Razno

[Ravanelli]

treba otvoriti big lebowski topik, već se ispostovalo gomila stvari na tu temu

[Ravanelli]

[Jimmy Kowalski]

Kul poster

[Jimmy Kowalski]

Zataskavanje Prisluskivanja

[Jimmy Kowalski]

bloody disgusting

[Ravanelli]

the party

Edited April 14, 2013 by Ravanelli

[Sludge Factory]

[Jimmy Kowalski]

Pola veka od premijere filma The Birds“The basic appeal to me is that it had to do with ordinary, everyday birds,” said Hitchcock in a series of candid interviews with critic/filmmaker Francois Truffaut. The “it” he was referring to was the movie’s source of inspiration, a 1952 Daphne du Maurier novella. The story involves a Cornish farm labourer’s escalating ordeal with menacing bird hordes and draws thematic and atmospheric parallels with WWII’s bombing of Britain. The English author also wrote the source material for Hitch’s “Rebecca” and “Jamaica Inn.” Du Maurier’s creation was revamped for the screen obviously enough, transposed from west-coast England to the west American coast and developed by Hitchcock and screenwriter Evan Hunter into a love story designed to begin as light comedy before an abrupt gear-change that would supply audiences with the surprise and suspense of the random bird attacks. Anyone familiar with Hitch’s “bomb under the table” analogy will know there’s an important difference between the two.It’s as clear as the beak on your face, that “The Birds” in a world of “Saw” and full-contact cage fighting cuts like a knife partly dulled. For a film commonly billed as a “suspense/horror,” odds are that audiences today will find the horror tame. When an army of razor-sharp beaks stab at Mitch’s hands as he tries to shutter the birds out of the home, the effect can’t help but be softened by what’s come since – Herschell Gordon Lewis, Dario Argento, Texas chainsaws and 40 years of slasher films. The safeguarding of America’s morals via the Production Code (1930-1968) with its list of Don’ts (spoken profanity, scenes of childbirth) and Be Carefuls (use of firearms, possible gruesomeness) had already begun to lose its footing by the time Norman Bates began admitting blondes to cabin 1 in “Psycho” (1960). Today it’s a runaway train.But the latter, the feeling of anxious doubt, holds nicely. There’s a reason why Hitchcock carries the rank “Master of Suspense.” His reputation as an exacting craftsman who prioritized visual impact, over story even, covers “The Birds” like a scent. Probably the most celebrated example comes late in the film with the bird blitz on Bodega Bay. Note the use of cross-cutting, employing Melanie’s point-of-view to heighten audience participation (a fundamental Hitch objective), and the director’s working rule concerning the long-shot. “The size of the image is used for dramatic purposes and not merely to establish the background,” he told Truffaut. The shot in question shows the birds hovering above the town, readying for attack. But what’s it all about? Nature’s revenge? A Cold War experiment gone wrong? The mystery isn’t as well explained as in other Hitchcockers – Norman Bates’ cross-dressing or the reason for the bizarre murder pact in “Rope.” In fact it’s not explained at all, another reason to reconsider/revisit the film.In many ways, different ways, “The Birds” is as bold as “Psycho” for its creative choices – the casting of model and inexperienced actress Hedren as his blonde lead (“Blondes make the best victims. They’re like virgin snow that shows up the bloody footprints.”), the uneasy absence of a musical score and a third point…more a personal observation…that an ending this open can be this satisfying. After a final winged assault on the Brenner home, a selection of characters take advantage of a lull in the violence to quit the town. It’s delicate business. The ground is carpeted, uh, not by grass, and our heroes literally have to tip-toe to their transport. No guns, no dynamite, no compressed gas tanks…this is not “Jaws” and there is no dance of joy for the credits to roll over. But the love story is more or less wrapped in a bow. Strange how, all things considered, that seems to be enough.

[Jimmy Kowalski]

[kobni zelaya]

Program novog Kana"The Great Gatsby" (dir. Baz Luhrmann)Official Selection"Behind The Candelabra" (dir. Steven Soderbergh)"Borgman" (dir. Alex Van Warmerdam)"Un Chateau En Italie" (dir. Valeria Bruni-Tedeschi)"The Great Beauty" (dir. Paolo Sorrentino)"Grisgris" (dir. Mahamat-Saleh Haroun)"Heli" (dir. Amat Escalante)"The Immigrant" (dir. James Gray)"Inside Llewyn Davis" (dir. Joel & Ethan Coen)"Jeune Et Jolie" (dir. Francois Ozon)"Jimmy P" (dir. Arnaud Desplechin)"Michael Kohlhaas" (dir. Arnaud Despallieres)"Nebraska" (dir. Alexander Payne) "Only God Forgives" (dir. Nicolas Winding Refn)"The Past" (dir. Asghar Farhadi")"Soshite Chichi Ni Naru" (dir. Hirokazu Kore-eda)"Tian Zhu Ding" (dir. Zhangke Jia)"Venus In Fur" (dir. Roman Polanski)"La Vie D'Adele" (dir. Abdellatif Kechiche)"Wara No Tate" (dir. Takashi Miike)

[Sir Oliver]

potrebna pomoć prijatelja!ne mogu da nađem post glede filma/dokumentarca o putovanju po egzotikama i ondašnjoj hranimislim da ga je postavio kojot ili moća?

Edited April 25, 2013 by Sir Oliver

[Jimmy Kowalski]

http://www.youtube.com/watch?v=kAoYtU5XjWQ

[Roger Sanchez]

IMDb reflektira Zeitgeist.

[Jimmy Kowalski]

Jerry Lewis, Robert DeNiro, Martin Scorsese Reunite for “King of Comedy”It was one of those great nights in showbiz that you hope for and will never forget: Martin Scorsese, Robert DeNiro and the legend himself, Jerry Lewis, reunited for a showing of “The King of Comedy” to close the Tribeca Film Festival. Lewis. 87, came from Los Angeles just for the event. In a couple of weeks he’ll fly to Cannes for the premiere of his “Max Rose” film. Last night, as always, his great friend Richard Belzer was by his side. Actor Steve Buscemi stopped by the green room to say hello before the screening. Tribeca founder Jane Rosenthal was right there, too. She told me: “What a day I’ve had. Two legends in 24 hours. First Clint Eastwood. Now Jerry Lewis. I’m overwhelmed!”Lewis looked a little frail before the screening, sat in a swivel chair backstage, and took it easy. “Jerry,” I said, “can you imagine you on the red carpet at Cannes? It will be like Beatlemania.”Lewis quipped back: “I may not do the red carpet. No red carpet.” Why not? “I’m 87. I’ll be lucky if I get to Cannes. I have to conserve my energy.”But when he appeared on stage with DeNiro and Scorsese after the screening for a Q&A, Lewis came alive. The audience as well as the director and the other star energized him clearly. Indeed, when DeNiro saw Lewis for the first time backstage before the show, I saw him literally light up with a grin from ear to ear.“King of Comedy” was released in 1981, the year after Scorsese and DeNiro won literally everything with “Raging Bull.” The new film was overshadowed in every way. “We were ignored,” Scorsese recalled for me, by the Oscars and all the other awards show. It’s stunning to think of that considering how well the film has held up. It was prescient in many ways about the cult of celebrity, stalking, terrorism fears, and so on –even more considering it was made right after the assassination of John Lennon by a fan in front of his New York home.It’s also, in many ways, an old fashioned film. As Scorsese says, there are wide shots that linger, there’s no fast cutting. There are long conversations. And there’s what amounts to several classic cinematic moments including the famous scene of Sandra Bernhard attempting to seduce Lewis while he’s bound in and covered with huge amounts of masking tape.The story: Rupert Pupkin, who’s probably a sociopath, wants to do his stand up comedy routine on The Jerry Langford Show– a sort of “Tonight” show with Johnny Carson. Pupkin lives with his (unseen) mother– voiced by Scorsese’s late mother Catherine. He has a version of the Langford show set in his living room, where he acts out his fantasy with Liza Minnelli (Scorsese’s then girlfriend) and Langford (Lewis) as cardboard cut outs. Bernhard is his wealthy friend, a fellow stalker of Langord. They each believe in their hearts they have relationships with Langford, who walks around the city solo, without a bodyguard, between his office and the studio. Lewis and Bernhard kidnap him. The ransom: that Pupkin gets to perform his act on the Langford show. Pupkin is also trying to impress a young woman, played by Diahnne Abbott, who in real life was the mother of DeNiro’s eldest childen.(That DeNiro, Lewis, and Bernhard — not to mention Scorsese–had no Academy attention is true miscarriage of showbiz justice. “King of Comedy” was released on February 1, 1983. At the next Oscars, “Terms of Endearment” won, nominated along with “The Big Chill,” “Tender Mercies,” “The Right Stuff,” and “The Dresser.” Robert Duvall, the only American nominated for Best Actor, won. Besides “King of Comedy,’ the other movie that was ignored: Woody Allen’s now classic “Zelig.” What were people thinking? )A neat bit of trivia: Scorsese let Lewis direct a scene at a phone booth outside Carnegie Hall in which an older female fan of Langford at first is thrilled when she meets him. But when he refuses to talk to her son, who’s on the other end of the call, she screams bloody murder at him. “It really happened,” Scorsese said. “Jerry told us about it, and we put it in.”Another scene, in which DeNiro and Abbott invade Lewis’s country home, was completely ad-libbed. It’s a brilliant moment as Lewis skillfully ousts the unwanted duo with some help from his house man. The scene eerily also telegraphs the many incidents since then from real life in which crazy people have been discovered in stars’ homes.Lewis was hot at the Q&A. On Bernhard, who wasn’t there but sent a funny video: “She’s the reason for birth control.” Beat. “She’s a wonderful guy, really. When you get to know him.”On DeNiro, who watched “King of Comedy” for the first time in 25 years: “And he’s seeing The Deer Hunter tonight.”A joke: “I said to my staff, this trip is my chance to take the subway. I haven’t been on the subway since I was seven years old. We come to a stop, the doors open and a young guy walks in, he’s wearing a leather jacket. With gold chains coming out of his nose. Leather shirt, leather pants. Leather shoes. He’s got a leather tongue. I’ve never seen so much leather. And besides that his hair is spiked. It’s yellow, blue, green and white. So I’m staring at him. He says what’s the matter old man? Didn’t you ever do anything unusual in your life? I said, Yes, as a matter of fact. Twenty years I had sex with a parrot. I thought you were my son.”The audience howled. Scorsese said: “I had so many asthma attacks on the set from laughing.”

[Indy]