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About TonyZao

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  1. My ideal combination would be something like Hitchcock as director, Tarantino as screenwriter, DiCaprio and Liam Neeson starring and Morricone composing the score. That would be a fitting dream team!
  2. One thing I've always liked about classic Hollywood films is the way the protagonists are flirting with each other. It's subtle, classy, elegant, flirting is turned into an art, something you don't see much in modern films, because there is no censorship and everything can be said or shown. In this scene, the actors are talking about something primate and vulgar such as sex, yet they're doing this in a way you could believe they're talking about a work of art. Grant was an expert in such scenes for decades, Saint was not so experienced, but here she is at least his equal. Hitchcock always
  3. Although I've always found Vertigo a bit too creepy and complicated for my taste, I have to admit that it's Hitchcock's most trademark film, along with Psycho. Even the opening credits are disturbing and add to the mood of the film. I'm a computer engineering student myself and I've studied Lissajous figures quite a bit, and I never imagined they could be used in such a subjective way to create distorting, formalistic images, and even dizziness. By watching this brilliant opening sequence, you know that what's gonna follow is not ordinary, and is probably going to play with your mind, even mak
  4. Ferrell and McKay's style, as shown in Anchorman, embodies every single slapstick characteristic, as defined in the very first day of this course. This scene is absolutely exaggerated, physical, make-believe, ritualistic and, above all, violent. The fact that this is a scene practically independent from the rest of the film (which is a spoof with some slapstick in it) brings it even closer to the standards of slapstick as we've seen it from the 1970's and beyond. Slapstick here is self-conscious just like in Mel Brooks or Woody Allen's films, but no one in the film seems to care about it.
  5. Zucker, Abrahams and Zucker were, in my opinion, the last true masters of slapstick in film. Their combination of extremely exaggerated visual and verbal humor and their relentless parody of genres such as disaster films (Airplane), spy films (Top Secret!) and police procedurals (The Naked Gun) brought many of the funniest moments in the modern years of cinema. While Mel Brooks also excelled in parody and spoof of other genres, his approach was usually more subtle and made in a way his films also pay a homage to their parody victims. ZAZ, on the other hand, are relentless and show little r
  6. I just love Young Frankenstein and I consider it the most successful parody ever made. This particular scene features the late Gene Wilder looking, talking and behaving like the mad scientists of the 1930's horror films, and the other characters aren't as normal as they should be in this environment. Even the skeleton in the background plays its part, making the whole set-up looking much more sinister (and ridiculous, too) that it should. As in the whole film, this scene is an example of a perfect combination between subtle and crazy humor. Unlike another Brooks/Wilder masterpiece made in
  7. From all modern directors, Woody Allen is by far the one with the most knowledge, respect and passion for classic Hollywood, and this is demonstrated in many of his films. What he's magically able to do, though, is making films which are both a homage and a parody of these classic films, and Bananas is just the case. The scene is structured in typical Woody Allen style: people talking nonsense with casual style. First, we see a group of rebels making Allen's character go to bring them food, and also make him believe it was luck who picked him of all others. Then, Allen opts not to rob the
  8. The Great Race is one of the most hilarious and underrated comedies ever made. It could be the best performance in Jack Lemmon's long and distinguished career, while Blake Edwards is simply a master behind the camera. The film is full of cartoonish, violent slapstick humor, often creating situations like falls, fights, accidents and explosions that otherwise would be deadly, but the victims here are more humiliated than harmed. This clip features the first of numerous attempts at Leslie's life executed by Fate, with initial success but complete failure at the end. These backfiring attempts
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