list http://www.spout.com/ Recent community activity around Butch Cassidy and the Sundance Kid 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/Butch_Cassidy_and_the_Sundance_Kid/4867/default.aspx Title: Butch Cassidy and the Sundance Kid
Year: 1969
Director: George Roy Hill
Plot: Opening with a silent "movie" of Butch Cassidy's Hole in the Wall Gang, George Roy Hill's comically elegiac Western chronicles the mostly true tale of the outlaws' last months. Witty pals Butch (Paul Newman) and Sundance (Robert Redford) join the Gang in successfully robbing yet another train with their trademark non-lethal style. After the pair rests at the home of Sundance's schoolmarm girlfriend, Etta (Katharine Ross), the Gang robs the same train, but this time, the railroad boss has hired the best trackers in the business to foil the crime. After being tailed over rocks and a river gorge by guys that they can barely identify save for a white hat, Butch and Sundance decide that maybe it's time to try their luck in Bolivia. Taking Etta with them, they live high on ill-gotten Bolivian gains, but Etta leaves after their white-hatted nemesis portentously arrives. Their luck running out, Butch and Sundance are soon holed up in a barn surrounded by scores of Bolivian soldiers who are waiting for the pair to make one last run for it. ~ Lucia Bozzola, All Movie Guide
Times Tagged: 30
Number of Lists: 68
Number of blog posts: 5
Number of discussion threads: 4
SpoutRating: 4
]]>Wed, 03 Jun 2009 14:14:56 GMTButch Cassidy and the Sundance Kid1969George Roy HillOpening with a silent "movie" of Butch Cassidy's Hole in the Wall Gang, <a href="/players/P____94375/default.aspx" style='text-decoration:underline'>George Roy Hill</a>'s comically elegiac Western chronicles the mostly true tale of the outlaws' last months. Witty pals Butch (<a href="/players/P___104390/default.aspx" style='text-decoration:underline'>Paul Newman</a>) and Sundance (<a href="/players/P___107758/default.aspx" style='text-decoration:underline'>Robert Redford</a>) join the Gang in successfully robbing yet another train with their trademark non-lethal style. After the pair rests at the home of Sundance's schoolmarm girlfriend, Etta (<a href="/players/P____61632/default.aspx" style='text-decoration:underline'>Katharine Ross</a>), the Gang robs the same train, but this time, the railroad boss has hired the best trackers in the business to foil the crime. After being tailed over rocks and a river gorge by guys that they can barely identify save for a white hat, Butch and Sundance decide that maybe it's time to try their luck in Bolivia. Taking Etta with them, they live high on ill-gotten Bolivian gains, but Etta leaves after their white-hatted nemesis portentously arrives. Their luck running out, Butch and Sundance are soon holed up in a barn surrounded by scores of Bolivian soldiers who are waiting for the pair to make one last run for it. ~ Lucia Bozzola, All Movie Guide30Tag Target (>10)68544http://www.spout.com/ProductImages/t78195luidq.jpghttp://www.spout.com/films/Butch_Cassidy_and_the_Sundance_Kid/4867/default.aspxFilm http://www.spout.com/blogs/risselada/archive/2009/6/3/42516.aspx Post By: Risselada
Post To: Risselada Blog
Post Date: 6/3/2009 10:14:56 AM
Body: The Sting The Sting has been one of my top favorites for a while now, so I had to show it to my girlfriend. It's got Chicago; great music; a great script that keeps moving; that wonderful collaboration of Robert Redford, Paul Newman, and George Roy Hill that worked just as fantastically in Butch Cassidy and the Sundance Kid; and we can't forget Robert Shaw; fun direction and structure with the different title cards for the different acts. Some people have pointed out that while the film takes place in the 1930s the Scott Joplin music was composed some time during the first decade of the 1900s. Nonetheless it fits perfectly. I don't think I have to defend why this isn't really a problem. The great thing about this movie is that you think as an audience you are in on all the tricks. I don't want to give away anything at all, but the brilliance of the film is that the real sting is as much on the audience as it is on any of the other characters. The thing that gets me about trying to view this movie is my confusion about how it was meant to be shown. There are different DVDs that present the film in different aspect ratios. But it seems clear that the more "full screen" aspect ratio features more information than the "widescreen" version. I've read conflicting reports regarding how this film was shot and intended to be shot, but it does seem clear that the film was originally shot in a "full screen" type aspect ratio and then was often exhibited with the top and bottom cropped off from what was originally shot. What I'm not sure about is if this is how the filmmakers intended on having it exhibited while they were shooting it, or if this was something decided by studio executives subsequently. It certainly does seem like there are some times when watching the "widescreen" version that part of the image is cropped in a way that would not have seemed intentional while shooting. Thus, I would prefer to watch the "full screen" version to see everything. I hope this helps if you were as confused as me. Rating: 10/10
]]>Wed, 03 Jun 2009 14:14:56 GMTRisseladaRisselada Blog6/3/2009 10:14:56 AMThe Sting The Sting has been one of my top favorites for a while now, so I had to show it to my girlfriend. It's got Chicago; great music; a great script that keeps moving; that wonderful collaboration of Robert Redford, Paul Newman, and George Roy Hill that worked just as fantastically in Butch Cassidy and the Sundance Kid; and we can't forget Robert Shaw; fun direction and structure with the different title cards for the different acts. Some people have pointed out that while the film takes place in the 1930s the Scott Joplin music was composed some time during the first decade of the 1900s. Nonetheless it fits perfectly. I don't think I have to defend why this isn't really a problem. The great thing about this movie is that you think as an audience you are in on all the tricks. I don't want to give away anything at all, but the brilliance of the film is that the real sting is as much on the audience as it is on any of the other characters. The thing that gets me about trying to view this movie is my confusion about how it was meant to be shown. There are different DVDs that present the film in different aspect ratios. But it seems clear that the more "full screen" aspect ratio features more information than the "widescreen" version. I've read conflicting reports regarding how this film was shot and intended to be shot, but it does seem clear that the film was originally shot in a "full screen" type aspect ratio and then was often exhibited with the top and bottom cropped off from what was originally shot. What I'm not sure about is if this is how the filmmakers intended on having it exhibited while they were shooting it, or if this was something decided by studio executives subsequently. It certainly does seem like there are some times when watching the "widescreen" version that part of the image is cropped in a way that would not have seemed intentional while shooting. Thus, I would prefer to watch the "full screen" version to see everything. I hope this helps if you were as confused as me. Rating: 10/10 http://www.spout.com/blogs/pippin06/archive/2009/4/12/41570.aspx Post By: pippin06
Post To: Reel Thoughts
Post Date: 4/12/2009 10:52:21 PM
Body: What's the AFI project, you ask? For more information, or if you just enjoy my bemused ramblings, read here: http://www.spout.com/blogs/pippin06/archive/2008/3/1/25756.aspx Butch Cassidy and the Sundance Kid is on the following AFI lists: The Original Top 100 (#50)100 Most Heart-Pounding Movies (#54)100 Years...100 Heroes and Villains (Butch Cassidy and the Sundance Kid are the #20 heroes)100 Greatest Film Songs (#23 - "Raindrops Keep Fallin' On My Head")The Revised Top 100 (#73)10 Top 10's (#7 Western) I borrowed this film from my parents again, given that they seem to have many of those canonical films released during the late 60s and early 70s. I was familiar with its existence pretty much my whole life but never had much interest in watching it until I was reviewing the AFI lists for this project. If you've been following these entries, you may remember that I don't really care for westerns; it's my least favorite film genre, and if I'm going to consent to watch one, I would hope that it turns out to be a really good film. I simply think that westerns often follow a certain formula, not unlike romantic comedies and other genre films, and I don't generally prefer this formula as opposed to others. I leave the theories as to why alone, but I can say that this film didn't disappoint - it was a good film, due largely in part to the chemistry between its two stars, Paul Newman and Robert Redford, and due to its glib and witty script, for which it won an Oscar. I'm not sure I understand why it's considered one of the greatest American films in just about every one of the above lists, however, but I still found it entertaining. Butch Cassidy (Newman) and the Sundance Kid (Redford) are the two last-standing outlaws of the Hole-in-the-Wall gang. The film opens with a silent movie of sorts introducing the viewer to the Gang and its legendary exploits in the Old West. It then segues to the two pals and partners finding themselves amid a mutiny from one of the Gang members. This showdown is designed to clue the viewer into the fact that Butch and Sundance are no ordinary men; they're skilled with firearms, quick on the draw, and smarter than the average bears. After this little uprising is settled, the two friends and gang-leaders decide to rob a train not once but twice, thanks to the idea of the now-deceased mutineer, the logic being that the train company will never expect the second hit. Butch and Sundance happily gloat after the first hit, resting with Sundance's girlfriend, school marm Etta (Katharine Ross) and listening to the local law enforcement sweat over the details, but during the second robbery, Butch overuses the dynamite on the safe, now under extra protection because of the first theft, and blows half the train and the money sky high. This prompts the railroad boss to hire the most skilled hitmen he can find to tail Butch and Sundance, as they flee across country. Though the pair manages to scale wide open spaces and a rocky gorge, the gang of hunters, including the legendary La Fours (known for his white hat) seem to tail them at every step, prompting Butch to suggest that the pair, along with Etta, flee to Bolivia. They successfully manage to arrive in the South American country, and while they continue their robbing business there, with Etta in tow teaching them awkward Spanish and vowing to leave before she is forced to watch them die, they soon suspect that La Fours has found them. The pair then make an effort to go into hiding by going straight and by working as payroll security for a mining operation, but when their boss is gunned down by local bandits, they are soon caught in the crosshairs once again. Etta leaves, sensing the worst, and the pair run once more, only to be cornered in a local village while soldiers surround the outlaws and await their latest bid for escape. As I previously mentioned, this film would not be half so good as it is if it weren't for the otherwordly and charming chemistry between Newman and Redford. I don't believe I've seen The Sting (or any other films with both stars, if they exist), so I was not familiar with any previous performance dynamic between them. They were simply really funny, they are/were such consummate performers, and they seemed to really have fun with this picture, so much so that it worked to create a highly entertaining vehicle for them. It was their banter, often volleyed at a rapid pace, that kept my interest in the film--well, the banter coupled with their undisputed and undeniable good looks. My, they were such handsome men in their prime, weren't they? I probably would have had a Robert Redford pin-up or something if I'd lived at the time this movie was released. Seriously. This film also had some creative direction by George Roy Hill, who included some great cinematography, using wide shots of natural landscapes. He also cleverly inserted sepia-toned silent films - or, at least, silent slide shows of photographs - at the beginning and at the halfway points of the film to effectively provide summaries of time and fast forward through events in order to reach the next narrative segments in a quicker manner. The originality of these insertions gave the film a certain charm, even if they were something of a narrative cheat, and were a welcome alternative to playing out all of the events in motion. The ending was also one of the more perfect conclusions I've seen to any film. While I wasn't particularly wowed by anything up until the point (even by the handsome, handsome leads), the final scene left me feeling more satisfied than many other film endings and more satisfied about this film in general. I don't want to give anything away, so I would just say that Butch Cassidy and the Sundance Kid may be worth the watch simply for the perfectly executed finale, which combines all of the film's best elements into one action-packed, somewhat hilarious, and poignant moment. Despite all of these positive aspects, however, I didn't love this film. First, the pacing was decidedly choppy and mostly slow to the point of distraction. Normally, I wouldn't mind slow, but considering the fact that Butch and Sundance's snappy banter moved much more quickly than the plot, I felt myself growing alternately impatient and sleepy. This was felt most acutely during the very protracted chase scenes in the Southwest, when Butch and Sundance are scaling the varied western terrains, and during the Bolivia scenes when they are attempting to resurrect their bank-robbing exploits (though not in the scene when Butch brings a crib-sheet of basic Spanish in terms of common words used in robberies; that was hilarious). Second, I became rather uninterested in the character of Etta, and that's largely because a) it seemed to be a thankless and boring character, underdeveloped and unsympathetic, and b) it wasn't helped by Ross' somewhat stale and one-dimensional performance. I was not impressed by her in The Graduate and felt my respect for her wane more in this film. I'm not sure if it was because she did not have much to work with to start, but I felt myself grow somewhat irritated when she was present in scenes that could otherwise be filled with Butch and Sundance and their humor exclusively. Third, I have trouble understanding why the Raindrops song was included in this film at all. They were in the desert. Will someone explain that to me? Did I miss something? It just felt hokey and tends to date this film more than any other element. I was discussing this fact with my mother, who likes this film; I have less luck with this era, in terms of finding films I enjoy, and I feel like it's because some of these late 60s movies incorporate aspects that render them feeling dated and more like time capsules than timelessly great films. I suppose the song's inclusion was whimsical and ironic, but some of that whimsical irony was lost on me because the film did not consistently sustain that tone, even given the verbal exchanges of Butch and Sundance. In fact, I have problems with most of the AFI's rankings for this film. It's important to note that this is one of the films to slide substantially on the anniversary Greatest list - a whopping 23 points - and I think that's because the film has noticeable weaknesses/flaws. The AFI also ranked this film amongst its thrillers, which makes no sense at all (even counting the ending, which is the only time my heart pounded) and made Butch and Sundance high-ranked heroes - when they're wisecrackers in cowboy hats. I can see why, in the year 1969, they're rebellious anti-hero status might have made them appealing to young movie-goers and members of the counter-culture, but by today's standards, it's hard to agree that they're the kinds of heroes that inspire, at least in my opinion, as a voice from a later generation. Ultimately, as scathing as these opinions might have sounded, I chalk this film up to a pleasantly amusing buddy picture. As westerns go, I enjoyed this more than most. I found myself being especially entertained by the chemistry between the two leads, and they're extreme good looks, though I think the film itself is good, too. I'm just not of the opinion that it's a great film. There are better westerns, better films from the era, and so on. I think the novelty of this film can be reduced to the dynamic between Redford and Newman, and the calibre of their performances makes me inclined to rate the film a 7.5 between shaky/entertaining and very good/minor flaws on the ratings scale. Still, their handsomeness and witty repartee doesn't leave me interested in buying Butch Cassidy and the Sundance Kid, so it doesn't pass the test. I think people who generally enjoy westerns will probably love this film quite a bit, and I think if you're a fan of late 60s products, including The Graduate, Bonnie and Clyde, and Midnight Cowboy, the general tone of this film will also suit you. Otherwise, you might be left finding the film funny but ultimately empty in the end.
]]>Mon, 13 Apr 2009 02:52:21 GMTpippin06Reel Thoughts4/12/2009 10:52:21 PMWhat's the AFI project, you ask? For more information, or if you just enjoy my bemused ramblings, read here: http://www.spout.com/blogs/pippin06/archive/2008/3/1/25756.aspx Butch Cassidy and the Sundance Kid is on the following AFI lists: The Original Top 100 (#50)100 Most Heart-Pounding Movies (#54)100 Years...100 Heroes and Villains (Butch Cassidy and the Sundance Kid are the #20 heroes)100 Greatest Film Songs (#23 - "Raindrops Keep Fallin' On My Head")The Revised Top 100 (#73)10 Top 10's (#7 Western) I borrowed this film from my parents again, given that they seem to have many of those canonical films released during the late 60s and early 70s. I was familiar with its existence pretty much my whole life but never had much interest in watching it until I was reviewing the AFI lists for this project. If you've been following these entries, you may remember that I don't really care for westerns; it's my least favorite film genre, and if I'm going to consent to watch one, I would hope that it turns out to be a really good film. I simply think that westerns often follow a certain formula, not unlike romantic comedies and other genre films, and I don't generally prefer this formula as opposed to others. I leave the theories as to why alone, but I can say that this film didn't disappoint - it was a good film, due largely in part to the chemistry between its two stars, Paul Newman and Robert Redford, and due to its glib and witty script, for which it won an Oscar. I'm not sure I understand why it's considered one of the greatest American films in just about every one of the above lists, however, but I still found it entertaining. Butch Cassidy (Newman) and the Sundance Kid (Redford) are the two last-standing outlaws of the Hole-in-the-Wall gang. The film opens with a silent movie of sorts introducing the viewer to the Gang and its legendary exploits in the Old West. It then segues to the two pals and partners finding themselves amid a mutiny from one of the Gang members. This showdown is designed to clue the viewer into the fact that Butch and Sundance are no ordinary men; they're skilled with firearms, quick on the draw, and smarter than the average bears. After this little uprising is settled, the two friends and gang-leaders decide to rob a train not once but twice, thanks to the idea of the now-deceased mutineer, the logic being that the train company will never expect the second hit. Butch and Sundance happily gloat after the first hit, resting with Sundance's girlfriend, school marm Etta (Katharine Ross) and listening to the local law enforcement sweat over the details, but during the second robbery, Butch overuses the dynamite on the safe, now under extra protection because of the first theft, and blows half the train and the money sky high. This prompts the railroad boss to hire the most skilled hitmen he can find to tail Butch and Sundance, as they flee across country. Though the pair manages to scale wide open spaces and a rocky gorge, the gang of hunters, including the legendary La Fours (known for his white hat) seem to tail them at every step, prompting Butch to suggest that the pair, along with Etta, flee to Bolivia. They successfully manage to arrive in the South American country, and while they continue their robbing business there, with Etta in tow teaching them awkward Spanish and vowing to leave before she is forced to watch them die, they soon suspect that La Fours has found them. The pair then make an effort to go into hiding by going straight and by working as payroll security for a mining operation, but when their boss is gunned down by local bandits, they are soon caught in the crosshairs once again. Etta leaves, sensing the worst, and the pair run once more, only to be cornered in a local village while soldiers surround the outlaws and await their latest bid for escape. As I previously mentioned, this film would not be half so good as it is if it weren't for the otherwordly and charming chemistry between Newman and Redford. I don't believe I've seen The Sting (or any other films with both stars, if they exist), so I was not familiar with any previous performance dynamic between them. They were simply really funny, they are/were such consummate performers, and they seemed to really have fun with this picture, so much so that it worked to create a highly entertaining vehicle for them. It was their banter, often volleyed at a rapid pace, that kept my interest in the film--well, the banter coupled with their undisputed and undeniable good looks. My, they were such handsome men in their prime, weren't they? I probably would have had a Robert Redford pin-up or something if I'd lived at the time this movie was released. Seriously. This film also had some creative direction by George Roy Hill, who included some great cinematography, using wide shots of natural landscapes. He also cleverly inserted sepia-toned silent films - or, at least, silent slide shows of photographs - at the beginning and at the halfway points of the film to effectively provide summaries of time and fast forward through events in order to reach the next narrative segments in a quicker manner. The originality of these insertions gave the film a certain charm, even if they were something of a narrative cheat, and were a welcome alternative to playing out all of the events in motion. The ending was also one of the more perfect conclusions I've seen to any film. While I wasn't particularly wowed by anything up until the point (even by the handsome, handsome leads), the final scene left me feeling more satisfied than many other film endings and more satisfied about this film in general. I don't want to give anything away, so I would just say that Butch Cassidy and the Sundance Kid may be worth the watch simply for the perfectly executed finale, which combines all of the film's best elements into one action-packed, somewhat hilarious, and poignant moment. Despite all of these positive aspects, however, I didn't love this film. First, the pacing was decidedly choppy and mostly slow to the point of distraction. Normally, I wouldn't mind slow, but considering the fact that Butch and Sundance's snappy banter moved much more quickly than the plot, I felt myself growing alternately impatient and sleepy. This was felt most acutely during the very protracted chase scenes in the Southwest, when Butch and Sundance are scaling the varied western terrains, and during the Bolivia scenes when they are attempting to resurrect their bank-robbing exploits (though not in the scene when Butch brings a crib-sheet of basic Spanish in terms of common words used in robberies; that was hilarious). Second, I became rather uninterested in the character of Etta, and that's largely because a) it seemed to be a thankless and boring character, underdeveloped and unsympathetic, and b) it wasn't helped by Ross' somewhat stale and one-dimensional performance. I was not impressed by her in The Graduate and felt my respect for her wane more in this film. I'm not sure if it was because she did not have much to work with to start, but I felt myself grow somewhat irritated when she was present in scenes that could otherwise be filled with Butch and Sundance and their humor exclusively. Third, I have trouble understanding why the Raindrops song was included in this film at all. They were in the desert. Will someone explain that to me? Did I miss something? It just felt hokey and tends to date this film more than any other element. I was discussing this fact with my mother, who likes this film; I have less luck with this era, in terms of finding films I enjoy, and I feel like it's because some of these late 60s movies incorporate aspects that render them feeling dated and more like time capsules than timelessly great films. I suppose the song's inclusion was whimsical and ironic, but some of that whimsical irony was lost on me because the film did not consistently sustain that tone, even given the verbal exchanges of Butch and Sundance. In fact, I have problems with most of the AFI's rankings for this film. It's important to note that this is one of the films to slide substantially on the anniversary Greatest list - a whopping 23 points - and I think that's because the film has noticeable weaknesses/flaws. The AFI also ranked this film amongst its thrillers, which makes no sense at all (even counting the ending, which is the only time my heart pounded) and made Butch and Sundance high-ranked heroes - when they're wisecrackers in cowboy hats. I can see why, in the year 1969, they're rebellious anti-hero status might have made them appealing to young movie-goers and members of the counter-culture, but by today's standards, it's hard to agree that they're the kinds of heroes that inspire, at least in my opinion, as a voice from a later generation. Ultimately, as scathing as these opinions might have sounded, I chalk this film up to a pleasantly amusing buddy picture. As westerns go, I enjoyed this more than most. I found myself being especially entertained by the chemistry between the two leads, and they're extreme good looks, though I think the film itself is good, too. I'm just not of the opinion that it's a great film. There are better westerns, better films from the era, and so on. I think the novelty of this film can be reduced to the dynamic between Redford and Newman, and the calibre of their performances makes me inclined to rate the film a 7.5 between shaky/entertaining and very good/minor flaws on the ratings scale. Still, their handsomeness and witty repartee doesn't leave me interested in buying Butch Cassidy and the Sundance Kid, so it doesn't pass the test. I think people who generally enjoy westerns will probably love this film quite a bit, and I think if you're a fan of late 60s products, including The Graduate, Bonnie and Clyde, and Midnight Cowboy, the general tone of this film will also suit you. Otherwise, you might be left finding the film funny but ultimately empty in the end. http://www.spout.com/blogs/spoutblog/archive/2009/1/14/39522.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 1/14/2009 12:00:52 PM
Body: Indecent Proposal(1993) Vezi mai multe video din Film » When I was a kid growing up in the west the dueling sex symbols were Burt Reynolds and Robert Redford, and I was solidly in the Redford camp (though by the time I reached adulthood I’d switch sides and bat for Burt). In fact, Redford became my first movie star crush after I watched him light up the screen in Sydney Pollack’s 1979 The Electric Horseman opposite (post-bombshell Barbarella) Jane Fonda. Sure, the sight of pretty boy Redford as former rodeo star Sonny Steele reduced to donning cowboy duds trussed up with lights worthy of a Christmas tree to hawk breakfast cereal is ludicrous, but Redford managed to suavely pull it off with his inherent masculine dignity. Sonny, like The Sundance Kid, is a physical man’s man, his frat boy looks belying a passionate rebel who clearly identifies with those wild horses that can never be tamed. And interestingly, as a sex symbol, Redford not only vied with Reynolds throughout his early career but with himself. There was the Redford of Horseman, George Roy Hill’s 1969 Butch Cassidy and the Sundance Kid and 1973 The Sting (in which he played the perfectly named con man Johnny Hooker opposite his hot “Butch” co-star Paul Newman) – portraying guys for whom the rule of law was meant to be broken. Then there are those films like Pollack’s 1975 Three Days of the Condor and Alan J. Pakula’s 1976 All The President’s Men, in which Redford embodied driven heroes whose allure resided in their rock solid sense of right and wrong. Either way, Redford’s sex appeal always lay in the fact that all his characters were fearless risk takers, guys you could count on even if they lived by their own moral code. Which is exactly why Redford as the creepy, needy, billionaire stalker John Gage in Adrian Lyne’s 1993 Indecent Proposal doesn’t work. As an actor Redford is just too self-assured to play a faux cocky richie. The entire notion that someone who oozes as much charisma as Redford does would waste his time in lovesick pursuit of Demi Moore’s cold fish Diana – especially when a true wealthy and sexy sadist would simply sit back and toy with the women who throw themselves at his feet – is as absurd as those Xmas ornaments on Sonny Steele’s chaps (as is the idea that financially strapped Diana and her husband David, played by a wooden Woody Harrelson, would be such prudes as to even hesitate to take up Gage’s offer of a million bucks for one night with Diana. Heck, in real life Gage could have bought and bonked them both for half the price!) One never gets the sense that Redford’s character is truly emotionally lost, as the actor’s strong moral compass overrides Gage’s shady desperation. John Gage is the type of role Michael Douglas pulled off flawlessly as Gordon Gekko in Oliver Stone’s 1987 Wall Street, a man whose power of repulsion matched his power of attraction. The miscast Redford is all attraction, which is why he’s not at all believable. Instead of a portrait of a self-made, Type A gambling addict whose terror of exposed vulnerability serves as his windup mechanism, we see a laidback, former surfer boy completely at ease with his own vulnerability. The question at the heart of Lyne’s film becomes not one of morality, of whether or not Diana and David should take Gage up on his sleazy offer and suffer the self-inflicted consequences, but why a secure guy like Gage even bothered with that indecent proposal in the first place. SEX SCENES is a weekly column in which Lauren Wissot watches old films, new films, indies and blockbusters, and tells us what turns her on. If you’ve got a film, a star, a genre or an issue that you’d like Lauren to tackle, let us know in the comments. Originally posted on:SpoutBlog
]]>Wed, 14 Jan 2009 17:00:52 GMTSpoutBlogSpoutBlog on spout.com1/14/2009 12:00:52 PM Indecent Proposal(1993) Vezi mai multe video din Film » When I was a kid growing up in the west the dueling sex symbols were Burt Reynolds and Robert Redford, and I was solidly in the Redford camp (though by the time I reached adulthood I’d switch sides and bat for Burt). In fact, Redford became my first movie star crush after I watched him light up the screen in Sydney Pollack’s 1979 The Electric Horseman opposite (post-bombshell Barbarella) Jane Fonda. Sure, the sight of pretty boy Redford as former rodeo star Sonny Steele reduced to donning cowboy duds trussed up with lights worthy of a Christmas tree to hawk breakfast cereal is ludicrous, but Redford managed to suavely pull it off with his inherent masculine dignity. Sonny, like The Sundance Kid, is a physical man’s man, his frat boy looks belying a passionate rebel who clearly identifies with those wild horses that can never be tamed. And interestingly, as a sex symbol, Redford not only vied with Reynolds throughout his early career but with himself. There was the Redford of Horseman, George Roy Hill’s 1969 Butch Cassidy and the Sundance Kid and 1973 The Sting (in which he played the perfectly named con man Johnny Hooker opposite his hot “Butch” co-star Paul Newman) – portraying guys for whom the rule of law was meant to be broken. Then there are those films like Pollack’s 1975 Three Days of the Condor and Alan J. Pakula’s 1976 All The President’s Men, in which Redford embodied driven heroes whose allure resided in their rock solid sense of right and wrong. Either way, Redford’s sex appeal always lay in the fact that all his characters were fearless risk takers, guys you could count on even if they lived by their own moral code. Which is exactly why Redford as the creepy, needy, billionaire stalker John Gage in Adrian Lyne’s 1993 Indecent Proposal doesn’t work. As an actor Redford is just too self-assured to play a faux cocky richie. The entire notion that someone who oozes as much charisma as Redford does would waste his time in lovesick pursuit of Demi Moore’s cold fish Diana – especially when a true wealthy and sexy sadist would simply sit back and toy with the women who throw themselves at his feet – is as absurd as those Xmas ornaments on Sonny Steele’s chaps (as is the idea that financially strapped Diana and her husband David, played by a wooden Woody Harrelson, would be such prudes as to even hesitate to take up Gage’s offer of a million bucks for one night with Diana. Heck, in real life Gage could have bought and bonked them both for half the price!) One never gets the sense that Redford’s character is truly emotionally lost, as the actor’s strong moral compass overrides Gage’s shady desperation. John Gage is the type of role Michael Douglas pulled off flawlessly as Gordon Gekko in Oliver Stone’s 1987 Wall Street, a man whose power of repulsion matched his power of attraction. The miscast Redford is all attraction, which is why he’s not at all believable. Instead of a portrait of a self-made, Type A gambling addict whose terror of exposed vulnerability serves as his windup mechanism, we see a laidback, former surfer boy completely at ease with his own vulnerability. The question at the heart of Lyne’s film becomes not one of morality, of whether or not Diana and David should take Gage up on his sleazy offer and suffer the self-inflicted consequences, but why a secure guy like Gage even bothered with that indecent proposal in the first place. SEX SCENES is a weekly column in which Lauren Wissot watches old films, new films, indies and blockbusters, and tells us what turns her on. If you’ve got a film, a star, a genre or an issue that you’d like Lauren to tackle, let us know in the comments. Originally posted on:SpoutBlog http://www.spout.com/blogs/spoutblog/archive/2008/9/28/35661.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 9/28/2008 3:01:55 PM
Body: Paul Newman passed away on Friday after a long battle with cancer, and he will be sorely missed. As early as May he had been planning to direct a stage version of John Steinbeck’s Of Mice and Men, but he had to cancel due to his health. He’s a winner of every major award an actor can pull down, from Oscar to Emmy, and he appeared in over 50 feature films. Besides his work in film, television and on the stage, he also served in World War II, and has been a longtime humanitarian. Paul Newman retired from acting in May of 2007, but he left behind a large body of work that should be in your Netflix queue or on your shelf at home. Here’s a look at some of his best films, and why you should be watching them in tribute. Butch Cassidy and the Sundance Kid Arguably the film Newman is the most famous for, this was the first pairing of Redford and Newman. Although originally it was to be Steve McQueen and Paul Newman, and then a handful of other stars, including Jack Lemmon, until Redford finally got the part. However, Newman was originally supposed to play Sundance, and Redford to play Butch. What a different movie that would have been. A great followup to this pairing is The Sting, but avoid the sequel that doesn’t have Newman or Redford in it. The Hustler The Hustler stands to this day as a cinematic masterpiece, and Newman’s performance in it stands among his very best. Singer/actor Bobby Darrin was supposed to star in this film, but Newman made the role his own and made “Fast Eddie” Felton into a film legend. The far inferior 1986 sequel The Color of Money with Tom Cruise doesn’t hold a candle to the original, but Newman won his Best Actor Oscar for his reprisal of the Felton role, but most critics agree this was a nod to his role in The Hustler. Hud This movie is an adaptation of Larry McMurtry’s early novella Horseman, Pass By, and saw Newman nominated for Best Actor in his portrayal of the “man with the barbed-wire soul.” It actually won for Best Supporting Actor, Actress, and Cinematography, but it is Newman’s selfishly hard-hearted modern day cowboy that holds this movie together and makes it worth watching more than once. Cool Hand Luke Newman’s portrayal of a prisoner who just won’t submit to the system and the will of the warden will be remembered forever, and it’ll come to mind every time you eat a hard-boiled egg. It’s famous for the line “What we’ve got here is a failure to communicate,” and some of the best scenes ever of Newman grinning from ear to ear. If you’re a nonconformist, like Newman often was in his acting choice, you’ll love this movie. The Hudsucker Proxy This is a dark horse among the Coen Brothers films, but it’s my favorite of theirs right after Miller’s Crossing. Newman’s portrayal of a cigar-chomping business executive who growls out all of his lines is classic, although this film only grossed $3 million dollars at the box office, and was the Coens biggest flop. Still, it is well worth watching, if just for Newman. He literally chews up the scenery. Road to Perdition This was Paul Newman’s final feature film, although he did go on to star in HBO’s Empire Falls and to lend his voice to the Disney/Pixar hit Cars. Newman plays Irish mob boss John Rooney to Tom Hanks’ Michael Sullivan, and reportedly had author Frank McCourt send him tapes of himself speaking so he could get the voice right. It’s a tragic role for Newman, and a fitting swan song to his entire career. They definitely don’t make ‘em like him anymore. Originally posted on:SpoutBlog
]]>Sun, 28 Sep 2008 19:01:55 GMTSpoutBlogSpoutBlog on spout.com9/28/2008 3:01:55 PM Paul Newman passed away on Friday after a long battle with cancer, and he will be sorely missed. As early as May he had been planning to direct a stage version of John Steinbeck’s Of Mice and Men, but he had to cancel due to his health. He’s a winner of every major award an actor can pull down, from Oscar to Emmy, and he appeared in over 50 feature films. Besides his work in film, television and on the stage, he also served in World War II, and has been a longtime humanitarian. Paul Newman retired from acting in May of 2007, but he left behind a large body of work that should be in your Netflix queue or on your shelf at home. Here’s a look at some of his best films, and why you should be watching them in tribute. Butch Cassidy and the Sundance Kid Arguably the film Newman is the most famous for, this was the first pairing of Redford and Newman. Although originally it was to be Steve McQueen and Paul Newman, and then a handful of other stars, including Jack Lemmon, until Redford finally got the part. However, Newman was originally supposed to play Sundance, and Redford to play Butch. What a different movie that would have been. A great followup to this pairing is The Sting, but avoid the sequel that doesn’t have Newman or Redford in it. The Hustler The Hustler stands to this day as a cinematic masterpiece, and Newman’s performance in it stands among his very best. Singer/actor Bobby Darrin was supposed to star in this film, but Newman made the role his own and made “Fast Eddie” Felton into a film legend. The far inferior 1986 sequel The Color of Money with Tom Cruise doesn’t hold a candle to the original, but Newman won his Best Actor Oscar for his reprisal of the Felton role, but most critics agree this was a nod to his role in The Hustler. Hud This movie is an adaptation of Larry McMurtry’s early novella Horseman, Pass By, and saw Newman nominated for Best Actor in his portrayal of the “man with the barbed-wire soul.” It actually won for Best Supporting Actor, Actress, and Cinematography, but it is Newman’s selfishly hard-hearted modern day cowboy that holds this movie together and makes it worth watching more than once. Cool Hand Luke Newman’s portrayal of a prisoner who just won’t submit to the system and the will of the warden will be remembered forever, and it’ll come to mind every time you eat a hard-boiled egg. It’s famous for the line “What we’ve got here is a failure to communicate,” and some of the best scenes ever of Newman grinning from ear to ear. If you’re a nonconformist, like Newman often was in his acting choice, you’ll love this movie. The Hudsucker Proxy This is a dark horse among the Coen Brothers films, but it’s my favorite of theirs right after Miller’s Crossing. Newman’s portrayal of a cigar-chomping business executive who growls out all of his lines is classic, although this film only grossed $3 million dollars at the box office, and was the Coens biggest flop. Still, it is well worth watching, if just for Newman. He literally chews up the scenery. Road to Perdition This was Paul Newman’s final feature film, although he did go on to star in HBO’s Empire Falls and to lend his voice to the Disney/Pixar hit Cars. Newman plays Irish mob boss John Rooney to Tom Hanks’ Michael Sullivan, and reportedly had author Frank McCourt send him tapes of himself speaking so he could get the voice right. It’s a tragic role for Newman, and a fitting swan song to his entire career. They definitely don’t make ‘em like him anymore. Originally posted on:SpoutBlog http://www.spout.com/groups/Weekly_Theme/Re_Weekly_Theme_for_September_8_The_Heist/625/34916/1/ShowPost.aspx Post By: Dr_Gor
Post To: Weekly Theme
Post Date: 9/8/2008 8:31:43 PM
Body: Some of my favorite heist films of all time... Butch Cassidy and The Sundance Kid The Sting The Train Robbers Kelly's Heroes Thunderbolt and Lightfoot Charley Varrick
]]>Tue, 09 Sep 2008 00:31:43 GMTDr_GorWeekly Theme9/8/2008 8:31:43 PM Some of my favorite heist films of all time... Butch Cassidy and The Sundance Kid The Sting The Train Robbers Kelly's Heroes Thunderbolt and Lightfoot Charley Varrick http://www.spout.com/blogs/critick_chick/archive/2008/6/20/31448.aspx Post By: critick_chick
Post To: critick_chick Blog
Post Date: 6/20/2008 2:23:10 AM
Body: i love this movie, it is one of the best, truly a classic
]]>Fri, 20 Jun 2008 06:23:10 GMTcritick_chickcritick_chick Blog6/20/2008 2:23:10 AMi love this movie, it is one of the best, truly a classic http://www.spout.com/groups/Top_5/Re_Best_Heist_films_and_also_the_best_heist_films/190/24535/1/ShowPost.aspx Post By: Dr_Gor
Post To: Top 5
Post Date: 1/29/2008 8:39:47 PM
Body: With honorable mention to The Sting and The Getaway and Reservoir Dogs , which have already been discussed, I can come up with a list of top 5 'heist' films which have not yet been mentioned. 5. Midnight Run : ok - maybe not a 'heist-film' per se, but it IS about the immediate after-effects of a major 'white-collar' mob heist! Robert Deniro and Charles Grodin are both priceless in this great movie! Not to mention Dennis Farina in a stunning performance as 'the mob boss' ... ("I'll tell you what. You and that other moron better start getting more personally involved in your work or I'm gonna come down there and stab you in the heart with a fuckin' pencil." ... poetry, isn't it?) 4. Butch Cassidy and The Sundance Kid : 'nuff said... I can't believe no one has mentioned this one yet. 3. Thunderbolt and Lightfoot : Clint Eastwood and Jeff Bridges. This movie rocks! 2. Charley Varrick : When Charley (Walter Watthau) and his 'gang' rob a small town New Mexico bank for some spending money, they are surprised by the size of their haul... nearly a million dollars! It turns out it is mob money and they want it back... watch for an outstanding performance by Joe Don Baker as the hired strong-arm who is sent to retrieve the money... 1. Kelly's Heroes : Not only one of the best 'heist' movies ever made but on of the best 'war' movies and one of the best MOVIES ever made! With an all-star cast and one of the best soundtracks featuring 'Burning Bridges' by The Mike Curb Congregation and 'All For The Love Of Sunshine' by Hank Williams Jr. ! And Donald Sutherland as a bearded, spaced-out hippie in World War II Europe! (Hippies hadn't even been invented yet!) This is one great movie that should be on everyone's list!
]]>Wed, 30 Jan 2008 01:39:47 GMTDr_GorTop 51/29/2008 8:39:47 PM With honorable mention to The Sting and The Getaway and Reservoir Dogs , which have already been discussed, I can come up with a list of top 5 &#39;heist&#39; films which have not yet been mentioned. 5. Midnight Run : ok - maybe not a &#39;heist-film&#39; per se, but it IS about the immediate after-effects of a major &#39;white-collar&#39; mob heist! Robert Deniro and Charles Grodin are both priceless in this great movie! Not to mention Dennis Farina in a stunning performance as &#39;the mob boss&#39; ... ("I&#39;ll tell you what. You and that other moron better start getting more personally involved in your work or I&#39;m gonna come down there and stab you in the heart with a fuckin&#39; pencil." ... poetry, isn&#39;t it?) 4. Butch Cassidy and The Sundance Kid : &#39;nuff said... I can&#39;t believe no one has mentioned this one yet. 3. Thunderbolt and Lightfoot : Clint Eastwood and Jeff Bridges. This movie rocks! 2. Charley Varrick : When Charley (Walter Watthau) and his &#39;gang&#39; rob a small town New Mexico bank for some spending money, they are surprised by the size of their haul... nearly a million dollars! It turns out it is mob money and they want it back... watch for an outstanding performance by Joe Don Baker as the hired strong-arm who is sent to retrieve the money... 1. Kelly&#39;s Heroes : Not only one of the best &#39;heist&#39; movies ever made but on of the best &#39;war&#39; movies and one of the best MOVIES ever made! With an all-star cast and one of the best soundtracks featuring &#39;Burning Bridges&#39; by The Mike Curb Congregation and &#39;All For The Love Of Sunshine&#39; by Hank Williams Jr. ! And Donald Sutherland as a bearded, spaced-out hippie in World War II Europe! (Hippies hadn&#39;t even been invented yet!) This is one great movie that should be on everyone&#39;s list! http://www.spout.com/groups/What_An_Ending/Re_What_are_your_favorite_endings/343/11491/1/ShowPost.aspx Post By: sarcastig
Post To: What An Ending
Post Date: 6/20/2007 12:28:29 PM
Body: I can think of so many perfect endings...In fact, almost all the movies I love have good endings, because I think it's needed to go from liking to loving a movie. But a few that came immediately to mind: *Eternal Sunshine of the Spotless Mind*The Third Man: it's a very long shot of the main female character watching towards the camera, where the main character is standing by his car. It takes about 3 minutes, with the only sound being the great zithar music. Then she gets to the camera, and without even looking at the guy, walks past it and out of the frame. It's hard to explain why it's so perfect, but just watch the movie, it's worth it.*The Passenger: fabulous, and rightfully famous, final scene. I won't reveal anything because you have to try to figure it out yourself*Butch Cassidy and the Sundance Kid, Bonnie & Clyde, and Thelma& Louise. Somehow these "1 pair on the lam" movies tend to end the same way, the only way they can end, but that doesn't mean it isn't memorable. *Many more, many of which were already mentioned here
]]>Wed, 20 Jun 2007 16:28:29 GMTsarcastigWhat An Ending6/20/2007 12:28:29 PMI can think of so many perfect endings...In fact, almost all the movies I love have good endings, because I think it&#39;s needed to go from liking to loving a movie. But a few that came immediately to mind: *Eternal Sunshine of the Spotless Mind*The Third Man: it&#39;s a very long shot of the main female character watching towards the camera, where the main character is standing by his car. It takes about 3 minutes, with the only sound being the great zithar music. Then she gets to the camera, and without even looking at the guy, walks past it and out of the frame. It&#39;s hard to explain why it&#39;s so perfect, but just watch the movie, it&#39;s worth it.*The Passenger: fabulous, and rightfully famous, final scene. I won&#39;t reveal anything because you have to try to figure it out yourself*Butch Cassidy and the Sundance Kid, Bonnie &amp; Clyde, and Thelma&amp; Louise. Somehow these "1 pair on the lam" movies tend to end the same way, the only way they can end, but that doesn&#39;t mean it isn&#39;t memorable. *Many more, many of which were already mentioned here http://www.spout.com/groups/Top_5/Re_Top_Westerns/190/3816/1/ShowPost.aspx Post By: Risselada
Post To: Top 5
Post Date: 11/27/2006 5:50:14 PM
Body: Well, I just watched The Proposition with SkyPilot last night when I was in GR. Afterwards he decided that he actually would have put Dead Man ahead of it. It was enjoyable, but I'd hardly say among a top 5 list, unless you haven't seen many westerns. I actually haven't seen too many myself, but like noir I usually like most of them, so I'm not sure why not. Ok, if I had to make a strict top 5 list it would probably be nearly all Leone films, so I'm going to group them together as number 1 with my favorite, which is The Good, the Bad, and the Ugly. 1. The Good, the Bad, and the Ugly, Once Upon a Time in the West, For A Few Dollars More, A Fistful of Dollars. (I have yet to see A Fistful of Dynamite) 2. Butch Cassidy and the Sundance Kid. It's been a while since I've seen this, but I've had that poster of the final frame of the movie since college. That image will always be one of the most iconic images in film to me. 3. Ravenous. IMDB lists this as a western, but also as horror, comedy, and thriller. It's as much as one as it is any other. I love it for that. And I LOVE the music, which Damon Albarn from Blur and Gorillaz had a hand in. 4. Dead Man. Also unusual. Definitely a western, but a Jim Jarmusch western. Also an unusual score. 5. The Outlaw Josey Wales. Picking a number 5 was tough, although not because I was weighing Josey Wales with Unforgiven. I'm not a big fan of that movie. Here's a couple more I've seen that I'd like to mention. A few John Wayne flicks I've seen. Stage Coach, Rio Bravo, The Man Who Shot Liberty Valance. High Noon. A statement being made in the era of McCarthyism. Shown as if it were being played out in real time. Lloyd Bridges is great. Also Lee Van Cleef's first film appearance. Ride With the Devil. Less often explored aspects of the Civil War done very well by Ang Lee. And honestly, Back to the Future Part III. It's a wild ride, and has some references to Leone's man with no name trilogy.
]]>Mon, 27 Nov 2006 22:50:14 GMTRisseladaTop 511/27/2006 5:50:14 PMWell, I just watched The Proposition with SkyPilot last night when I was in GR. Afterwards he decided that he actually would have put Dead Man ahead of it. It was enjoyable, but I'd hardly say among a top 5 list, unless you haven't seen many westerns. I actually haven't seen too many myself, but like noir I usually like most of them, so I'm not sure why not. Ok, if I had to make a strict top 5 list it would probably be nearly all Leone films, so I'm going to group them together as number 1 with my favorite, which is The Good, the Bad, and the Ugly. 1. The Good, the Bad, and the Ugly, Once Upon a Time in the West, For A Few Dollars More, A Fistful of Dollars. (I have yet to see A Fistful of Dynamite) 2. Butch Cassidy and the Sundance Kid. It's been a while since I've seen this, but I've had that poster of the final frame of the movie since college. That image will always be one of the most iconic images in film to me. 3. Ravenous. IMDB lists this as a western, but also as horror, comedy, and thriller. It's as much as one as it is any other. I love it for that. And I LOVE the music, which Damon Albarn from Blur and Gorillaz had a hand in. 4. Dead Man. Also unusual. Definitely a western, but a Jim Jarmusch western. Also an unusual score. 5. The Outlaw Josey Wales. Picking a number 5 was tough, although not because I was weighing Josey Wales with Unforgiven. I'm not a big fan of that movie. Here's a couple more I've seen that I'd like to mention. A few John Wayne flicks I've seen. Stage Coach, Rio Bravo, The Man Who Shot Liberty Valance. High Noon. A statement being made in the era of McCarthyism. Shown as if it were being played out in real time. Lloyd Bridges is great. Also Lee Van Cleef's first film appearance. Ride With the Devil. Less often explored aspects of the Civil War done very well by Ang Lee. And honestly, Back to the Future Part III. It's a wild ride, and has some references to Leone's man with no name trilogy. http://www.spout.com/members/0/tags/Classic/MemberTagFilms.aspxClassic
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