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Micky1960

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About Micky1960

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  1. Hi!!! Having met you both at the Festival last april after the "Silk Stockings gala", make this not only a very funny short but a pleasent reminder of that wonderful occasion! From Argentina and with sincere gratitude for this course.
  2. My Fair Lady is for me the most wonderful and perfect musical. The play in which it is based, the wonderful Lerner and Loewe adaptation, the Warner treatment and Audrey, Rex and Cukor at their best! One of a kind production and the unforgettable essence of the musicals from the 60s. Style, art, elegance, wit. Irresistible! Seen it 43 years ago for the first time and maybe.... more than fifty times.
  3. I completely agree. Maybe the comedians today or worse, the movies, lack the soul we used to know and love
  4. A man who could be an ex-con doing chords while he is under parole or maybe while he is running away from justice. His reaction, his surprise, could be real... or maybe the response of a psychopath who doesn't remember he is the culprit. The salvation army elements incorporated at the very beginning preannounces a sense of doom to the following scene and the need of "someone" to be saved. Whether he is guilty of this murder or not, because of his actions in the past, it seems that he isn't able to face police again. I saw and perceived many elements that were going to be picked up by Mr.Hitchcock years later in "Psycho".
  5. Doom, surprise, inevitability, those are the preliminary feelings shown. Four different beginnings this week, four different destinies. From the very first moments we are certain that nothing good can come from these stories, these unique films. Hidden faces, like hidden stories give way to shocking revelations as long as the plot unfolds. Very little information that will develop into nightmarish tales of "common people"? The skills shown by the writers, cinematographers and directors (to name some) in these four movies, to depict and expose fantastic stories, are still in fabulous shape after more than sixty years.
  6. Boyyyy, they knew how to make stars enter the scene in those days!!!! One way or the other, with superlatively known people or unknown ones, everything was there to adore those lights and shadows on the screen. Nothing is the same today, and I have to reckon with, understandable. But to the ones that prefer classic movies, there is always a feeling of loss. Miss Turner breaks the air and space. And if that image was not enough prove, we are also able to witness that, just by the simple look at Mr.Garfield face, breathless. Soooo well acted by both, and masterfully well done Mise-en-scène by the Director.
  7. Very clever introduction, and strange coming from an MGM movie, thanks to Mr.Schary. Right from the beginning, the director wants to inform us about the irregular conditions in wich most of the mexican workers are hired. We are guided to see during the first aerial images only diagonal lines The screen is completely crossed with them. In the fields we see the grooves, the endless plantations, some irrigation canals, and then, when we got to see the first men involved, when it's the turn for those workers to appear, they do it behind a fence. Those previous diagonal lines that appeared seconds ago, are transformed into the wired fence with the same skewed patterns. People jailed in more ways than one can imagine, traying to gain their trip to a job. Impressive first sight.
  8. This extract of the film begins with a little tilted camera angle from the exterior, when the customer is invited to leave, and then changes to "normal" once we are inside the diner in what we could call a mild realistic depiction. I mean, during the first dialogues and first signals of the plot. After the intruders leave, the hostages are untied and the young man leaves to tell the Swede about what happened, the lights and the camera angles switch again to an atmosphere of pure formalism. Pure mesmerizing formalism we can also find in the very first minutes of the movie, during the titles (and not seen in this clip). The image of the car from inside approaching town, the surreal vision of the gas station and restaurant and the omnipresent lights and shadows in the street. Glorious! Shifting visual design in front of our eyes, seamlessly made. Art craft.
  9. One thing that is amazing about Gilda, among a lot of other things, is that the movie ends with the couple happily leaving and we may think they are going to be together and well at last. Not the usual punishment at the end of the story. No doom, no tears, no drama for the main characters, who have not lived exemplary lives actually. According to the film noir rules, they should be having what they deserved. A twist or maybe a concession to Rita's career.
  10. Can we all put the blame on Mame? Inserted in this wonderful scene, there is a deeper layer in wich both characters actually act their feelings for each other. If Gilda did something unforgivable to Johnny in the past, she is determined to find out if he's still in love with her. Underneath those ashes something remains the same, and he reacts accordingly. Maybe she sang that same song in their past, and now she repeats it erroneously...
  11. I totally agree with Mr.Daves. He succeeded in using the first person POV in this opening. We are there in the middle of the action, we spin, we breath, we jump along with Mr.Bogart, WE ARE HIM. I understand some concernings explained in the previous comments of this blog. BUT, do you realize this is a 1947 movie? Have you ever seen the size of a camera like the one used in this film?? Not to mention the base that supports it, the cables, the connections… Both technically and dramatically, this achievement is outstanding! I look forward to see the film complete.
  12. Who could resist Bette Davis in The Letter opening scene? If you think that William Wyler is behind cameras, that these are the forties in the Warner Bros lot... Hollywood is there at it's best! The setting, the path, the climate, the point of view. A beginning with little information and much emotion, trying to disarm you and keep you from breathing and waiting for what's coming next. But in reality, what happened before. We saw the conclusion, now the previous drama must be unfold. A fine contribution to Film Noir in a A class movie.
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