list http://www.spout.com/ Recent community activity around La Dolce Vita on Spout Copyright 2005-9 Spout, LLC Spout RSS http://www.spout.com/images/SpoutLogoRSS.jpg http://www.spout.com/ 136 30 http://www.spout.com/films/La_Dolce_Vita/19391/default.aspx Title: La Dolce Vita
Year: 1960
Director: Federico Fellini
Plot: In one of the most widely seen and acclaimed European movies of the 1960s, Federico Fellini featured Marcello Mastrioanni as gossip columnist Marcello Rubini. Having left his dreary provincial existence behind, Marcello wanders through an ultra-modern, ultra-sophisticated, ultra-decadent Rome. He yearns to write seriously, but his inconsequential newspaper pieces bring in more money, and he's too lazy to argue with this setup. He attaches himself to a bored socialite (Anouk Aimée), whose search for thrills brings them in contact with a bisexual prostitute (Adriana Moneta). The next day, Marcello juggles a personal tragedy (the attempted suicide of his mistress (Yvonne Furneaux)) with the demands of his profession (an interview with none-too-deep film star Anita Ekberg). Throughout his adventures, Marcello's dreams, fantasies, and nightmares are mirrored by the hedonism around him. With a shrug, he concludes that, while his lifestyle is shallow and ultimately pointless, there's nothing he can do to change it and so he might as well enjoy it. Fellini's hallucinatory, circus-like depictions of modern life first earned the adjective "Felliniesque" in this celebrated movie, which also traded on the sense of Rome as a hotbed of sex and decadence. A huge worldwide success, La Dolce Vita won several awards, including a New York Film Critics CIrcle award for Best Foreign Film and the Palme d'Or at the Cannes Film Festival. ~ Hal Erickson, All Movie Guide
Times Tagged: 34
Number of Lists: 44
Number of blog posts: 5
Number of discussion threads: 2
SpoutRating: 4
]]>Wed, 01 Jul 2009 07:29:26 GMTLa Dolce Vita1960Federico FelliniIn one of the most widely seen and acclaimed European movies of the 1960s, <a href="/players/P____89547/default.aspx" style='text-decoration:underline'>Federico Fellini</a> featured Marcello Mastrioanni as gossip columnist Marcello Rubini. Having left his dreary provincial existence behind, Marcello wanders through an ultra-modern, ultra-sophisticated, ultra-decadent Rome. He yearns to write seriously, but his inconsequential newspaper pieces bring in more money, and he's too lazy to argue with this setup. He attaches himself to a bored socialite (<a href="/players/P______534/default.aspx" style='text-decoration:underline'>Anouk Aimée</a>), whose search for thrills brings them in contact with a bisexual prostitute (Adriana Moneta). The next day, Marcello juggles a personal tragedy (the attempted suicide of his mistress (<a href="/players/P____25380/default.aspx" style='text-decoration:underline'>Yvonne Furneaux</a>)) with the demands of his profession (an interview with none-too-deep film star <a href="/players/P____21423/default.aspx" style='text-decoration:underline'>Anita Ekberg</a>). Throughout his adventures, Marcello's dreams, fantasies, and nightmares are mirrored by the hedonism around him. With a shrug, he concludes that, while his lifestyle is shallow and ultimately pointless, there's nothing he can do to change it and so he might as well enjoy it. Fellini's hallucinatory, circus-like depictions of modern life first earned the adjective "Felliniesque" in this celebrated movie, which also traded on the sense of Rome as a hotbed of sex and decadence. A huge worldwide success, La Dolce Vita won several awards, including a New York Film Critics CIrcle award for Best Foreign Film and the Palme d'Or at the Cannes Film Festival. ~ Hal Erickson, All Movie Guide34Tag Target (>10)44524http://www.spout.com/ProductImages/t73041wqy9f.jpghttp://www.spout.com/films/La_Dolce_Vita/19391/default.aspxFilm http://www.spout.com/blogs/leeroy711/archive/2009/6/29/42849.aspx Post By: leeroy711
Post To: leeroy711 Blog
Post Date: 6/29/2009 3:33:51 PM
Body: I’m writing this to take a moment and reflect on my past 6 months in film viewing. At the beginning of the year, I set a goal of watching 200 films I haven’t previously seen in 2009. Today, I am relieved to report that with the 6th month of the year ending, I have just finished watching my 100th film. I decided to create a list of the films I’ve seen so I could better keep track of them. Also, because this is an attempt to expand my film knowledge as a whole, I like to be able to sort them by release year, my rating, and the country the originated. This way I can more clearly see any gaping holes in my choices of films. So with all of that in mind, let’s take a look. The oldest film I’ve seen this year was 1947’s Out of the Past. I have to say, I’m kind of disappointed in myself. I think I generally gravitate towards older films but to see that this is the oldest I’ve seen this year is somewhat shocking. I've only seen 2 films from the 40s this year. By Decade:1940s - 2 films 1950s - 10 films 1960s - 12 films 1970s - 12 films 1980s - 7 films 1990s - 1 film 2000s - 56 films So, as you can see, over half of the movies I've watched this year have been released in the within the past 9 years. I would chalk some of that up to availability plus a general attempt to stay current and up to date. I did find it pretty odd that I have only seen one film this year from the 90s. (To Live 1994) I grew up in the 90s, I fell in love with film in the 90s. Maybe that well is simply drying up. So in summary, the rest of my year needs to include more films from the 40s and prior and a few more from the 90s. By Country: Australia - 1 film Belgium - 1 film China - 3 films Czechoslovakia - 1 film France - 4 films Germany - 1 film Italy - 4 films Japan - 11 films Mexico - 2 films Romania - 1 film South Korea - 3 films Spain - 3 film Sweden - 1 film United Kingdom - 3 films United States - 61 films. Okay, so again it seems that the majority of films I've seen are some of the most readily available (domestic). Interestingly also, the 11 Japanese films I've seen this year are from only 3 directors (Miike, Suzuki and Kurosawa) 6 of the 11 are Seijun Suzuki movies. I love his films and I'm not going to stop watching them. I discovered Argentinian filmmaker Alejandro Jodorowski films this year (Mexico), thanks to Mycomplex. The Holy Mountain was good but I loved El Topo. Of the 4 Italian films I watched, 3 were from Federico Fellini (La Dolce Vita, Amarcord and La Strada) My favorite of the 3 and of all Fellini films is now La Strada. I watched the other 2 films in Park Chan-Wook's vengeance trilogy and I actually think Lady Vengeance may be the best of the 3. Last year, I devoted much more time to European film without much of an affinity for Asian cinema. This has changed this year. I am much more interested in Korean films lately. I think it just took me a little while to assimilate myself to thier style. I have also been able to scratch a few films off my "Classics I have no excuse for not having seen" list. I am now very happy to report that I have seen and enjoyed Vertigo, Sunset Boulevard and 12 Angry Men. Wow, that's embarrassing. Especially with the 12 Angry Men, but let me explain.... (excuse alert) I was always pretty convinced I would love this film. But when I am already that familiar with an iconic film that I've never actually seen, it takes a lot to want to actually put it on and sit through it. That being said, upon finally watching it, I immediately felt pretty stupid for letting such an incredible film slip by for that long. Notable 5: I'm going to conclude this post with a list of 5 films that I probably had the best time with so far this year. 1. La Strada - This is my most recent viewing. I've liked other Fellini films but none of his had such an enjoyable character as Gelsomina. I think she gave this film an entry point that I haven't previously experienced with his films. 2. Synecdoche, New York - I can't really describe how much I loved this film. It hit all the right notes for me and I probably only understood about half of it the first time. Monty (Mycomplex) told me that Charlie Kaufman may be the best American screenwriter alive today and I would have to second that. I would add that as much as I loved his work portrayed by Jonze and Gondry, I think this is his best film. He never over-exaggerated the outrageous things that happen, he just let them play out. Never even asking you if you were on board. 3. Let The Right One In - You know, the teenage vampire movie.... No, not that one, the good one. I don't have a lot to say about this one. It really is as good as you've heard. If you haven't yet, watch it. 4. Detective Bureau 2-3: Go Hell Bastards - By far, the best title of a movie I've seen in a long time. This is one of Seijun Suzuki's lesser known movies and I had one hell of a good time with it. If you liked Branded to Kill or Tokyo Drifter, this is a great watch along those same lines. 5. Lady Vengeance - As I said before, this is probably my favorite of the Vengeance Trilogy. It was just as aesthetically brilliant as Oldboy but I think it's 3rd act gave this film the heart that was missing in the previous 2. Well, that should just about do it. I now have just about 186 days to watch another 100 films. In case your not to good with the numbers, that works out to an average of 1 film every 1.86 days. I'm not sure how I'm gonna do it but it shall be done. Recommendations are more than welcome...... Peace & Love Emery.
]]>Mon, 29 Jun 2009 19:33:51 GMTleeroy711leeroy711 Blog6/29/2009 3:33:51 PM I&rsquo;m writing this to take a moment and reflect on my past 6 months in film viewing. At the beginning of the year, I set a goal of watching 200 films I haven&rsquo;t previously seen in 2009. Today, I am relieved to report that with the 6th month of the year ending, I have just finished watching my 100th film. I decided to create a list of the films I&rsquo;ve seen so I could better keep track of them. Also, because this is an attempt to expand my film knowledge as a whole, I like to be able to sort them by release year, my rating, and the country the originated. This way I can more clearly see any gaping holes in my choices of films. So with all of that in mind, let&rsquo;s take a look. The oldest film I&rsquo;ve seen this year was 1947&rsquo;s Out of the Past. I have to say, I&rsquo;m kind of disappointed in myself. I think I generally gravitate towards older films but to see that this is the oldest I&rsquo;ve seen this year is somewhat shocking. I've only seen 2 films from the 40s this year. By Decade:1940s - 2 films 1950s - 10 films 1960s - 12 films 1970s - 12 films 1980s - 7 films 1990s - 1 film 2000s - 56 films So, as you can see, over half of the movies I've watched this year have been released in the within the past 9 years. I would chalk some of that up to availability plus a general attempt to stay current and up to date. I did find it pretty odd that I have only seen one film this year from the 90s. (To Live 1994) I grew up in the 90s, I fell in love with film in the 90s. Maybe that well is simply drying up. So in summary, the rest of my year needs to include more films from the 40s and prior and a few more from the 90s. By Country: Australia - 1 film Belgium - 1 film China - 3 films Czechoslovakia - 1 film France - 4 films Germany - 1 film Italy - 4 films Japan - 11 films Mexico - 2 films Romania - 1 film South Korea - 3 films Spain - 3 film Sweden - 1 film United Kingdom - 3 films United States - 61 films. Okay, so again it seems that the majority of films I've seen are some of the most readily available (domestic). Interestingly also, the 11 Japanese films I've seen this year are from only 3 directors (Miike, Suzuki and Kurosawa) 6 of the 11 are Seijun Suzuki movies. I love his films and I'm not going to stop watching them. I discovered Argentinian filmmaker Alejandro Jodorowski films this year (Mexico), thanks to Mycomplex. The Holy Mountain was good but I loved El Topo. Of the 4 Italian films I watched, 3 were from Federico Fellini (La Dolce Vita, Amarcord and La Strada) My favorite of the 3 and of all Fellini films is now La Strada. I watched the other 2 films in Park Chan-Wook's vengeance trilogy and I actually think Lady Vengeance may be the best of the 3. Last year, I devoted much more time to European film without much of an affinity for Asian cinema. This has changed this year. I am much more interested in Korean films lately. I think it just took me a little while to assimilate myself to thier style. I have also been able to scratch a few films off my "Classics I have no excuse for not having seen" list. I am now very happy to report that I have seen and enjoyed Vertigo, Sunset Boulevard and 12 Angry Men. Wow, that's embarrassing. Especially with the 12 Angry Men, but let me explain.... (excuse alert) I was always pretty convinced I would love this film. But when I am already that familiar with an iconic film that I've never actually seen, it takes a lot to want to actually put it on and sit through it. That being said, upon finally watching it, I immediately felt pretty stupid for letting such an incredible film slip by for that long. Notable 5: I'm going to conclude this post with a list of 5 films that I probably had the best time with so far this year. 1. La Strada - This is my most recent viewing. I've liked other Fellini films but none of his had such an enjoyable character as Gelsomina. I think she gave this film an entry point that I haven't previously experienced with his films. 2. Synecdoche, New York - I can't really describe how much I loved this film. It hit all the right notes for me and I probably only understood about half of it the first time. Monty (Mycomplex) told me that Charlie Kaufman may be the best American screenwriter alive today and I would have to second that. I would add that as much as I loved his work portrayed by Jonze and Gondry, I think this is his best film. He never over-exaggerated the outrageous things that happen, he just let them play out. Never even asking you if you were on board. 3. Let The Right One In - You know, the teenage vampire movie.... No, not that one, the good one. I don't have a lot to say about this one. It really is as good as you've heard. If you haven't yet, watch it. 4. Detective Bureau 2-3: Go Hell Bastards - By far, the best title of a movie I've seen in a long time. This is one of Seijun Suzuki's lesser known movies and I had one hell of a good time with it. If you liked Branded to Kill or Tokyo Drifter, this is a great watch along those same lines. 5. Lady Vengeance - As I said before, this is probably my favorite of the Vengeance Trilogy. It was just as aesthetically brilliant as Oldboy but I think it's 3rd act gave this film the heart that was missing in the previous 2. Well, that should just about do it. I now have just about 186 days to watch another 100 films. In case your not to good with the numbers, that works out to an average of 1 film every 1.86 days. I'm not sure how I'm gonna do it but it shall be done. Recommendations are more than welcome...... Peace &amp; Love Emery. http://www.spout.com/groups/Weekly_Theme/Re_Weekly_Theme_for_April_27_3_Hours/625/41839/1/ShowPost.aspx Post By: leeroy711
Post To: Weekly Theme
Post Date: 4/28/2009 9:30:25 PM
Body: [quote user="mercurial"] I think I've been slacking recently with my regular movie watching schedule due to the inordinate number of 3+ hours films I've seen lately. I'm not sure what it is, but watching such epic films makes me wish that it wasn't such an oddity. I personally think it's a sign of a pretty amazing filmmaker when a film lasts more than 180 minutes and that time goes by without the death knell of feeling the need to check the time on your watch or cell phone. Grindhouse has definitely founds its place among my favorite 3+ hour films. It was so exhausting after watching it for the first time and trying to absorb everything that had happened I thought that it might be a while before I got around to watching it again. However, thanks to the Starz channel I've watched the entire film twice this past week and it has managed to keep my attention both times. Magnolia was just one of those films that I watched at the right time of my life. Every aspect of the film just clicked for me and I have probably watched the 188 minute film more than 20 times. And I am definitely going to get a lot of criticism for this but who cares. Titanic remains the only film I have ever paid to see on the big screen twice. It wasn't entirely my own need that led me to see it twice (not that I'm trying to justify it but my mother did lay a whole guilt trip on me about her going alone to see it and that she really wanted me to go with her even though I had already seen it), but anyways, it was a great film and kept me glued to the screen the entire time. Both times. So Yes or No? Should movies stick to the typical 90 minute standard? Are long movies just that, too long? Let's get talking! If you're having trouble thinking of films, Wikipedia has a fairly comprehensive list. [/quote] WOW! Until seeing that list, I had just assumed that I don't really care for long movies. But I'm actually really surprised at some of the films on that list because I've never really thought of them long-winded or even the least bit taxing to watch. You already mentioned Magnolia, which I pretty much figured on a bit over two hours. Schindler's List is one of my all time favorite films, weighing in at 195 minutes.... But on the other hand, there are some on this list I definately think would have benefited from a bit of cutting room floor action. I really think La Dolce Vita could have used about a 20 minute trim or so. (don't kill me).
]]>Wed, 29 Apr 2009 01:30:25 GMTleeroy711Weekly Theme4/28/2009 9:30:25 PM[quote user="mercurial"] I think I've been slacking recently with my regular movie watching schedule due to the inordinate number of 3+ hours films I've seen lately. I'm not sure what it is, but watching such epic films makes me wish that it wasn't such an oddity. I personally think it's a sign of a pretty amazing filmmaker when a film lasts more than 180 minutes and that time goes by without the death knell of feeling the need to check the time on your watch or cell phone. Grindhouse has definitely founds its place among my favorite 3+ hour films. It was so exhausting after watching it for the first time and trying to absorb everything that had happened I thought that it might be a while before I got around to watching it again. However, thanks to the Starz channel I've watched the entire film twice this past week and it has managed to keep my attention both times. Magnolia was just one of those films that I watched at the right time of my life. Every aspect of the film just clicked for me and I have probably watched the 188 minute film more than 20 times. And I am definitely going to get a lot of criticism for this but who cares. Titanic remains the only film I have ever paid to see on the big screen twice. It wasn't entirely my own need that led me to see it twice (not that I'm trying to justify it but my mother did lay a whole guilt trip on me about her going alone to see it and that she really wanted me to go with her even though I had already seen it), but anyways, it was a great film and kept me glued to the screen the entire time. Both times. So Yes or No? Should movies stick to the typical 90 minute standard? Are long movies just that, too long? Let's get talking! If you're having trouble thinking of films, Wikipedia has a fairly comprehensive list. [/quote] WOW! Until seeing that list, I had just assumed that I don't really care for long movies. But I'm actually really surprised at some of the films on that list because I've never really thought of them long-winded or even the least bit taxing to watch. You already mentioned Magnolia, which I pretty much figured on a bit over two hours. Schindler's List is one of my all time favorite films, weighing in at 195 minutes.... But on the other hand, there are some on this list I definately think would have benefited from a bit of cutting room floor action. I really think La Dolce Vita could have used about a 20 minute trim or so. (don't kill me). http://www.spout.com/blogs/smooth_j/archive/2008/9/12/35101.aspx Post By: Smooth_J
Post To: Smooth_J Blog
Post Date: 9/12/2008 11:24:50 PM
Body: The Coens have the uncanny ability to make you laugh hysterically and then make you feel like a total jerk for laughing, all in the same stride. Burn After Reading provides that sort of fun-filled game of the Coens providing you with outstanding entertainment, all the while toying with you and laughing smugly to themselves. A standard moviegoer walks out of Burn After Reading with a big, goofy smile, having thoroughly enjoyed the antics and witticisms of the array of imbeciles portrayed onscreen. The avid filmgoer (and Coen devotee) will walk out of the film with the same goofy smile, except realizing how stupid the Coens just made everyone and everything in the world look. Oh, Ethan and Joel, how you mock us... The film opens with a wide shot of the United States from an "intelligence" standpoint in outer space. I believe that the purpose of this was to establish the only firm idea in the film: You are in Washington, DC, in the United States. Have fun. The beginning segments introduce the players, known now by everyone interested in seeing the film and therefore pointless for me to list. Needless to say, everyone is excellent. George Clooney, though panned by some critics as giving a bland, "Clooney" performance, is great, playing an extension of his role in O Brother, Where Art Thou?, except now he has a gun and is a sex addict. He has some of the best scenes in the movie, and there are a shitload of great scenes. Tilda Swinton is a stone cold bitch, and its perfect. I am one of the few who thought she was overrated (hardcore) in Michael Clayton, but she really proves herself in this movie. While she's not necessarily one of the more hysterical characters, she's definitely very solid and provides a strong contrast to the broad comedy of the other characters. Frances McDormand, I hate to say, was a bit undervalued...some of her big scenes were duds. However, I thought she was great, injecting her part with vulnerability and witless determination. John Malkovich plays a man who is enraged beyond belief with the "morons that he's had to deal with his whole fucking life." Seeing him lose it is an enlightening experience. I was convinced about how awesome this film would be after seeing the production photos of his walking down the street in a bathrobe, underwear, and a beater while carrying a drink in one hand and a hatchet in the other. I can see that one scene becoming truly iconic for Malkovich. Brad Pitt is a hardass. Chad is a character that could have so easily become a caricature of the average stupid guy, a buffoon who nobody really cares about, he's just there for laughs. But Pitt makes the character a real person, that guy you see at the gym that's nice to everybody but who's only topics of conversation are what his senses are attuned to at the moment (The ADD guy who's charismatic enough for everyone to ignore how incredibly emtpy-headed he is). He is the lovable character, the "Donnie", who the audience immediately relates with and finds the funniest. The joy he seems to take in this role takes him back 10 years, almost back to the insane glee of 12 Monkeys. Pitt's character brings me to my previous topic of lamentable laughter. Like Fargo, the Coens want the audience to think that the most disturbing of occurences are funny. They want you to double over when William H. Macy fights the cops who are restraining him, squealing like a captured pig, lamenting his life and going insane. That's their idea of fun. And then afterwards, they throw something in, basically saying "You insensitive prick, you laughed at that?" There are a couple scenes of that in Burn After Reading. Several, actually. And it's embarrassing to be the only "insensitive prick" in the theater cackling even as the camera pans to the aftermath of one of these scenes. I mean, I'm sure other people realized it, but had the sense to keep their mirth to themselves. I find that buckets of fun. The supporting players provide a lot of the movie's other vital organs (if the main characters are the heart--albeit, a decrepid one). JK Simmons is outstanding, the only major character that has any real sense. He acts as a narrator almost; an outsider, seeing the events with just as much confusion as the viewer. His lines sum up everything about the movie, making sure that the audience knows that it's all in good fun. Nothing really matters, so don't worry if you don't get it. We don't get it either. Richard Jenkins is the only character with a noticeable soul (except perhaps Clooney, hidden deep inside his perpetually horny complexion). He's a poor, lovelorn old guy, without so much as the courage to profess his love to the shallow, dull McDormand. He is almost seen with contempt by the viewer, being such a pathetic old man, but the Coens quickly make you realize how much of a dick you are for thinking that. And lastly David Rasche, a seldom heard of actor, is effectively deadpan as the informer of JK Simmons' CIA Superior. Somehow, his performance stands out, probably because of its normalcy compared to the weirdness of everybody else. I came to the conclusion early on in the film that this is just the Coens having fun, following the brutal and poetic No Country with some goofy fun. As Peter Travers successfully analyzed, the Coens have followed all of their more serious subjects with their trademark "zany" (for lack of a better word) comedies. As usual, they throw in their two-sense about society, humanity, and what have you. They thoroughly believe that most people are dim-witted, but it doesn't change the fact that these sorts of people have to be dealt with nonetheless. However, Burn After Reading shows that the Coens can show these sorts of characters with compassion. Their previous efforts, such as Fargo and Raising Arizona, were criticized for being condescending towards their own characters. I disagree. While those two films were a bit more pessimistic about these people, both of them (especially Fargo) demonstrate the Coens' love of these people. Why would they continue to make movies about them if they were just ridiculing them? They find depths in characters that seem one note and shallow. They give you a reason to their moronic delusions. They make you feel for them, and realize "Oh, wow, I guess that is pretty stupid when I do that." It may be a stretch, but their work almost brings to mind the two Fellinis that I've seen, La Dolce Vita and 8 1/2. In the booklet for LDV, an essay proclaims that Fellini was primarily an entertaining, infusing his stories with existentialism and satire. While I think the Coens are different in a lot of ways, this could just as easily be said about them. Burn After Reading is basically just evidence that the Coens having a good time is better and more profound than most film-makers' serious efforts. While they are cynical, making each of their movies an inside joke that only they can really decipher, they always manage to entertain their audience. As usual, this review really only touched on the surface of the hundreds of things that can be said about this film. But, all you need to know essentially is that it's a hilarious entry into the Coens' filmography, and has the potential to gain a cult status with The Big Lebowski if it duds with critics. I doubt it will, however, now that the Coens have officially proved themselves with No Country, giving them the freedom to do whatever the fuck they want. (Oh, did I mention I'm a fan?)
]]>Sat, 13 Sep 2008 03:24:50 GMTSmooth_JSmooth_J Blog9/12/2008 11:24:50 PMThe Coens have the uncanny ability to make you laugh hysterically and then make you feel like a total jerk for laughing, all in the same stride. Burn After Reading provides that sort of fun-filled game of the Coens providing you with outstanding entertainment, all the while toying with you and laughing smugly to themselves. A standard moviegoer walks out of Burn After Reading with a big, goofy smile, having thoroughly enjoyed the antics and witticisms of the array of imbeciles portrayed onscreen. The avid filmgoer (and Coen devotee) will walk out of the film with the same goofy smile, except realizing how stupid the Coens just made everyone and everything in the world look. Oh, Ethan and Joel, how you mock us... The film opens with a wide shot of the United States from an "intelligence" standpoint in outer space. I believe that the purpose of this was to establish the only firm idea in the film: You are in Washington, DC, in the United States. Have fun. The beginning segments introduce the players, known now by everyone interested in seeing the film and therefore pointless for me to list. Needless to say, everyone is excellent. George Clooney, though panned by some critics as giving a bland, "Clooney" performance, is great, playing an extension of his role in O Brother, Where Art Thou?, except now he has a gun and is a sex addict. He has some of the best scenes in the movie, and there are a shitload of great scenes. Tilda Swinton is a stone cold bitch, and its perfect. I am one of the few who thought she was overrated (hardcore) in Michael Clayton, but she really proves herself in this movie. While she's not necessarily one of the more hysterical characters, she's definitely very solid and provides a strong contrast to the broad comedy of the other characters. Frances McDormand, I hate to say, was a bit undervalued...some of her big scenes were duds. However, I thought she was great, injecting her part with vulnerability and witless determination. John Malkovich plays a man who is enraged beyond belief with the "morons that he's had to deal with his whole fucking life." Seeing him lose it is an enlightening experience. I was convinced about how awesome this film would be after seeing the production photos of his walking down the street in a bathrobe, underwear, and a beater while carrying a drink in one hand and a hatchet in the other. I can see that one scene becoming truly iconic for Malkovich. Brad Pitt is a hardass. Chad is a character that could have so easily become a caricature of the average stupid guy, a buffoon who nobody really cares about, he's just there for laughs. But Pitt makes the character a real person, that guy you see at the gym that's nice to everybody but who's only topics of conversation are what his senses are attuned to at the moment (The ADD guy who's charismatic enough for everyone to ignore how incredibly emtpy-headed he is). He is the lovable character, the "Donnie", who the audience immediately relates with and finds the funniest. The joy he seems to take in this role takes him back 10 years, almost back to the insane glee of 12 Monkeys. Pitt's character brings me to my previous topic of lamentable laughter. Like Fargo, the Coens want the audience to think that the most disturbing of occurences are funny. They want you to double over when William H. Macy fights the cops who are restraining him, squealing like a captured pig, lamenting his life and going insane. That's their idea of fun. And then afterwards, they throw something in, basically saying "You insensitive prick, you laughed at that?" There are a couple scenes of that in Burn After Reading. Several, actually. And it's embarrassing to be the only "insensitive prick" in the theater cackling even as the camera pans to the aftermath of one of these scenes. I mean, I'm sure other people realized it, but had the sense to keep their mirth to themselves. I find that buckets of fun. The supporting players provide a lot of the movie's other vital organs (if the main characters are the heart--albeit, a decrepid one). JK Simmons is outstanding, the only major character that has any real sense. He acts as a narrator almost; an outsider, seeing the events with just as much confusion as the viewer. His lines sum up everything about the movie, making sure that the audience knows that it's all in good fun. Nothing really matters, so don't worry if you don't get it. We don't get it either. Richard Jenkins is the only character with a noticeable soul (except perhaps Clooney, hidden deep inside his perpetually horny complexion). He's a poor, lovelorn old guy, without so much as the courage to profess his love to the shallow, dull McDormand. He is almost seen with contempt by the viewer, being such a pathetic old man, but the Coens quickly make you realize how much of a dick you are for thinking that. And lastly David Rasche, a seldom heard of actor, is effectively deadpan as the informer of JK Simmons' CIA Superior. Somehow, his performance stands out, probably because of its normalcy compared to the weirdness of everybody else. I came to the conclusion early on in the film that this is just the Coens having fun, following the brutal and poetic No Country with some goofy fun. As Peter Travers successfully analyzed, the Coens have followed all of their more serious subjects with their trademark "zany" (for lack of a better word) comedies. As usual, they throw in their two-sense about society, humanity, and what have you. They thoroughly believe that most people are dim-witted, but it doesn't change the fact that these sorts of people have to be dealt with nonetheless. However, Burn After Reading shows that the Coens can show these sorts of characters with compassion. Their previous efforts, such as Fargo and Raising Arizona, were criticized for being condescending towards their own characters. I disagree. While those two films were a bit more pessimistic about these people, both of them (especially Fargo) demonstrate the Coens' love of these people. Why would they continue to make movies about them if they were just ridiculing them? They find depths in characters that seem one note and shallow. They give you a reason to their moronic delusions. They make you feel for them, and realize "Oh, wow, I guess that is pretty stupid when I do that." It may be a stretch, but their work almost brings to mind the two Fellinis that I've seen, La Dolce Vita and 8 1/2. In the booklet for LDV, an essay proclaims that Fellini was primarily an entertaining, infusing his stories with existentialism and satire. While I think the Coens are different in a lot of ways, this could just as easily be said about them. Burn After Reading is basically just evidence that the Coens having a good time is better and more profound than most film-makers' serious efforts. While they are cynical, making each of their movies an inside joke that only they can really decipher, they always manage to entertain their audience. As usual, this review really only touched on the surface of the hundreds of things that can be said about this film. But, all you need to know essentially is that it's a hilarious entry into the Coens' filmography, and has the potential to gain a cult status with The Big Lebowski if it duds with critics. I doubt it will, however, now that the Coens have officially proved themselves with No Country, giving them the freedom to do whatever the fuck they want. (Oh, did I mention I'm a fan?) http://www.spout.com/groups/Filmgaming/Re_TOP_5_MOVIES_TO_TEACH_AN_ALIEN_ABOUT_EARTH/563/31665/1/ShowPost.aspx Post By: dangmovie
Post To: Filmgaming
Post Date: 6/25/2008 12:34:13 PM
Body: 1) Earth is really only understood through its small towns, thus I'm Reed Fish introduces the Aliens not only to the mindset of small towns, but to the function and purpose of movies in general. 2) La Dolce Vita then gives them an artful, European, and somewhat historical yet modern perspective of the trivial pursuits of mankind and the emotional toll they take on us. 3) Blade Runner is a required viewing to understand how humanity's mind has evolved into postmodern thought. It is the perfect illustration for us being tools of our tools, failing to believe in the promise of modernism that La Dolce Vita illustrates, living in the remains of society, lack of an absolute truth, etc. 4) Minority Report is our most accurate depiction of what we believe our world will be like in 25 to 50 years time. How we think the world will be reveals a whole lot about what we think our current world is. 5) Finally, these aliens would need to see a little something about our beautiful dependency on love and sex and that requires a viewing of Patrice Leconte's Le Mari de la coiffeuse (1990)
]]>Wed, 25 Jun 2008 16:34:13 GMTdangmovieFilmgaming6/25/2008 12:34:13 PM1) Earth is really only understood through its small towns, thus I'm Reed Fish introduces the Aliens not only to the mindset of small towns, but to the function and purpose of movies in general. 2) La Dolce Vita then gives them an artful, European, and somewhat historical yet modern perspective of the trivial pursuits of mankind and the emotional toll they take on us. 3) Blade Runner is a required viewing to understand how humanity's mind has evolved into postmodern thought. It is the perfect illustration for us being tools of our tools, failing to believe in the promise of modernism that La Dolce Vita illustrates, living in the remains of society, lack of an absolute truth, etc. 4) Minority Report is our most accurate depiction of what we believe our world will be like in 25 to 50 years time. How we think the world will be reveals a whole lot about what we think our current world is. 5) Finally, these aliens would need to see a little something about our beautiful dependency on love and sex and that requires a viewing of Patrice Leconte's Le Mari de la coiffeuse (1990) http://www.spout.com/blogs/spoutblog/archive/2007/8/10/17796.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 8/10/2007 4:01:07 PM
Body: A massive fire broke out last night at Rome’s Cinecitta Studios, the mega-complex that has hosted hundreds of productions, from La Dolce Vita to The Life Aquatic. Ironically, the only set damaged beyond repair by the blaze was that in use by the HBO drama Rome. Above, you’ll find an English-language news report about the fire; click through the jump to watch the trailer for one of my favorite films shot in and around Cinecitta, Godard’s Contempt. (more…) Originally posted on:Spoutblog
]]>Fri, 10 Aug 2007 20:01:07 GMTSpoutBlogSpoutBlog on spout.com8/10/2007 4:01:07 PM A massive fire broke out last night at Rome’s Cinecitta Studios, the mega-complex that has hosted hundreds of productions, from La Dolce Vita to The Life Aquatic. Ironically, the only set damaged beyond repair by the blaze was that in use by the HBO drama Rome. Above, you’ll find an English-language news report about the fire; click through the jump to watch the trailer for one of my favorite films shot in and around Cinecitta, Godard’s Contempt. (more…) Originally posted on:Spoutblog http://www.spout.com/blogs/brad/archive/2006/11/1/3510.aspx Post By: brad
Post To: Brad Movies
Post Date: 11/1/2006 11:05:00 PM
Body: Sometimes, just hearing the music to a certain movie puts me into the mood for the experience of watching a film. I rented a collection of Nina Rota's music from the library the other day and lost myself in the tastes of Rota's stylings. Besides creating the score for "The Godfather" films, he also did "Romeo and Juliet", "Death on the Nile", and many Fellini films. After listening to all that great music, I was influence to watch "La Dolce Vita" tonight. For those of you who don't know, the story surrounds Marchello Mastroianni as he vainly tries to make sense of his life in the swirl of a series of events set in Rome.   As in many Fellini films, music is essential and Nina Rota helped create that vision for 15 of Fellini's films. Many directors have their favorite musical authors, Hitchcock had Bernard Herman, Spielberg - John Williams, Tim Burton - Danny Elfman. Music is part of the emotion of a movie and directors seem to gravitate to a particular voice that relates best to their own.   The film portrays events surrounding a reporter played by Mastroianni who is disillusioned with life. He drifts through a series of evenings each that starts out with much promise, from sexual encounters to supernatural Mother Mary sightings. During the coarse of these events, the emptiness of his life begins to permeate till by dawn he has had to take his girl friend to the hospital to have her stomach pumped, identify the body of his best friend, gotten beat up for a girl he never touched. Through these illusions Mastroinni travels looking for truth but never having to tell us that this is his goal. Fellini leaves the preaching out of these moral situations and does not try to poke the obvious in our faces like most good American directors would have done with the same material.   Through out this mix of moments Nina Rota makes three dimensional the imagery with his music. During a night of dancing and partying Marchello tries in vain to woo Anita Ekberg, almost old fashion in his approach he is pushed aside by the Satyr stylings of her friend Frankie who kicks the band into high gear in pseudo Jazz fashion and leads the revelers through the Roman ruins with a frenzy. Marchello is left in the dust. From jazz to an Italian concept of Rock-a-billy, the music swiftly shifts. Through it all, twinges of Nina Rota's classical Italian upbringing and world music concepts seep together to create something that is old and new at the same time. Just listen to the opening chords to the movie, classical music with a twinge of chinese sensibilities! If it all sounds familiar, it's only because composers like Danny Elfman have taken up the torch and channel Nina Rota. Sometime just listen to "Pee Wee's Big Adventure and "8 1/2" . Do it blind folded. Passages could easily be swapped. Don't tell me that composer Henry Mancinni didn't clue into some of those pseudo jazz styling himself from Nina Rota. Hell, Henry made a career of almost doing jazz. No offense, I love it all. Sometimes just hearing a bit of music can make me hunger to return to a great film. Film is like travel and music is what carries me there.   -brad yarhouse
]]>Thu, 02 Nov 2006 03:05:00 GMTbradBrad Movies11/1/2006 11:05:00 PMSometimes, just hearing the music to a certain movie puts me into the mood for the experience of watching a film. I rented a collection of Nina Rota's music from the library the other day and lost myself in the tastes of Rota's stylings. Besides creating the score for "The Godfather" films, he also did "Romeo and Juliet", "Death on the Nile", and many Fellini films. After listening to all that great music, I was influence to watch "La Dolce Vita" tonight. For those of you who don't know, the story surrounds Marchello Mastroianni as he vainly tries to make sense of his life in the swirl of a series of events set in Rome.   As in many Fellini films, music is essential and Nina Rota helped create that vision for 15 of Fellini's films. Many directors have their favorite musical authors, Hitchcock had Bernard Herman, Spielberg - John Williams, Tim Burton - Danny Elfman. Music is part of the emotion of a movie and directors seem to gravitate to a particular voice that relates best to their own.   The film portrays events surrounding a reporter played by Mastroianni who is disillusioned with life. He drifts through a series of evenings each that starts out with much promise, from sexual encounters to supernatural Mother Mary sightings. During the coarse of these events, the emptiness of his life begins to permeate till by dawn he has had to take his girl friend to the hospital to have her stomach pumped, identify the body of his best friend, gotten beat up for a girl he never touched. Through these illusions Mastroinni travels looking for truth but never having to tell us that this is his goal. Fellini leaves the preaching out of these moral situations and does not try to poke the obvious in our faces like most good American directors would have done with the same material.   Through out this mix of moments Nina Rota makes three dimensional the imagery with his music. During a night of dancing and partying Marchello tries in vain to woo Anita Ekberg, almost old fashion in his approach he is pushed aside by the Satyr stylings of her friend Frankie who kicks the band into high gear in pseudo Jazz fashion and leads the revelers through the Roman ruins with a frenzy. Marchello is left in the dust. From jazz to an Italian concept of Rock-a-billy, the music swiftly shifts. Through it all, twinges of Nina Rota's classical Italian upbringing and world music concepts seep together to create something that is old and new at the same time. Just listen to the opening chords to the movie, classical music with a twinge of chinese sensibilities! If it all sounds familiar, it's only because composers like Danny Elfman have taken up the torch and channel Nina Rota. Sometime just listen to "Pee Wee's Big Adventure and "8 1/2" . Do it blind folded. Passages could easily be swapped. Don't tell me that composer Henry Mancinni didn't clue into some of those pseudo jazz styling himself from Nina Rota. Hell, Henry made a career of almost doing jazz. No offense, I love it all. Sometimes just hearing a bit of music can make me hunger to return to a great film. Film is like travel and music is what carries me there.   -brad yarhouse http://www.spout.com/blogs/rick/archive/2006/3/7/319.aspx Post By: Rick
Post To: Rick's filmBlog
Post Date: 3/7/2006 11:29:00 AM
Body: There is a lot that can be said about this movie, but I will just state in this quick little post that the dancing scene in the ruins, with the crazy, satyr-like "Frankie" is something that just sticks in your head. That and the black sunglasses. Seldom have black sunglasses been so utterly, utterly cool.
]]>Tue, 07 Mar 2006 16:29:00 GMTRickRick's filmBlog3/7/2006 11:29:00 AMThere is a lot that can be said about this movie, but I will just state in this quick little post that the dancing scene in the ruins, with the crazy, satyr-like "Frankie" is something that just sticks in your head. That and the black sunglasses. Seldom have black sunglasses been so utterly, utterly cool. http://www.spout.com/members/0/tags/love/MemberTagFilms.aspxlove
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]]>Sat, 26 Sep 2009 13:47:01 GMT131114Tag http://www.spout.com/members/0/tags/sunglasses/MemberTagFilms.aspxsunglasses
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