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Jan. 4th, 2013 01:48 amA. Once Upon a Time in the West: Rousing and fun to look at, totally devoid of takeaway. The proliferation of strong silent undernamed males and their frequent interactions with the only woman, Cardinale, led to a number of moments where she was unclear about whether she was about to be raped, since they were too strong and silent to ever let her know. Making me wonder if the target audience for this film was that crowd of leering men in the square in L'Avventura. And of course Quentin Tarantino, whose spirit I kept hearing scream "cooooooool" while watching.
B. Los Olvidados: Important for its time - see Pixote, The Wire and City of God for updates - but now, for me, just an okay old movie. Bunuel must have done it for the kids or the money, is only himself in scattered moments.
C. Amarcord: Vignettes of infuriatingly mixed levels of interest, sort of like Cinema Paradiso but Porkies-er. I can't deny it's directed stunningly, and the good parts probably gave Bergman the notion he could recreate the world of his own youth on a similarly large scale in Fanny and Alexander, so for that you have to love it. Also must be the one fiction movie ever where Leopardi's mentioned.
#. Moonrise Kingdom: The Drive of its year, clearly. People need to stop encouraging this guy to film stuff, or at least admit that when they say his movies are good they don't mean actually good but instead the other kind. This one's Salinger's Hapworth 16, 1928 as adapted by Greenaway. Scratch that: that I'd run to watch. This is Wes Anderson's idea of how Hapworth 16 might be adapted by Greenaway.
B. Los Olvidados: Important for its time - see Pixote, The Wire and City of God for updates - but now, for me, just an okay old movie. Bunuel must have done it for the kids or the money, is only himself in scattered moments.
C. Amarcord: Vignettes of infuriatingly mixed levels of interest, sort of like Cinema Paradiso but Porkies-er. I can't deny it's directed stunningly, and the good parts probably gave Bergman the notion he could recreate the world of his own youth on a similarly large scale in Fanny and Alexander, so for that you have to love it. Also must be the one fiction movie ever where Leopardi's mentioned.
#. Moonrise Kingdom: The Drive of its year, clearly. People need to stop encouraging this guy to film stuff, or at least admit that when they say his movies are good they don't mean actually good but instead the other kind. This one's Salinger's Hapworth 16, 1928 as adapted by Greenaway. Scratch that: that I'd run to watch. This is Wes Anderson's idea of how Hapworth 16 might be adapted by Greenaway.
