list http://www.spout.com/ Recent community activity around The Best of Youth 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/The_Best_of_Youth/229152/default.aspx Title: The Best of Youth
Year: 2003
Director: Marco Tullio Giordana
Plot: Directed by Marco Tullio Giordana, La Meglio Gioventu, over the course of six hours, chronicles the youth, emotional development, and milestone events in the lives of brothers Nicola (Luigi Lo Cascio and Matteo Carti (Alessio Boni) between 1966 and the early 2000s. Despite being polar opposites -- Nicola is a free spirited, romantic psychiatrist; Matteo is an angst-ridden idealist and member of the Italian police force -- the brothers stay connected through the nature of life, family, and time, even during their long periods of separation from one another. The film showed at the Cannes Film Festival in 2003. ~ Tracie Cooper, All Movie Guide
Times Tagged: 9
Number of Lists: 9
Number of blog posts: 3
SpoutRating: 4
]]>Tue, 19 May 2009 00:15:34 GMTThe Best of Youth2003Marco Tullio GiordanaDirected by Marco Tullio Giordana, La Meglio Gioventu, over the course of six hours, chronicles the youth, emotional development, and milestone events in the lives of brothers Nicola (Luigi Lo Cascio and Matteo Carti (Alessio Boni) between 1966 and the early 2000s. Despite being polar opposites -- Nicola is a free spirited, romantic psychiatrist; Matteo is an angst-ridden idealist and member of the Italian police force -- the brothers stay connected through the nature of life, family, and time, even during their long periods of separation from one another. The film showed at the Cannes Film Festival in 2003. ~ Tracie Cooper, All Movie Guide9Taggedy Taggged (6-10)934http://www.spout.com/ProductImages/t70463o7pxr.jpghttp://www.spout.com/films/The_Best_of_Youth/229152/default.aspxFilm http://www.spout.com/blogs/spoutblog/archive/2008/7/22/32892.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 7/22/2008 12:00:34 PM
Body: If there’s one thing I relate to on the big screen, it’s the depiction of fraternal relationships. I’m the middle of three brothers (excluding the half-brother I only knew as a toddler and the former stepbrother I only knew briefly as an adult), and at different points in my life I’ve either hated them or considered them my best friends. So, yeah, I can’t wait to see Step Brothers, starring Will Ferrell and John C. Reilly as new siblings who go from being enemies to BFFs when forced to live together. Choosing a handful of favorite movies about brotherhood is really tough. After all, tales of brothers go all the way back to almost the beginning, with the story of Cain and Abel. And a number of favorites can’t exactly be discussed, because the revelation of brothers, especially twin brothers, is often the surprise twist in films. So, before you start naming a thousand other films about brothers that I’ve forgotten (such as The Brothers McMullen and Legends of the Fall), keep in mind that I’ve actually left out a whole pile of brother films, and this is more of a personal favorites list. Coupe de Ville – If there’s one movie that seemed to define my brothers and I growing up, it’s this underrated road movie about three estranged siblings (played by Patrick Dempsey, Arye Gross and Daniel Stern) delivering the titular automobile to their father (Alan Arkin). As kids, my brothers and I couldn’t have been any more different, just like the guys in the movie. For at least half a decade, until he seemed to disappear after he left the sitcom Ellen, Gross was like my cinematic alter ego, just because I felt a kinship with his middle-brother character in Coupe de Ville so much. Twins – While I’m on the subject of identification, here’s another movie I was able to relate to, as my older brother was (in my young, confused mind) like Schwarzenegger and I was a fat kid. Now that we’re in our 30s, we’re fortunately more physically balanced (or is it just that my perception has matured?). The Godfather Part II – At one time or another, to one degree or another, most of us with brothers have unfortunately had fratricidal thoughts. Again, murdering one’s brother is a plot that goes back to The Book of Genesis, and the theme shows up in some of the greatest of stories, from Shakespeare’s Richard III to the Shakespearean animated film The Lion King. But as I never wanted to murder either of my brothers for gain of power, I’m including this film instead. Oh, wait, I guess I never actually struggled with the idea of whether or not to kill my brother because he’s a liability and an embarrassment, either. The Public Enemy – In fraternal stories, if brothers aren’t trying to kill each other, they’re at least following separate paths, morally and occupationally. Typically, one is a criminal and the other is a cop, politician or priest. This particular gangster film doesn’t portray the divergence as clearly as subsequent films, such as Johnny Dangerously, We Own the Night or any number of Bollywood films, including the classics Deewaar. But it’s the scene in which the brothers argue about their differences and, ultimately, their similarities, that makes the film that much more interesting. Amar Akbar Anthony – Like Deewaar, this film stars Indian superstar Amitabh Bachchan and is also about brothers. This time, though, there’s three of them, and each one allegorically represents a different prominent religious group of post-colonial India. Bachchan plays the Catholic one, and the film is worth checking out just for his musical number involving a giant Easter egg. The Best of Youth – Another film about brothers that also represents its nation’s history, this six-hour saga is even longer than the mere three hour Amar Akbar Anthony. If you’re ever in a fraternal mood, you can fill up a whole day of loosely learning about India and Italy via these movies. Or you can simply enjoy two great movies about brothers. American History X – After fratricide and divergence, another common plot involving brothers is the one found here: elder brother tries to keep younger from following in his footsteps. Interestingly enough, Edward Furlong plays the younger in both this film and in Little Odessa. Adaptation – My younger brother and I are differently creative, and in the past we’ve been mistaken for being twins (unlike me and my older brother being like Twins). So, of course, I had to be a sad sack and identify with the protagonist of the story, while viewing the character’s more popular, more successful brother as my own brother. I guess that would put the third act into a sort of wish fulfillment of fratricide. Maybe I need to stop this list before it upsets my currently great relationships with both my brothers. Big Night – Though differently creative, my younger brother and I have at times worked really well together. As many brothers in history have. Though we never attempted to operate a business together, we were in a band together. I guess for that reason I could have used The Blues Brothers here instead, but I like Big Night a whole hell of a lot more. The Darjeeling Limited – Return of the brotherly trio on a trip. Only this time the father has died (good ol’ Oedipal patricide is almost as popular as fratricide – not that any of the brothers killed Dad; I’m merely talking about wish fulfillment for the audience again) and the brothers are even more different (who would ever believe Jason Schwartzman, Owen Wilson and Adrien Brody as actual siblings?). I wonder if Wes Anderson ever saw Coupe de Ville. Or Amar Akbar Anthony. And here’s 10 more favorite brother films: Simple Men; Rain Man; La Bamba; Undertow; The Brothers Grimm; The City of Lost Children; The Assassination of Jesse James by the Coward Robert Ford; Thirteen Days; The Funeral; The Wind that Shakes the Barley. Originally posted on:SpoutBlog
]]>Tue, 22 Jul 2008 16:00:34 GMTSpoutBlogSpoutBlog on spout.com7/22/2008 12:00:34 PM If there’s one thing I relate to on the big screen, it’s the depiction of fraternal relationships. I’m the middle of three brothers (excluding the half-brother I only knew as a toddler and the former stepbrother I only knew briefly as an adult), and at different points in my life I’ve either hated them or considered them my best friends. So, yeah, I can’t wait to see Step Brothers, starring Will Ferrell and John C. Reilly as new siblings who go from being enemies to BFFs when forced to live together. Choosing a handful of favorite movies about brotherhood is really tough. After all, tales of brothers go all the way back to almost the beginning, with the story of Cain and Abel. And a number of favorites can’t exactly be discussed, because the revelation of brothers, especially twin brothers, is often the surprise twist in films. So, before you start naming a thousand other films about brothers that I’ve forgotten (such as The Brothers McMullen and Legends of the Fall), keep in mind that I’ve actually left out a whole pile of brother films, and this is more of a personal favorites list. Coupe de Ville – If there’s one movie that seemed to define my brothers and I growing up, it’s this underrated road movie about three estranged siblings (played by Patrick Dempsey, Arye Gross and Daniel Stern) delivering the titular automobile to their father (Alan Arkin). As kids, my brothers and I couldn’t have been any more different, just like the guys in the movie. For at least half a decade, until he seemed to disappear after he left the sitcom Ellen, Gross was like my cinematic alter ego, just because I felt a kinship with his middle-brother character in Coupe de Ville so much. Twins – While I’m on the subject of identification, here’s another movie I was able to relate to, as my older brother was (in my young, confused mind) like Schwarzenegger and I was a fat kid. Now that we’re in our 30s, we’re fortunately more physically balanced (or is it just that my perception has matured?). The Godfather Part II – At one time or another, to one degree or another, most of us with brothers have unfortunately had fratricidal thoughts. Again, murdering one’s brother is a plot that goes back to The Book of Genesis, and the theme shows up in some of the greatest of stories, from Shakespeare’s Richard III to the Shakespearean animated film The Lion King. But as I never wanted to murder either of my brothers for gain of power, I’m including this film instead. Oh, wait, I guess I never actually struggled with the idea of whether or not to kill my brother because he’s a liability and an embarrassment, either. The Public Enemy – In fraternal stories, if brothers aren’t trying to kill each other, they’re at least following separate paths, morally and occupationally. Typically, one is a criminal and the other is a cop, politician or priest. This particular gangster film doesn’t portray the divergence as clearly as subsequent films, such as Johnny Dangerously, We Own the Night or any number of Bollywood films, including the classics Deewaar. But it’s the scene in which the brothers argue about their differences and, ultimately, their similarities, that makes the film that much more interesting. Amar Akbar Anthony – Like Deewaar, this film stars Indian superstar Amitabh Bachchan and is also about brothers. This time, though, there’s three of them, and each one allegorically represents a different prominent religious group of post-colonial India. Bachchan plays the Catholic one, and the film is worth checking out just for his musical number involving a giant Easter egg. The Best of Youth – Another film about brothers that also represents its nation’s history, this six-hour saga is even longer than the mere three hour Amar Akbar Anthony. If you’re ever in a fraternal mood, you can fill up a whole day of loosely learning about India and Italy via these movies. Or you can simply enjoy two great movies about brothers. American History X – After fratricide and divergence, another common plot involving brothers is the one found here: elder brother tries to keep younger from following in his footsteps. Interestingly enough, Edward Furlong plays the younger in both this film and in Little Odessa. Adaptation – My younger brother and I are differently creative, and in the past we’ve been mistaken for being twins (unlike me and my older brother being like Twins). So, of course, I had to be a sad sack and identify with the protagonist of the story, while viewing the character’s more popular, more successful brother as my own brother. I guess that would put the third act into a sort of wish fulfillment of fratricide. Maybe I need to stop this list before it upsets my currently great relationships with both my brothers. Big Night – Though differently creative, my younger brother and I have at times worked really well together. As many brothers in history have. Though we never attempted to operate a business together, we were in a band together. I guess for that reason I could have used The Blues Brothers here instead, but I like Big Night a whole hell of a lot more. The Darjeeling Limited – Return of the brotherly trio on a trip. Only this time the father has died (good ol’ Oedipal patricide is almost as popular as fratricide – not that any of the brothers killed Dad; I’m merely talking about wish fulfillment for the audience again) and the brothers are even more different (who would ever believe Jason Schwartzman, Owen Wilson and Adrien Brody as actual siblings?). I wonder if Wes Anderson ever saw Coupe de Ville. Or Amar Akbar Anthony. And here’s 10 more favorite brother films: Simple Men; Rain Man; La Bamba; Undertow; The Brothers Grimm; The City of Lost Children; The Assassination of Jesse James by the Coward Robert Ford; Thirteen Days; The Funeral; The Wind that Shakes the Barley. Originally posted on:SpoutBlog http://www.spout.com/blogs/spoutblog/archive/2008/5/21/29662.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 5/21/2008 12:01:06 PM
Body: It’s Che day. Steven Soderbergh’s Guevara epic has its world premiere this evening at 6:30, and as of this 9am writing, ticket-less gawkers are already lining up outside the Palais, some with Cuban cigars, all with signs declaring their need tickets. From a press and industry perspective, people are definitely talking about the film, but everyone seems less interested in what’s going to be on screen tonight than in how it’ll eventually be seen. Che is screening here for the press and the public as a single, four-hour film, but it’s playing in the market for buyers as two separate pieces, The Argentine and The Guerilla. This leaves open a number of possibilities: a) the film(s) could be released franchise style, ala Kill Bill; b) the two films could be picked up by different distributors (unlikely, but not impossible); and c) one half of Che could be seen theatrically whilst the other does not. Rumor has it that the second half of the story is currently in better shape than the first; it remains to be seen what would be lost if half of Che was demoted to straight-to-DVD. And then there’s the competition. The competing film so far most popular with critics is probably Arnaud Desplechin’s Un Conte De Noel, a messy masterpiece of a family drama that––we think––has absolutely no shot of impressing a jury under Sean Penn’s mandate to give the Palme D’Or to a filmmaker “very aware of the times in which he lives.” If we’re to take that pullquote to mean that Penn intends to select a film with Something to Say about the horrors of war, than Waltz with Bashir is the only competition feature to screen thus far that really applies, and buzz on that one seems to be petering out as the fest moves along. There’s certainly room for Che to make an impression, especially on a jury with more than one prominent Hollywood name, who may be inclined to hail one of their own; again, as of this writing, it’s too early to say whether or not the film will deserve it. One film that *doesn’t* deserve plaudits, but which may be able to ride the wave of relevancy to release nonetheless, is Born in 68, an 173 minute French prestige film screening in the Marche. Laetitia Casta stars as a young libertine who becomes involved with two student wannabe revolutionaries in Paris in May 1968. The three move to a farm and start a commune and have babies and make a lot of expository statements about whether or not they’re Doing Anything For The Cause. After the first hour, the film moves through years at a laughable pace (watch Baye’s hair become progressively grayer so that she doesn’t have to act!), and eventually tracks the children born on the commune through the 80s and 90s. There’s potentially a thread of interesting critique going on here: the 60s counter culture was in theory about changing the world, but in practice, it was really about sex, drugs and theory; future generations picked up the mantle, but left the theory behind, dispensing with the charade that a youthful interest in politics is anything but excuse to party. Casta’s son celebrates the fall of the Berlin Wall by hooking up at a gay bar to the sound of “99 Luftbaloons,” but is this any worse than his mom, responding to the riots of ‘68 by abandoning Paris in order to make babies, goat cheese, and have stony orgies? Interesting stuff, but unfortunately, the film doesn’t really take it up, preferring instead to indulge in the soap opera aspects of the story (although, I must admit: when said gay character announced in the late 80s that he was waiting for the results of some blood tests, I walked out). Hell, who am I to complain––at least it makes for a lot of nudity. Born in 68 isn’t terribly made––it’s actually shot rather beautifully, although the script could use some work––but it is offensively milquetoast. It’s basically the French The Best of Youth, which was in turn the Italian Forrest Gump. I guess we’re looking at a new genre: the Overlong Ensemble Piece Condensing 40 Years of a Single Country’s History As Seen By Innocents With A Knack For Showing Up At The Right Place At The Right Time. The fact that only one of these movies is blatantly about a person with mental deficiencies is only a technicality. Originally posted on:SpoutBlog
]]>Wed, 21 May 2008 16:01:06 GMTSpoutBlogSpoutBlog on spout.com5/21/2008 12:01:06 PM It’s Che day. Steven Soderbergh’s Guevara epic has its world premiere this evening at 6:30, and as of this 9am writing, ticket-less gawkers are already lining up outside the Palais, some with Cuban cigars, all with signs declaring their need tickets. From a press and industry perspective, people are definitely talking about the film, but everyone seems less interested in what’s going to be on screen tonight than in how it’ll eventually be seen. Che is screening here for the press and the public as a single, four-hour film, but it’s playing in the market for buyers as two separate pieces, The Argentine and The Guerilla. This leaves open a number of possibilities: a) the film(s) could be released franchise style, ala Kill Bill; b) the two films could be picked up by different distributors (unlikely, but not impossible); and c) one half of Che could be seen theatrically whilst the other does not. Rumor has it that the second half of the story is currently in better shape than the first; it remains to be seen what would be lost if half of Che was demoted to straight-to-DVD. And then there’s the competition. The competing film so far most popular with critics is probably Arnaud Desplechin’s Un Conte De Noel, a messy masterpiece of a family drama that––we think––has absolutely no shot of impressing a jury under Sean Penn’s mandate to give the Palme D’Or to a filmmaker “very aware of the times in which he lives.” If we’re to take that pullquote to mean that Penn intends to select a film with Something to Say about the horrors of war, than Waltz with Bashir is the only competition feature to screen thus far that really applies, and buzz on that one seems to be petering out as the fest moves along. There’s certainly room for Che to make an impression, especially on a jury with more than one prominent Hollywood name, who may be inclined to hail one of their own; again, as of this writing, it’s too early to say whether or not the film will deserve it. One film that *doesn’t* deserve plaudits, but which may be able to ride the wave of relevancy to release nonetheless, is Born in 68, an 173 minute French prestige film screening in the Marche. Laetitia Casta stars as a young libertine who becomes involved with two student wannabe revolutionaries in Paris in May 1968. The three move to a farm and start a commune and have babies and make a lot of expository statements about whether or not they’re Doing Anything For The Cause. After the first hour, the film moves through years at a laughable pace (watch Baye’s hair become progressively grayer so that she doesn’t have to act!), and eventually tracks the children born on the commune through the 80s and 90s. There’s potentially a thread of interesting critique going on here: the 60s counter culture was in theory about changing the world, but in practice, it was really about sex, drugs and theory; future generations picked up the mantle, but left the theory behind, dispensing with the charade that a youthful interest in politics is anything but excuse to party. Casta’s son celebrates the fall of the Berlin Wall by hooking up at a gay bar to the sound of “99 Luftbaloons,” but is this any worse than his mom, responding to the riots of ‘68 by abandoning Paris in order to make babies, goat cheese, and have stony orgies? Interesting stuff, but unfortunately, the film doesn’t really take it up, preferring instead to indulge in the soap opera aspects of the story (although, I must admit: when said gay character announced in the late 80s that he was waiting for the results of some blood tests, I walked out). Hell, who am I to complain––at least it makes for a lot of nudity. Born in 68 isn’t terribly made––it’s actually shot rather beautifully, although the script could use some work––but it is offensively milquetoast. It’s basically the French The Best of Youth, which was in turn the Italian Forrest Gump. I guess we’re looking at a new genre: the Overlong Ensemble Piece Condensing 40 Years of a Single Country’s History As Seen By Innocents With A Knack For Showing Up At The Right Place At The Right Time. The fact that only one of these movies is blatantly about a person with mental deficiencies is only a technicality. Originally posted on:SpoutBlog http://www.spout.com/blogs/karina/archive/2008/5/21/29655.aspx Post By: Karina
Post To: Karina on SpoutBlog
Post Date: 5/21/2008 11:00:53 AM
Body: It’s Che day. Steven Soderbergh’s Guevara epic has its world premiere this evening at 6:30, and as of this 9am writing, ticket-less gawkers are already lining up outside the Palais, some with Cuban cigars, all with signs declaring their need tickets. From a press and industry perspective, people are definitely talking about the film, but everyone seems less interested in what’s going to be on screen tonight than in how it’ll eventually be seen. Che is screening here for the press and the public as a single, four-hour film, but it’s playing in the market for buyers as two separate pieces, The Argentine and The Guerilla. This leaves open a number of possibilities: a) the film(s) could be released franchise style, ala Kill Bill; b) the two films could be picked up by different distributors (unlikely, but not impossible); and c) one half of Che could be seen theatrically whilst the other does not. Rumor has it that the second half of the story is currently in better shape than the first; it remains to be seen what would be lost if half of Che was demoted to straight-to-DVD. And then there’s the competition. The competing film so far most popular with critics is probably Arnaud Desplechin’s Un Conte De Noel, a messy masterpiece of a family drama that––we think––has absolutely no shot of impressing a jury under Sean Penn’s mandate to give the Palme D’Or to a filmmaker “very aware of the times in which he lives.” If we’re to take that pullquote to mean that Penn intends to select a film with Something to Say about the horrors of war, than Waltz with Bashir is the only competition feature to screen thus far that really applies, and buzz on that one seems to be petering out as the fest moves along. There’s certainly room for Che to make an impression, especially on a jury with more than one prominent Hollywood name, who may be inclined to hail one of their own; again, as of this writing, it’s too early to say whether or not the film will deserve it. One film that *doesn’t* deserve plaudits, but which may be able to ride the wave of relevancy to release nonetheless, is Born in 68, an 173 minute French prestige film screening in the Marche. Laetitia Casta stars as a young libertine who becomes involved with two student wannabe revolutionaries in Paris in May 1968. The three move to a farm and start a commune and have babies and make a lot of expository statements about whether or not they’re Doing Anything For The Cause. After the first hour, the film moves through years at a laughable pace (watch Baye’s hair become progressively grayer so that she doesn’t have to act!), and eventually tracks the children born on the commune through the 80s and 90s. There’s potentially a thread of interesting critique going on here: the 60s counter culture was in theory about changing the world, but in practice, it was really about sex, drugs and theory; future generations picked up the mantle, but left the theory behind, dispensing with the charade that a youthful interest in politics is anything but excuse to party. Casta’s son celebrates the fall of the Berlin Wall by hooking up at a gay bar to the sound of “99 Luftbaloons,” but is this any worse than his mom, responding to the riots of ‘68 by abandoning Paris in order to make babies, goat cheese, and have stony orgies? Interesting stuff, but unfortunately, the film doesn’t really take it up, preferring instead to indulge in the soap opera aspects of the story (although, I must admit: when said gay character announced in the late 80s that he was waiting for the results of some blood tests, I walked out). Hell, who am I to complain––at least it makes for a lot of nudity. Born in 68 isn’t terribly made––it’s actually shot rather beautifully, although the script could use some work––but it is offensively milquetoast. It’s basically the French The Best of Youth, which was in turn the Italian Forrest Gump. I guess we’re looking at a new genre: the Overlong Ensemble Piece Condensing 40 Years of a Single Country’s History As Seen By Innocents With A Knack For Showing Up At The Right Place At The Right Time. The fact that only one of these movies is blatantly about a person with mental deficiencies is only a technicality. Originally posted on:SpoutBlog » Karina Longworth
]]>Wed, 21 May 2008 15:00:53 GMTKarinaKarina on SpoutBlog5/21/2008 11:00:53 AM It’s Che day. Steven Soderbergh’s Guevara epic has its world premiere this evening at 6:30, and as of this 9am writing, ticket-less gawkers are already lining up outside the Palais, some with Cuban cigars, all with signs declaring their need tickets. From a press and industry perspective, people are definitely talking about the film, but everyone seems less interested in what’s going to be on screen tonight than in how it’ll eventually be seen. Che is screening here for the press and the public as a single, four-hour film, but it’s playing in the market for buyers as two separate pieces, The Argentine and The Guerilla. This leaves open a number of possibilities: a) the film(s) could be released franchise style, ala Kill Bill; b) the two films could be picked up by different distributors (unlikely, but not impossible); and c) one half of Che could be seen theatrically whilst the other does not. Rumor has it that the second half of the story is currently in better shape than the first; it remains to be seen what would be lost if half of Che was demoted to straight-to-DVD. And then there’s the competition. The competing film so far most popular with critics is probably Arnaud Desplechin’s Un Conte De Noel, a messy masterpiece of a family drama that––we think––has absolutely no shot of impressing a jury under Sean Penn’s mandate to give the Palme D’Or to a filmmaker “very aware of the times in which he lives.” If we’re to take that pullquote to mean that Penn intends to select a film with Something to Say about the horrors of war, than Waltz with Bashir is the only competition feature to screen thus far that really applies, and buzz on that one seems to be petering out as the fest moves along. There’s certainly room for Che to make an impression, especially on a jury with more than one prominent Hollywood name, who may be inclined to hail one of their own; again, as of this writing, it’s too early to say whether or not the film will deserve it. One film that *doesn’t* deserve plaudits, but which may be able to ride the wave of relevancy to release nonetheless, is Born in 68, an 173 minute French prestige film screening in the Marche. Laetitia Casta stars as a young libertine who becomes involved with two student wannabe revolutionaries in Paris in May 1968. The three move to a farm and start a commune and have babies and make a lot of expository statements about whether or not they’re Doing Anything For The Cause. After the first hour, the film moves through years at a laughable pace (watch Baye’s hair become progressively grayer so that she doesn’t have to act!), and eventually tracks the children born on the commune through the 80s and 90s. There’s potentially a thread of interesting critique going on here: the 60s counter culture was in theory about changing the world, but in practice, it was really about sex, drugs and theory; future generations picked up the mantle, but left the theory behind, dispensing with the charade that a youthful interest in politics is anything but excuse to party. Casta’s son celebrates the fall of the Berlin Wall by hooking up at a gay bar to the sound of “99 Luftbaloons,” but is this any worse than his mom, responding to the riots of ‘68 by abandoning Paris in order to make babies, goat cheese, and have stony orgies? Interesting stuff, but unfortunately, the film doesn’t really take it up, preferring instead to indulge in the soap opera aspects of the story (although, I must admit: when said gay character announced in the late 80s that he was waiting for the results of some blood tests, I walked out). Hell, who am I to complain––at least it makes for a lot of nudity. Born in 68 isn’t terribly made––it’s actually shot rather beautifully, although the script could use some work––but it is offensively milquetoast. It’s basically the French The Best of Youth, which was in turn the Italian Forrest Gump. I guess we’re looking at a new genre: the Overlong Ensemble Piece Condensing 40 Years of a Single Country’s History As Seen By Innocents With A Knack For Showing Up At The Right Place At The Right Time. The fact that only one of these movies is blatantly about a person with mental deficiencies is only a technicality. Originally posted on:SpoutBlog » Karina Longworth http://www.spout.com/members/0/tags/family/MemberTagFilms.aspxfamily
Number of films tagged: 6289

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]]>Wed, 23 Dec 2009 05:51:34 GMT62892271140Tag http://www.spout.com/members/0/tags/Great/MemberTagFilms.aspxGreat
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