Ghost in the Shell (1995)
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Ghost in the Shell (1995)
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"When I Saw You" a film set in 1967 in Jordan largely in a Palestinian refugee camp in the immediate aftermath of the six days war. It is seen largely through the eyes of a little Palestinian boy - and is a moving film that makes it clear how radicalisation can happen in the light of hopelessness.
When I Saw You - Trailer - YouTube
I remember the first time I saw A Bout de Souffle in the early 1970s when I was soaking up as much cinema as I could. Not long into the film I predicted the end, and spent most of the time wondering how this amateurish crap had ever reached the screen. A jerk with a gun who kills people because he doesn't care, who walks around for most of the film with a cigarette hanging out of his mouth, who has sex with a plain looking American who fulfills the stereotype of the American in Paris who wants a good time and maybe a little danger...yawn. A Bout de Souffle is not the worst film ever made, I don't know what is (but anything by Michael Powell will do), but it does have a claim to be one, while the man who made it, Godard is the sort of man who drops his pants, ejects a turd into your lap, and has the cheek(s) to call it a 'film'. Indeed, the logical conclusion is that the work of this turditeur amounts to little more than a bucket of shit.Quote:
Originally Posted by Prospero
It is worth noting that Godard was an amateur when he shot A Bout de Souffle, and actually lost control of the filming on the streets of Paris (see the link at the end of this critique) and in the process turned a film which is made up of a collage of other films -because Godard is a man without a single original idea- and turned what was supposed to be an homage to Bogart and the golden age of Hollywood, into a one-dimensional farce.
Philip French has described how important Godard was to him and his generation in the early 1960s, but while he dismisses most of Godard's later work, French refuses to confront the juvenile politics of Godard, and perhaps crucially, because it is on display throughout A Bout de Souffle, Godard's inept, offensive stereotyping of women -Godard may have been an admirer of Ophuls, but you won't find in any of Godard's films a sensitive depiction of women comparable to I Signora di Tutti (1934), Letter from an Unknown Woman (1948), or Lola Montes (1955).
You can read the article by French here-
http://www.theguardian.com/film/2010...rench-new-wave
Godard did not just betray women, by depicting women as creatures of men's desire with no lives of any importance unless lived in reference to men, he inadvertently registered his own 'bourgeois' origins as the son of a wealthy Franco-Swiss banking family, while posing as a revolutionary without having any real clue as to what this meant, least of all in cinema in the age in which he lived. He made films which like the wholesale theft of American films in A Bout de Souffle, stole from Vertov and Eisenstein and justified it with the slogan There is only one way to be an intellectual revolutionary, and that is to give up being an intellectual.
An example of his juvenile mind at work can be found in the British films he made, One Plus One (aka Sympathy for the Devil) (1968) and British Sounds (aka See You at the Mao) (1969); these embarrassing, rambling sequences of sloganeering and political posturing, are supposedly enlivened by the footage in One Plus One of the Rolling Stones recording their song Sympathy for the Devil -noticeably slower than the final cut which came out on the album Beggar's Banquet.
Indeed, Godard deliberately left out the final cut and when invited to see the UK premiere at the National Film Theatre London in late 1968, discovered that the producer Ian Quarrier had changed the ending, playing the whole of the final cut over the crane shot -and set about him, punching him in the face and stomach. Mike, the house manager for many years in those days, grabbed hold of Godard and literally thew him out of the building, one of most necessary acts of devotion to cinema to have happened in the UK in the last 50 years. I believe Godard never returned to the UK, one can only hope he never does.
Godard is a fraud, his films are incoherent splices of other people's films masquerading as a critique of the 'bourgeoisie' -Godard even once described himself as 'a thorn in the side of the bourgeoisie' and took to waving red flags, smoking cuban cigars and being generally obnoxious. He became the darling of the pseudo-Marxist left which in spite of its serious devotion to radical cinema was quite happy to jump ship in the 1980s when Derrida and deconstruction took over film criticism, producing reviews of Disney in prose that would have confused Hegel. Weekend (1967) ends with the famous caption Fin du cinema which would have been appropriate for this turditeur has it read Fin du Cinema Godard, yet he went on to prove he was a Man with a Movie Camera with Nothing to Say in unadulterated crap like Tout va Bien (1972), Numero Deux (1975), Sauve qui peut (la vie) (1980) and others.
Many people think revolution is a con, Jean-Luc Godard may just be the proof that they are right.
Further reading
A general study -The Films of Jean-Luc Godard, Wheeler Dixon
http://books.google.co.uk/books?id=2...0Dixon&f=false
An account of the making of A Bout de Souffle
http://www.slate.com/articles/news_a...reathless.html
Godard's telegrams to the British Film Institute in 1968, just to prove what a pretentious jerk he was -
http://www.bfi.org.uk/news/godards-telegram
^^ cliff notes: stravos doesn't like jean-luc godard.
godard's response (minus the cigarette hanging out of his mouth):
http://www.animateit.net/data/media/...gonna-hate.gif
Of Godard, I know I began watching Masculin Feminin, and Weekend, but since I couldn't tell you how they ended, I'm not sure I made it to the ending.
I know I watched Pierrot le Fou all of the way to the end because it had a fairly remarkable ending. I don't disagree with Stavros' criticism about the treatment of women in his film. Seems like a bit of a misogynist. Nevertheless, I don't think I have quite the antipathy for his films as Senor Stavros seems to have. Back in my film enthusiast days in the late 80's and early 90's, I was told he was a must see. I saw a few films and moved on.
Maleficent. N id watch that shit again.
I usually have a pretty low opinion about almost anything that comes out of Hollywood.
And Flight (2012) was no exception.
total cliche "omg look at the perils of alcohol" hollywood crap.
One of my favorite pro wrestling documentaries.
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dayum. didn't bret hart die? and what was his finishing move? the sharpshooter? i remember people being put in a sharpshooter and agonizing in pain for the ref to throw the match. i think one person was jake "the snake" roberts whose own move the ddt was something you didn't want to find yourself on the recieving end of, then bret hart gets out of it and puts the snake in the sharpshooter and it's game (set?): match
http://www.youtube.com/watch?v=11uQO1ECsJg
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this movie is pretty much a laundry list of political incorrectness, with laughs for pedophilia and transsexualism, but more so, it's a great fashion advertisement for early 80s righteousness
p.s. major crush on judy here. wouldn't mind doing a sleepaway in her vagina: permanently
http://www.youtube.com/watch?v=yfZR1Lqjws4