterpiece, some labeling it a faux; an imitation of a more insightful film. The only awards the film has garnered up until the point have been for Winslet so walking into the film, I was not feeding into hype.
I was simply hoping to inspect a excellent movie.
The film tells the record of Michael Berg, a young fifteen year conventional boy living in Post-WWII Germany. One day while making his blueprint home he falls ill and is helped abet by an older woman named Hanna. After waiting out his illness he attempts to thank Hanna but he winds up falling into a steamy affair. The two bond over books, using reading as a manufacture of foreplay, and the two become almost inseparable. Then for no apparent reason Hanna leaves town without a word and Michael is left wondering why his only admire has left him. Years later while Michael is attending law school he gets the opportunity to sit in on a trial being held over war crimes and is skittish, and ultimately heartbroken, to watch Hanna is one of the accused.
First and foremost it should be addressed that this is not your typical Holocaust film, for quite frankly the Holocaust is the least impressionable portion of this film. The film, like the current, deals strongly with the feelings of guilt and redemption. There is a apt play that runs throughout each scene that begs the audience to cast judgment, but not in an absolute design but in a more complex and plan map. `The Reader’ has no easy answers, but it throws at the audience a bit of a conundrum. It reminds me very distinguished of `Dead Man Walking’, a film that appears to have such an easy reply yet causes you to rip apart your contain ideals.
I am keeping SPOILERS to a minimum here, but be forewarned that there may be a few.
When we meet Michael and Hanna they seem like an weird match. He is obviously better off financially than she is. He is attending school and is doing rather well. Hanna is working a humdrum ruin job and living in a miniature apartment. Her education is minute but her yearning for more is apparent. There is an attraction physically, which cannot be denied. While Hanna is rough due to the nature of her life she is a diamond in the rough, a pretty woman trapped within the shell of her archaic life. Michael is young and coming into his own; a sparkling boy with a head on his shoulders.
There’s innocence within him that Hanna desires.
Their relationship is very rapidly and very graphic, but there is a sincerity there that one needs to truly behold for. Some have complained that the relationship was pure surface; nothing but lust. They are missing something crucial. `The Reader’ is a film filled with detached moments that advise volumes about the characters. There is a deeper connection between these two souls, one that maybe they can’t even peruse. There is a moment where Hanna finds herself inside a itsy-bitsy church listening to a young choir and the tears are streaming down her face, and as Michael watches her from the doorway we can survey it; even if he or even she doesn’t truly understand it.
It is there.
As the film progresses and the two are separated we initiate to truly behold the deeper connection that they are feeling for the first time. As the trial proceeds Michael is caught between his fill feelings of moral and wrong; between what is ethical and what is not. He is timid by the revelations concerning his stale love; distraught over what this means for him and whether or not it had anything to do with his personal attachment to this woman.
Can he bring himself to despise her? Can he bring himself to forgive her? Does she deserve that hatred or that forgiveness?
There is a moment when Michael is attempting to visit Hanna in prison when everything makes sense; his eyes swelling with an emotion he has yet to fully realize. He struggles to convince himself that he hates this woman, because hating her would obtain it easier to forget her.
`The Reader’ is a masterfully crafted record of cherish and loss; of what we explain ourselves in order to better understand something we haven’t the capacity to capture. There is the shame in Hanna’s eyes as she hides her secret (one that you no doubt had guessed long before it was revealed, but the revealing of the secret is not really the point of the chronicle), willing to sacrifice her very life so as not to be downgraded or looked down on. There is the guilt in Michael’s eyes as he blames himself for Hanna’s fate, unable to step outside his skin long enough to choose the suitable course to case. This is a legend about mistakes and missteps and regrets and the ultimate loss that comes from not fully belief how to feel.
Technically, this is a flawless film. I remember reviewing `…Jesse James…’ last year (this spot unexcited won’t let me type in that chubby name) and going on and on about how technically perfect it was, from the cinematography to the bag to the lighting to the mood to fair about everything. `The Reader’ is the right opposite in scope yet honest as profound. It is a worthy subtler film, and so the find, the lighting, the cinematography and the place designs are smaller, yet honest as pristine. Everything is so crisp and delicate; adding layers to the mood perfectly presented by director Stephen Daldry. I was a cramped hesitant about Daldry’s ability to transfer Schlink’s recent to the spacious conceal. I loved `Billy Elliott’ and continue to appreciate it more and more every time I explore it, but Daldry’s latest exertion was that 2002 debacle `The Hours’ and so I was truly troubled that he was going to speed the same gamut and deny a similar part.
`The Reader’ is not only considerable more profound and poignant, but it is also executed better than `The Hours’ (to be comely, I need to stare this movie again, but I was not impressed the first or second go around) .
When it all boils down to it though, this movie is all about two things; Kate Winslet and David Kross. Both actors recount career highs (and to say that about Winslet is saying a lot since she is always top notch) . Their performances are truly organic. That has become my fresh common word this year, for I feel as though it truly taps into the depth of these performances. There is a naturalness that fortifies itself within these performances, deepening with each flicker in the eyes or twitch under the skin. Try your hardest to contemplate Winslet’s face (I know it’s hard, especially since she is without clothing for practically the whole first hour of the film) . There is a scene where she is lying in the bathtub and Kross comes in to hash out their argument. As he speaks you can peer for the first time her hard exterior melting away and revealing this woman that she doesn’t even know exists. It is so subtle yet so profound.
Winslet is convey perfection.
Kross is unprejudiced as first-rate, sinking into his character and delving deep into his emotional responses to his recent residence. The scene in the courtroom (all of the courtroom scenes are beyond breathtaking) when he notices Hanna for the first time is utterly immobilized. See as Kross exhibits such a natural gut reaction; as controlled as he can be yet giving intention to lapses of uncontrollability.
The supporting cast is also fine, from Fiennes’ dynamic idea of Michael’s emotional regression to Bruno Ganz’s bewitch of the proper set at hand. The one standout here is truly Olin, who proves to be one of the most famous facets of the film. Her final scene with Fiennes is what makes the movie work, dispelling any easy sympathies for Hanna’s atrocities with her wintry standing. For anyone who has complained (and there have been many) that this film tries to condone the actions taken by Hanna I run you to rewatch and explore this scene, for in a few short words Hanna’s actions are condemned wholeheartedly.
Remember, it is not her actions that we are sympathizing with, it is her inner person; icy and rigged yet incomplete, pleading for something or someone to do her feel whole.
Thanks in substantial section to David Hare’s satisfactory adaptation, `The Reader’ lives up to its source material and delivers a truly outstanding and utterly fantastic gape at this tragic yet gorgeous fancy anecdote. If you lumber away from `The Reader’ unmoved then maybe you are honest dumb unmovable.
I’ll discontinuance by saying that the Oscar’s have passed, Kate won the gold (YES!!!) and I mild agree wholeheartedly with every word in this review.
This wasn’t really on my radar, until I started reading valid reviews of it, and that, plus the fact of Kate Winslet, one of the few women I would unquestionably go straight for, conspired to send me off to the multiplex, where everyone else was billing and cooing over Marley & Me.
We have a brief snippet with Ralph Fiennes as this fellow Michael as an adult, then flash befriend to 1958 Germany, where he suddenly becomes sick in a street. Gruff woman Hanna, Winslet completely convincing as a German woman, comes and helps him and takes him home. Turns out he has scarlet fever, and is laid up in bed for three months. When he’s better, he returns to her apartment to thank her. He visits again, and eventually the 16-year-old boy and the woman in her thirties are in a sexual relationship.
She provides his sexual education, and soon she asks him to bring things and read them to her. They consume many nice hours with him reading to her before or after sex. Michael grows to esteem her and is thrilled to have such an lively secret, but soon he finds that it interferes with him having normal friendships and girlfriends with people his possess age, since he is always running off after school to be with Hanna.
Eventually the affair abruptly ends. Years pass, and Michael goes to law school. The class goes into the city to search for a war crimes trial as a lesson, and Michael is surprised to contemplate Hanna there–on trial. She joined the SS after their affair, as a nurse, and was in particular partially responsible for the burning deaths of a number of prisoners. Michael is very upset at the entire thing, but can’t really confide to his fellow students, and by this time has started to ogle that he has pains forming deep relationships anyway.
SPOILERS > > >
Okay, serious spoilers, I’m not kidding! This part is better for people who have seen the movie. Michael tells his teacher that he has information that could affect the outcome of the trial… but he eventually declines to give it. Hanna is asked to provide a handwriting sample to present that she wrote a statement about the atrocity. Rather than submit, she admits to the crime, and thus receives a far worse sentence than the others. The reason for both Michael and Hanna’s actions? Hanna can neither read nor write. Therefore Michael could have had her exonerated, or at least significantly reduced her sentence, but he chose not to. She, too, could have exonerated herself, but she chose not to admit that she is unable to read. The film continues and throws out a few more good complications, but I judge this is the crux. < < < SPOILERS Demolish
It strikes me as being about guilt and complicity. Michael has his chance to relieve Hanna, but now he has seen that his affair perhaps wasn’t the best thing for him in the long rush, and left him with several emotional issues. So he takes his revenge–by refusing to back her, and helping her in only very runt, grudging ways later–and ways that could be considered as making her a sort of prisoner to him or someone deeply in his debt and control. Hanna seems for long periods to have no true sense–and to harshly dismiss anyone who makes claims to one–but there’s an element of her self-punishment that goes beyond superficial shame to a feeling of deeper guilt, almost as though, through whatever formed her, she believes herself to be outrageous and deserving of punishment.
So it all turns into a very literary just lesson on guilt and levels of complicity. One of those things that chooses a subject and examines it from all sides, providing several different examples and aspects toward creating a detailed whole characterize. In this map it’s a very literary film, as it’s about different aspects and shades of a belief, rather than an accumulation of events that eventually tell a lesson or provide an insight.
All the performances are very splendid. As I said, Winslet is completely convincing as a gruff German woman, and the role requires her to age to about seventy. She also makes a convincing former woman, although my only complaint is that, as an elderly woman, she mild moves impartial as snappy as her younger self. David Kross as young Michael conveys the innocent excitement and sense of specialness of being in this unconventional affair, and of course Ralph Fiennes is perfect as always. The direction [by Billy Eliot and The Hours director Stephen Daldry] is effective if undistinguished, using short puny shots at times to hiss a character’s panicked mind, without having to design another scene fair to display it.
Overall, an enthralling film with mountainous performances that offers a lot to judge about more than anything. An examination of the various aspects and shades of guilt and complicity as it relates to a obvious interrelated circles of lawful pickle. A thoughtful tiny movie you won’t regret seeing.
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Dementia/Daughter of Horror Movie Streaming
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Dementia/Daughter of Horror Movie Streaming.
Movie Title: Dementia/Daughter of Horror Dementia/Daughter of Horror is available for streaming or downloading. Click Here to Stream or Download Dementia/Daughter of Horror |
After years of poor-condition 16mm prints and blotchy video copies, Kino Video’s DEMENTIA/DAUGHTER OF Awe disc delivers enthralling image and sound, for a neglected oddity. DEMENTIA was made in the early 1950′s by John Parker. Based on a uncommon dream experienced by his secretary, Parker tells the anecdote of “the gamine,” who wanders the streets of a nightmare town, insecure by terror and guilt. Destroy and insanity stalk the succor alleys of the surrealist cityscape. Although filmed on a low-budget, DEMENTIA is filled with a variety of intriguing visual effects and effective fright moments. One of the latter, in which a character severs the hand of a corpse, helped to secure DEMENTIA banned in the position of Modern York. Tame in comparison to today’s standards, this one scene is composed potent and eerie. DEMENTIA runs objective over an hour, and is without dialogue. George Antheil unexcited a accumulate for the film, critical for its arias done by Marni Nixon. There’s a Beat/Bop jazz club sequence for which Antheil pauses for the sounds of Shorty Rogers and His Giants. Kino has supplied this disc with Parker’s second reduce of the film, the retitled DAUGHTER OF Fear, in which he added an absurd but tantalizing narration. Buffs will choose that this is the film shown in the movie theatre sequence of the Steve McQueen version of THE BLOB (1958) . Extra features include the trailer, pressbook blurbs, a stills gallery, and written information concerning DEMENTIA’s history, cuts made for distribution, and the like. All of which giving this rarity its due.
Like others, I had read about this film for years, and seen the clips in The Blob, but never actually saw the whole movie until buying this DVD. It’s such an anachronism, coming from the early 1950s, that it took a couple of viewings for me to be able to be honest about it. Compared to 99% of movies of its time it’s quite avant-garde, from it’s lurid screech to its circular, dreamlike fable structure, its complete lack of dialogue, expressionist consume of photography and locations, Freudian symbolism, etc. There are moments of brilliance, and comparisons to Bunuel, Cocteau, Lynch, and Welles are not wholly unwarranted. (Is it possible that David Lynch never saw the ‘chicken eating’ scene? ) On the downside, it suffers in some of the same ways that other low-budget indies of the time do, particularly in the pacing and the acting. The female lead in particular (the director’s neice) unbiased doesn’t have any charisma whatsoever, and she and others mug broadly at times, attempting to remark emotion and status without words. This could have been a landmark film with a pleasant actress in the lead. As it is, it’s an extremely moving experiment that also holds up to multiple viewings. John Parker definitely gets an A for wretchedness, courageous, and vision. The execution’s unbiased a microscopic uneven.
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Kino’s DVD presents both the calm, unedited Dementia and the minimally narrated, edited Daughter of Scare. I found the narrated version not necessarily distinguished worse (except of course for the cuts) but honest different in tone, more ‘campy.’ Purists will probably stick with the recent lop. The supplements include a trailer (for Daughter of Alarm), level-headed gallery, and detailed production history. The prints point to some light speckling, but otherwise point to very righteous tonal values, sharpness, and detail. This movie is not for everyone, but if you’re into avant-garde, film noir, B&W 50s indies, exploitation, or offbeat fright you’ll probably accumulate it rewarding.
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Watch Commando Movie Online
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Watch Commando Movie Online.
Movie Title: Commando Commando is available for streaming or downloading. |
If you assume you’ve seen Commando before on DVD then you’re gonna pass on this one, accurate?
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WRONG!
This guilty pleasure is one of my all-time accepted testosterone pumping 80′s Ahnuld action flicks chock corpulent of some of the most memorable and hilariously over-the-top one-liners ever assembled in a single Schwarzenneger film with an exhaustive body count tally of 81 confirmed kills. Now it’s finally getting the UNRATED Director’s Cleave treatment it deserves so we can view even more of the Governator at his macho 80′s Republican finest.
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The Commando Director’s Carve DVD features the fresh 90-minute theatrical film and restores 96 seconds of mostly graphic violent shots that were trimmed to garner the film an R rating in this never-before-seen unrated version as envisioned by director Effect L. Lester restored support into the film via seamless branching. Additional DVD special features include director audio commentary, 3 deleted scenes which have not been added attend into the film, two behind-the-scenes featurettes, photo galleries and more.
Special Features:
Commando Director’s Slash is presented in widescreen (1.85:1 aspect ratio) with English 5.1 Dolby Digital and Dolby Surround audio, Spanish Mono, French Stereo plus French and Spanish subtitles.
Bonus notify includes:
* Seamlessly branched Director’s Slash with never-before-seen footage
* Audio commentary by director Brand Lester (on theatrical version only)
* Deleted Scenes
* Pure Action featurette
* Let Off Some Steam featurette
* Photo galleries with over 150 images
- Creating Commando
- Domestic Bliss with John and Jenny
- Destroy Arnold, Ruin!
- Trashing the Galleria
Don’t deprive yourself of some pleasure. Reach on, Bennett… let’s party!
This is by far one of the greatest movies of the century. I can’t enjoy what an awesome movie it is. It has no morals, no lessons to mumble, no political statements, no coherence, and no sense whatsoever. When Schwarzenegger’s beloved daughter is kidnapped by a psychotic dictator, he doesn’t try to reason with the dreadful guys or grasp precautions like most action heroes would. He unbiased goes bonkers and starts killing everyone in spy. The movie is packed with amazing scenes such as Arnie crashing a car at about 80 mph, without a seatbelt, and being perfectly magnificent, Arnie tearing a phone booth out of a wall, Arnie punching a guy through a wall, etc. It’s gloriously attractive.
Also, despite his reputation for awful acting, he delivers all his lines with perfect droll timing (“Let off some steam, Bennett”) . Bennett is also a gigantic character, but no match for Arnold. You’d have to be completely devoid of personality to not earn this at least slightly moving.
This is my common film of all time, hands down. Consume it, don’t assume about it. It will be the greatest investment you ever get for an action flick of the 80′s.
10/10 stars. Seriously.
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Wagner – Tristan und Isolde Movie Streaming
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Wagner – Tristan und Isolde Movie Streaming.
Movie Title: Wagner – Tristan und Isolde Wagner – Tristan und Isolde is available for streaming or downloading. Click Here to Stream or Download Wagner – Tristan und Isolde |
“Tristan Und Isolde” is doubtless one of the greatest operas ever written. Unfortunately it has been very badly served by the currently available productions on DVD.
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The Nilsson/Vickers from Orange is ruined (as usual from Kultur) by a very unpleasant technical production and obtain.
The Heppner/Eaglen from the Met has two principals who cannot act convincingly; although Heppner can really snort the section. Eaglen’s announce leaves a sizable deal to be desired and her physical limitations prevent her from grand in the scheme of physical action. Neither of them contemplate even remotely the contrivance I am positive most of us have pictured Tristan and Isolde to have looked.
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The West/Meier from Munich is a travesty. The setting is unbiased lifeless humdrum, given what the text calls for; and West not only fails to squawk convincingly, but he cannot act and looks even less like Tristan than Heppner. What is so frustrating is the slay of Waltraud Meier who has the acting and singing ability and the looks; and the raze of Kurt Moll who is a generous King Marke.
The Treleaven/Polaski from Barcelona is also disagreeable by a humorous production and less than stellar singing from the principals. They are the same cast as was archaic in the Barcelona Kupfer II “Ring”, and I truly hated Treleaven and Struckmann there, as well as here.
I am writing this review now, despite not having seen this production for almost a year (since I found out that it would be rereleased as a DVD), because I want to portion my immense enthusiasm for it. It is based on my recollection of my powerful cherished Video. I have waited a long time for this rerelease as a DVD, and I am certain that DGG, unlike Kultur, have done their usual spacious technical transfer. It is a Bayreuth production from the early 1980′s.
Jean-Pierre Ponnelle has designed a simple, but effective non-gimmicky dwelling. The first act takes plot on the deck of a stylised sailing ship, the second in the woods under a enormous pudgy canopied tree, and the third under a expressionless, split, blasted tree. The direction is tight and, with one indispensable exception at the kill, is honest to the text. I will not give it away other than to suppose that up to then it was such a straight interpretation that Ponnelle probably could not resist putting at least some personal twist to it. Mind you, considering what was going on with Mathilda Wesendonck at the time, perhaps this is what Wagner might have subconsciously intended.
Under the conducting of Daniel Barenboim, the music is splendidly interpreted. It is obvious, layered, and entertaining. This certainly came across on my video, and I am definite that in surround sound it will be even better.
And the acting and singing and appearance of all the characters is an unalloyed joy. René Kollo as Tristan, Matti Salminen as King Marke, Hermann Becht as Kurwenal and Hanna Schwartz as Brangane.
However, this is a tour de force by Johanna Meier. She embodies all that I had pictured Isolde to be. She is pretty, she sings — my God, she sings — and she expressively acts with the grace of a dancer. So far as I know, this is the only recording of her. What a loss.
For scare of getting even more carried away, I had better close here; other than to plot that I wish I could give it more than five stars.
But if you want a “Tristan Und Isolde” that is the gesamptkunstwerk I am obvious Wagner had in mind (and possibly even with this ending) this is it!!
It is so transformative to experience Tristan und Isolde done by a director who understands the mythic dimensions of this share and who obviously loves the volcanic force this music. There are no directorial banalities here to undermine the music. It is considerable theatre and grand music.
Johanna Meier is comely as Isolde. She has power, lyricism, vulnerability, looks, musicality. It is too dreadful that this big artist’s career was undervalued and underappreciated.
Rene Kollo is fantastic and has enormous chemistry with Meier. The scheme he listens to King Marke’s monologue in Act II is heart breaking. Matti Salminen’s Marke is an emotional tour de force and a psychological revelation.
Like the other reviewers here, I endorse this DVD enthusiastically. There is no other version of this opera on DVD that compares to this. AND THAT IS THE TRUTH.
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