Wind River,,a really great film. I was stationed in Wyoming over 40 years ago and the film made me nostalgic to go back and visit there...
"I don't know if the world is being run by smart people who are putting us on or imbeciles who mean it."-Mark Twain
'Just because nobody complains doesn't mean all parachutes are perfect.'- Benny Hill (1924-1992)
The Magnificent Seven (1960 version) on DVD. Still a brilliant film. Have not brought myself to watch the remake as of yet.
Not just a brilliant film but the best film ever! The new version has it's moments but suffers from a lack of proper characterisation and the famous theme music is missing apart from the very end. This is my first post from my Amazon fire tablet and I'm not finding it all that easy )
Yeah, well, sometimes nothin' can be a real cool hand.
The Magnificent Seven (1960 version) on DVD. Still a brilliant film. Have not brought myself to watch the remake as of yet.
I quite enjoyed the new version. It's not as good as the original but if you ignore the fact that's it's a remake their are some decent performances (that Washington chap is never bad) and it's worth a watch.
This is an origin story for Lara Croft, starring Alica Vikander and directed by Norwegian Roar Uthaug ("The Wave). I liked the origin story, Vikander in the lead, the rest of the cast and much of the action. Vikander's Lara is less sexualized than the Angelina Jolie version. She is also more believeable, funnier and more physically and emotionally vulnerable. A more human Lara, you might saying many was it's the Tomb Raider franchise' CR.
While hardly a kitchen sink drama, the story is more believeable (or should I say less unbelievable?) than previous efforts. There are some action scenes I really liked, especially one set in the wreck of a bomber plane. Some other scenes are disapointing because they relying far too much on CGI, but this happen less than I feared. Is the movie better than the old Indiana Jones movies? Of course not, but what would be? It's not a great movie, but it's a good entertainment movie.
I just saw "Notorious" (1946) and it was the sort of movie that without the right direction, the right acting and the right script would never work as a film but it sort of does thanks to Hitchcock. Must've also been a low cost movie since, however well b&w may be hiding it, used backwards projection quite a bit to achieve ze propur effect (more on Bond in a minute).
The Right.. Direction... is a key element to this film, along with how the film's processed, as there are quite a few stunning long-shots (such as the stairwell pan to the key in Bergman's hand), as-well as long shots, from the days when people could act and didn't need 500 cuts between takes, and imaginative use of surroundings (Jesus the Redeemer to establish Rio as was Eiffel Tower in Casablanca, if memory serves), projection [Hitchcock's...notorious(?) car sequences] and props (wine bottle and the wheel on her car, for instance). It didn't feel like a very expensive film to make and many outfits and locations are re-used, which makes the film feel like a play adaptation but as felt lots of films of that vintage.
Naturally, as one noted when he suggested the films to me (reply if you wish), the camera is used as an object to show you the plot advances and for plenty of exposition aswell as how a character perceives their surroundings, a technique which is used for great effect when Bergman's character finds out that they've been poisoning her, or when she's half-awake and noticing Cary's character moving towards her. The exposition is done well and discreetly, as it should be done, not needing 500 characters to complete a single sentence to fill in the presumed heedless audience, by the way of panning the camera around to show you what you need to see and even showing it twice to be a little more forgiving for the audience (the forgotten champagne being shown twice, as an example), something that could've been re-used for North By Northwest where if you missed a single word/shot, the movie wouldn't make any sense, which was a running gag in Hichcock's films thereafter, from my limited understanding.
Black and White is used to its advantage to cover up some of the inconsistencies of the film and hide places where they didn't spend all the money or had the tech available to do such feats (the aforementioned car scene or the use of backwards projection for where it obviously isn't Rio). Soft focus is normally reserved for more...intimate scenes (something only seen once in OHMSS in Bonds) but it's used to expand on Bergman's character's emotions when she weeps or has trouble seeing the world due to her old pal, mickey.
The Right...
Acting...is required to make the story believable or even slightly relatable and give the characters a bit of depth, and the cast achieved that to great effect, even down to minor characters (the valet's even played by a famous Greek tragic theatre actor of that era who tried to break into Hollywood). The tension between Bergman and Sebastian is played to a t and her forbidden love with Cary feels all the more believable because of it. Such feats could never be pulled off had they not known what they were doing and it's a testament to their talent.
The Right...
Script...is where it gets interesting.
This was a film whose primary element was espionage, however subtle that may be (subtle meaning, no guns blazing), and it has sort of bled through to the genre.
A case could be made that at least the first 30-40 post title sequence minutes of Tomorrow Never Dies were lifted directly from Notorious (Brozzer even wears a similarly styled tuxedo) and Mission Impossible 2 incorporated some of it in the brief horse racing scenes.
I rather enjoyed Notorious and it's too different a film from NbN to judge whether it's better or not.
NbN's budget must be out of Notorious's league but both left a similar mark to modern filmmaking.
The Magnificent Seven (1960 version) on DVD. Still a brilliant film. Have not brought myself to watch the remake as of yet.
I quite enjoyed the new version. It's not as good as the original but if you ignore the fact that's it's a remake their are some decent performances (that Washington chap is never bad) and it's worth a watch.
This is an origin story for Lara Croft, starring Alica Vikander and directed by Norwegian Roar Uthaug ("The Wave). I liked the origin story, Vikander in the lead, the rest of the cast and much of the action. Vikander's Lara is less sexualized than the Angelina Jolie version. She is also more believeable, funnier and more physically and emotionally vulnerable. A more human Lara, you might saying many was it's the Tomb Raider franchise' CR.
While hardly a kitchen sink drama, the story is more believeable (or should I say less unbelievable?) than previous efforts. There are some action scenes I really liked, especially one set in the wreck of a bomber plane. Some other scenes are disapointing because they relying far too much on CGI, but this happen less than I feared. Is the movie better than the old Indiana Jones movies? Of course not, but what would be? It's not a great movie, but it's a good entertainment movie.
I have seen it twice so far and have enjoyed it. It does borrow heavily from Indiana Jones and the Last Crusade as well as the recent updated Tomb Raider video games, but far better than the Jolie films.
Just watched Braveheart wow brilliant! Long film but didn't drag for a second.Beautifully shot couldn't fault it. ( Yeah I know it has a lot of historical inaccuracies).
I had seen it about 20 years ago. I've been to Scotland twice in last 3 years ( summer and winter rained both times) and just love it.
Can see why it's rated best place in the world to live. Everyone seems so passionate about its history.
Excited to read a sequel to Braveheart planned Robert the Bruce starring same actor Angus Macfayden.
If that not enough Netflix have their own robert the Bruce "Outlaw King" with Chris Pine in November.
Killer Elite : This was one of those films I'd always only seen bits off. Until last night. Great thriller with
A fantastic cast , the action never stops.
"I've been informed that there ARE a couple of QAnon supporters who are fairly regular posters in AJB."
Another film I've had earmarked for a while but just never fancied ...
It's a good film. Can't say I 'enjoyed' it as such but it was worth a watch. Bradley Cooper was unexpected.
My only issue, and this applies to a lot of films, is I know they are going for authenticity with accents but please can you make it so an audience understands or can at least hear !!
My latest from Netflix (I'm still on their DVD delivery service) was King Arthur: Legend of the Sword. About halfway through the picture froze and I had the devil's own time getting the disc out of my player. I reported it as a problem disc but told Netflix not to deliver a replacement. That should tell you how I felt about the film. . .
With todays date only two movies to watch today, the Battle of Britain immediately followed by the Dambusters possibly 633 Squadron later on..............................................the worlds first and best airforce is 100 today -{
Keeping up the old sci-fi theme today I watched.
Crack in the World. An end of the World destruction
Movie, with no big destruction sequences ) I'm
Guessing it saved lots of money by having no
Special effects.
"I've been informed that there ARE a couple of QAnon supporters who are fairly regular posters in AJB."
With todays date only two movies to watch today, the Battle of Britain immediately followed by the Dambusters possibly 633 Squadron later on..............................................the worlds first and best airforce is 100 today -{
The Road to Hong Kong
Bing, Bob, and Joan Collins, with a plethora of cameos.
Dorothy Lamour only appears at the end. She asks the boys what the movie's plot is so far, then promises to protect them. from the villains? no, from the critics.
Opening credits by Maurice Binder (he's one of ours). One of the villains is played by Walter Gotell (he's one of ours). Cameos by Peter Sellers and David Niven (that's two more of ours) (and if you deny that claim, Sellers' wife was one of ours, and another of ours (Ken Adam) did the set design for what I think was Sellers' best movie, so there) (Niven's cameo is blink and you'll miss it, Sellers' is quite substantial and the highlight of the film). Wikipedia tells me Bob Simmons is in there somewhere too.
The "plot", involves an evil organization called the Third Echelon, who plan to launch a rocket into space, and either blow up the world themselves or start a war between the superpowers (its not really clear from the dialog, but is indoobitably evil). Robert Morley is chief villain, Gotell and Collins his evil collaborators. It looks a lot like You Only Live Twice or Moonraker, but it actually came out before even Dr No! Blinking lights, sliding doors, minions, countdowns, all that stuff a truly evil organization needs to rule the world, but Bing and Bob are on the case!
I just saw Notorious (1946) ... A case could be made that at least the first 30-40 post title sequence minutes of Tomorrow Never Dies were lifted directly from Notorious (Brozzer even wears a similarly styled tuxedo)...
glad to see you're continuing your Hitchcock journey. You watch with a more technical eye than I do, I just think that ones a damn fine story and brings out the best in those two lead actors. Cary especially, since he usually just plays himself in most films. You'll let us all know when you get to Rear Window wont you?
I never made the connection to Tomorrow Never Dies but you're right, the setup is similar. Minor differences, but the main idea is Paris Carver is being exploited by MI6 because of her marriage to the villain and her personal past, and probably wont make it out alive even if the world is saved. I always said the Paris Carver story had much more potential in concept than what finally made it up on the screen. Another recent movie I realised upon second viewing takes its basic plot setup from Notorious is Rogue One.
Speaking of Notorious/Bond-plot connections, did you read this article? https://www.telegraph.co.uk/culture/film/jamesbond/8345119/Casino-Royale-discovering-the-lost-script.html
Ben Hecht wrote the screenplay for Notorious, and in the early 1960s wrote an unproduced screenplay for a serious Casino Royale, before the main Connery series hit its Bondmania peak. The writer of the article had access to several revisions of the unproduced screenplay, and summarises the plot in detail for us to imagine. There would have been bordello fights!
Speaking of Notorious/Bond-plot connections, did you read this article? https://www.telegraph.co.uk/culture/film/jamesbond/8345119/Casino-Royale-discovering-the-lost-script.html
Ben Hecht wrote the screenplay for Notorious, and in the early 1960s wrote an unproduced screenplay for a serious Casino Royale, before the main Connery series hit its Bondmania peak. The writer of the article had access to several revisions of the unproduced screenplay, and summarises the plot in detail for us to imagine. There would have been bordello fights!
Yes, I saw it when the thread was revived recently and Notorious was the one I chose to watch because of Hecht intriguing me.
I mainly wanted to see what kind of dialogue he'd write and how he sets up a story. The result was quite good and I can see myself seeing watching the rest of the films he wrote.
In order to switch things up a little, I will watch Psycho in my recent abundance of spare time this next week.
May even get some other films I want to see like Platoon or Good Will Hunting.
And now for something completely different; I rewatched Baby Driver yesterday and made a fan-edit out of it to keep me in contact with my editing suite. While the result is choppy and it may seem easy by syncing up the audio with the video, I can assure you that it was a complicated undertaking. To all interested parties, turn your volume down. https://www.youtube.com/watch?v=rkdjp3T2WHc&t=1s
The D's meme may be dying and Baby Driver is old news but I didn't do it for the views, I thought of making it for the longest time.
you know, I'm thinking, Road to Hong Kong even had what might be called a "mink lined prison" in the Evil Headquarters.
I bet Saltzman, Broccoli, Fleming and Terence Young were sitting round, thinking they needed to come up with a story for the first James Bond movie but they had no idea what one should look like. Then Maurice Binder and Bob Simmons walked in and said "say, fellers, we've just been working on this Hope & Crosby Road... movie, and its got an Evil Organization with an Evil Headquarters, blinking lights, sliding doors, minions, countdowns, and a "mink lined prison", it was swell!"
and Saltzman, Broccoli, Fleming and Terence Young all looked at each other, and said "that's it!" then they started singing "we're on the road to Crab Key", and the rest is cinema history!
you know, I'm thinking, Road to Hong Kong even had what might be called a "mink lined prison" in the Evil Headquarters.
I bet Saltzman, Broccoli, Fleming and Terence Young were sitting round, thinking they needed to come up with a story for the first James Bond movie but they had no idea what one should look like. Then Maurice Binder and Bob Simmons walked in and said "say, fellers, we've just been working on this Hope & Crosby Road... movie, and its got an Evil Organization with an Evil Headquarters, blinking lights, sliding doors, minions, countdowns, and a "mink lined prison", it was swell!"
and Saltzman, Broccoli, Fleming and Terence Young all looked at each other, and said "that's it!" then they started singing "we're on the road to Crab Key", and the rest is cinema history!
Maybe the reality of things isn't as complicated as it seems )
There are references to other movies and cultural phenomenons of the time in Bond, I can't see why not.
"Another time...Another place", "the Beatles without earmuffs" etc.
Bookish dark -aired Jew gets hit on by tall, athletic handsome blond...
In other words, it's The Gay We Were.
Ay thang yew... anyway this is very good stuff and beautifully photographed. Set in 1983, Armie Hammer is the American who is on some kind of exchange in Italy and draws the eye to Timothée Chalamet, the 17 year old son of the family... Actually, Hammer does look a fair bit older, so maybe it's not the Streisand Redford flick but Dirty Dancing where Swazye is a whole lot older than Jennifer Grey.
It is well done, though really the tropes are the same as for any hetero coming of age flick; the flirty antagonism and stand-offs, the misunderstandings. You could imagine it done with a young American having his coming of age in Italy with a sexy mysterious Italian woman, the same set up, same plot mostly. Now in the age of Tinder, you can't see that playing and it's interesting that the hetero sex in this film is very straightforward and perfunctory with no romance at all.
It's not made clear if the two lovers are new to this game or whether either of them has previous experience.
The gay sex if very muted compared to stuff like the lesbo romps in Blue is the Colour so obviously sexual equality has a way to go! This is an affecting film even if the two blokes seem physically mismatched, like a Great Dane copping off with a chiwawawa or however you spell it. But again, years ago this would have been two similar Athena print lithesome lads so this is progress of sorts, they're not just poster boy stereotypes. The film does have a real atmosphere to it and is beautifully shot, great soundtrack too. Quite an affecting ending.
I don't have any jokes for this I'm afraid... still v good WW2 tank drama set in Germany as they head to Berlin in the last months of the war, relatively understated and better for it. Some of the blokes in the five-man American tank are so horrible you'll be rooting for the Nazis... until you learn a bit of what they've been through to get that far. It's seen through the eyes of the new recruit who gets short shrift for his naive ways.
My 89-year-old Dad enjoyed it. Only thing is, way too much swearing from the Americans, they didn't swear that much back then. I mean, I've listened to our old Sinatra records from the time, and there's no mother- this and motherf- that or use of the 'n' word at all, so I know what I'm talking about.
I don't have any jokes for this I'm afraid... still v good WW2 tank drama set in Germany as they head to Berlin in the last months of the war, relatively understated and better for it. Some of the blokes in the five-man American tank are so horrible you'll be rooting for the Nazis... until you learn a bit of what they've been through to get that far. It's seen through the eyes of the new recruit who gets short shrift for his naive ways.
My 89-year-old Dad enjoyed it. Only thing is, way too much swearing from the Americans, they didn't swear that much back then. I mean, I've listened to our old Sinatra records from the time, and there's no mother- this and motherf- that or use of the 'n' word at all, so I know what I'm talking about.
Only thing is, way too much swearing from the Americans, they didn't swear that much back then. I mean, I've listened to our old Sinatra records from the time, and there's no mother- this and motherf- that or use of the 'n' word at all, so I know what I'm talking about.
I mean, that's plaguing the entire film industry.
Using such words that often makes them lose the impact they would've once had.
Grateful that there are still films without as many swear words, like the Bonds for instance.
I don't have a particular problem with them, just that they were used less.
I remember a story one of my friends told me. Back when he was at school one of the other boys took his hair in an obvious provocation. Like me, my friend hardy ever swears. But this time he said (something like) : "Get your blood ass of my chair!" in a stern voice. The bully couldn't get off the chair fast enough. Spoken by someone who swears in every other sentence the words wouldn't sting much, but when he swore you knew he ment business.
Comments
'Just because nobody complains doesn't mean all parachutes are perfect.'- Benny Hill (1924-1992)
I quite enjoyed the new version. It's not as good as the original but if you ignore the fact that's it's a remake their are some decent performances (that Washington chap is never bad) and it's worth a watch.
Enjoy it more and more.
This is an origin story for Lara Croft, starring Alica Vikander and directed by Norwegian Roar Uthaug ("The Wave). I liked the origin story, Vikander in the lead, the rest of the cast and much of the action. Vikander's Lara is less sexualized than the Angelina Jolie version. She is also more believeable, funnier and more physically and emotionally vulnerable. A more human Lara, you might saying many was it's the Tomb Raider franchise' CR.
While hardly a kitchen sink drama, the story is more believeable (or should I say less unbelievable?) than previous efforts. There are some action scenes I really liked, especially one set in the wreck of a bomber plane. Some other scenes are disapointing because they relying far too much on CGI, but this happen less than I feared. Is the movie better than the old Indiana Jones movies? Of course not, but what would be? It's not a great movie, but it's a good entertainment movie.
The Right..
Direction... is a key element to this film, along with how the film's processed, as there are quite a few stunning long-shots (such as the stairwell pan to the key in Bergman's hand), as-well as long shots, from the days when people could act and didn't need 500 cuts between takes, and imaginative use of surroundings (Jesus the Redeemer to establish Rio as was Eiffel Tower in Casablanca, if memory serves), projection [Hitchcock's...notorious(?) car sequences] and props (wine bottle and the wheel on her car, for instance). It didn't feel like a very expensive film to make and many outfits and locations are re-used, which makes the film feel like a play adaptation but as felt lots of films of that vintage.
Naturally, as one noted when he suggested the films to me (reply if you wish), the camera is used as an object to show you the plot advances and for plenty of exposition aswell as how a character perceives their surroundings, a technique which is used for great effect when Bergman's character finds out that they've been poisoning her, or when she's half-awake and noticing Cary's character moving towards her. The exposition is done well and discreetly, as it should be done, not needing 500 characters to complete a single sentence to fill in the presumed heedless audience, by the way of panning the camera around to show you what you need to see and even showing it twice to be a little more forgiving for the audience (the forgotten champagne being shown twice, as an example), something that could've been re-used for North By Northwest where if you missed a single word/shot, the movie wouldn't make any sense, which was a running gag in Hichcock's films thereafter, from my limited understanding.
Black and White is used to its advantage to cover up some of the inconsistencies of the film and hide places where they didn't spend all the money or had the tech available to do such feats (the aforementioned car scene or the use of backwards projection for where it obviously isn't Rio). Soft focus is normally reserved for more...intimate scenes (something only seen once in OHMSS in Bonds) but it's used to expand on Bergman's character's emotions when she weeps or has trouble seeing the world due to her old pal, mickey.
The Right...
Acting...is required to make the story believable or even slightly relatable and give the characters a bit of depth, and the cast achieved that to great effect, even down to minor characters (the valet's even played by a famous Greek tragic theatre actor of that era who tried to break into Hollywood). The tension between Bergman and Sebastian is played to a t and her forbidden love with Cary feels all the more believable because of it. Such feats could never be pulled off had they not known what they were doing and it's a testament to their talent.
The Right...
Script...is where it gets interesting.
This was a film whose primary element was espionage, however subtle that may be (subtle meaning, no guns blazing), and it has sort of bled through to the genre.
A case could be made that at least the first 30-40 post title sequence minutes of Tomorrow Never Dies were lifted directly from Notorious (Brozzer even wears a similarly styled tuxedo) and Mission Impossible 2 incorporated some of it in the brief horse racing scenes.
I rather enjoyed Notorious and it's too different a film from NbN to judge whether it's better or not.
NbN's budget must be out of Notorious's league but both left a similar mark to modern filmmaking.
I will try and watch it some time. Thanks.
I have seen it twice so far and have enjoyed it. It does borrow heavily from Indiana Jones and the Last Crusade as well as the recent updated Tomb Raider video games, but far better than the Jolie films.
I had seen it about 20 years ago. I've been to Scotland twice in last 3 years ( summer and winter rained both times) and just love it.
Can see why it's rated best place in the world to live. Everyone seems so passionate about its history.
Excited to read a sequel to Braveheart planned Robert the Bruce starring same actor Angus Macfayden.
If that not enough Netflix have their own robert the Bruce "Outlaw King" with Chris Pine in November.
A fantastic cast , the action never stops.
Another film I've had earmarked for a while but just never fancied ...
It's a good film. Can't say I 'enjoyed' it as such but it was worth a watch. Bradley Cooper was unexpected.
My only issue, and this applies to a lot of films, is I know they are going for authenticity with accents but please can you make it so an audience understands or can at least hear !!
Crack in the World. An end of the World destruction
Movie, with no big destruction sequences
Guessing it saved lots of money by having no
Special effects.
That sounds like a perfect day to me!
Bing, Bob, and Joan Collins, with a plethora of cameos.
Dorothy Lamour only appears at the end. She asks the boys what the movie's plot is so far, then promises to protect them. from the villains? no, from the critics.
Opening credits by Maurice Binder (he's one of ours). One of the villains is played by Walter Gotell (he's one of ours). Cameos by Peter Sellers and David Niven (that's two more of ours) (and if you deny that claim, Sellers' wife was one of ours, and another of ours (Ken Adam) did the set design for what I think was Sellers' best movie, so there) (Niven's cameo is blink and you'll miss it, Sellers' is quite substantial and the highlight of the film). Wikipedia tells me Bob Simmons is in there somewhere too.
The "plot", involves an evil organization called the Third Echelon, who plan to launch a rocket into space, and either blow up the world themselves or start a war between the superpowers (its not really clear from the dialog, but is indoobitably evil). Robert Morley is chief villain, Gotell and Collins his evil collaborators. It looks a lot like You Only Live Twice or Moonraker, but it actually came out before even Dr No! Blinking lights, sliding doors, minions, countdowns, all that stuff a truly evil organization needs to rule the world, but Bing and Bob are on the case!
I never made the connection to Tomorrow Never Dies but you're right, the setup is similar. Minor differences, but the main idea is Paris Carver is being exploited by MI6 because of her marriage to the villain and her personal past, and probably wont make it out alive even if the world is saved. I always said the Paris Carver story had much more potential in concept than what finally made it up on the screen. Another recent movie I realised upon second viewing takes its basic plot setup from Notorious is Rogue One.
Speaking of Notorious/Bond-plot connections, did you read this article?
https://www.telegraph.co.uk/culture/film/jamesbond/8345119/Casino-Royale-discovering-the-lost-script.html
Ben Hecht wrote the screenplay for Notorious, and in the early 1960s wrote an unproduced screenplay for a serious Casino Royale, before the main Connery series hit its Bondmania peak. The writer of the article had access to several revisions of the unproduced screenplay, and summarises the plot in detail for us to imagine. There would have been bordello fights!
I mainly wanted to see what kind of dialogue he'd write and how he sets up a story. The result was quite good and I can see myself seeing watching the rest of the films he wrote.
In order to switch things up a little, I will watch Psycho in my recent abundance of spare time this next week.
May even get some other films I want to see like Platoon or Good Will Hunting.
And now for something completely different; I rewatched Baby Driver yesterday and made a fan-edit out of it to keep me in contact with my editing suite. While the result is choppy and it may seem easy by syncing up the audio with the video, I can assure you that it was a complicated undertaking. To all interested parties, turn your volume down.
https://www.youtube.com/watch?v=rkdjp3T2WHc&t=1s
The D's meme may be dying and Baby Driver is old news but I didn't do it for the views, I thought of making it for the longest time.
I bet Saltzman, Broccoli, Fleming and Terence Young were sitting round, thinking they needed to come up with a story for the first James Bond movie but they had no idea what one should look like. Then Maurice Binder and Bob Simmons walked in and said "say, fellers, we've just been working on this Hope & Crosby Road... movie, and its got an Evil Organization with an Evil Headquarters, blinking lights, sliding doors, minions, countdowns, and a "mink lined prison", it was swell!"
and Saltzman, Broccoli, Fleming and Terence Young all looked at each other, and said "that's it!" then they started singing "we're on the road to Crab Key", and the rest is cinema history!
There are references to other movies and cultural phenomenons of the time in Bond, I can't see why not.
"Another time...Another place", "the Beatles without earmuffs" etc.
Bookish dark -aired Jew gets hit on by tall, athletic handsome blond...
In other words, it's The Gay We Were.
Ay thang yew... anyway this is very good stuff and beautifully photographed. Set in 1983, Armie Hammer is the American who is on some kind of exchange in Italy and draws the eye to Timothée Chalamet, the 17 year old son of the family... Actually, Hammer does look a fair bit older, so maybe it's not the Streisand Redford flick but Dirty Dancing where Swazye is a whole lot older than Jennifer Grey.
It is well done, though really the tropes are the same as for any hetero coming of age flick; the flirty antagonism and stand-offs, the misunderstandings. You could imagine it done with a young American having his coming of age in Italy with a sexy mysterious Italian woman, the same set up, same plot mostly. Now in the age of Tinder, you can't see that playing and it's interesting that the hetero sex in this film is very straightforward and perfunctory with no romance at all.
It's not made clear if the two lovers are new to this game or whether either of them has previous experience.
The gay sex if very muted compared to stuff like the lesbo romps in Blue is the Colour so obviously sexual equality has a way to go! This is an affecting film even if the two blokes seem physically mismatched, like a Great Dane copping off with a chiwawawa or however you spell it. But again, years ago this would have been two similar Athena print lithesome lads so this is progress of sorts, they're not just poster boy stereotypes. The film does have a real atmosphere to it and is beautifully shot, great soundtrack too. Quite an affecting ending.
Roger Moore 1927-2017
Missed that film, I'll take your word for it and add it to "the list".
I don't have any jokes for this I'm afraid...
My 89-year-old Dad enjoyed it. Only thing is, way too much swearing from the Americans, they didn't swear that much back then. I mean, I've listened to our old Sinatra records from the time, and there's no mother- this and motherf- that or use of the 'n' word at all, so I know what I'm talking about.
Roger Moore 1927-2017
Using such words that often makes them lose the impact they would've once had.
Grateful that there are still films without as many swear words, like the Bonds for instance.
I don't have a particular problem with them, just that they were used less.
Can have a far greater impact, than hundreds
Throughout a film.