What classics did you see last week ? (3 Jun - 9 Jun 2018)
Jun 10, 2018 23:01:26 GMT
teleadm, mikef6, and 1 more like this
Post by morrisondylanfan on Jun 10, 2018 23:01:26 GMT
Hi all,I hope everyone is having a good weekend,and last week I got the chance to see some stylish,off-beat films.
Venus In Fur (1969) 8
Whipped by Gianfranco Reverberi’s spidery Jazz score,director Massimo Dallamano & cinematographer Sergio “Don’t Torture A Duckling” D'Offizi eye up top quality sleaze with lush stylisation of ruby reds and pristine whites giving a decadent atmosphere to the couple. While some of the more left-field choices interrupt the mood, ( a sex scene between two horses gives turns the erotica dead!)Dallamano makes most of them work by using them to peel the layers of Severin,from extended first-person shots handing out S&M punishment from Severin’s view,and splintered flashbacks unveiling Severin’s desire for humiliation.
Unzipping Leopold von Sacher-Masoch’s 1870 novella for the jet-set Euro crowd, “Fabio Massimo” (likely a fake name-this is Fabio’s lone credit) adaptation does extremely well at retaining the feeling of breaking taboos from Severin’s and Wanda’s relationship, with each new erotic act they partake in, (beginning from Wanda whipping Severin, to him requesting Wanda to sleep with other men so he can watch them)placing a chink in the armour of their romance. Dominating proceedings, Laura Antonelli gives an outstanding performance as Wanda,that brims with an erotic sensuality,that Antonelli hooks with a restrained sorrow over the tears in their marriage. Chained up from all sides, Régis Vallée gives an excellent, expressive performance as Severin, which captures the arousal and the pain Severin receives from the venus in fur.
Black Moon (1974) 8
Playing out the first 15 minutes with muffled radio noise being the lone dialogue, the screenplay by Louis Malle & Joyce Buñuel, (she would soon divorce her then-husband Juan Luis Buñuel) give the dialogue a clipped,fairy tale-style presentation, via the characters being limited to first names or descriptions, ("The Old Lady") and the murmurs of a literal battle of the sexes encourages Lilly to crawl deeper into the dream-scape of the house. Taking soil from the rabbit hole of Lewis Carroll's Alice in Wonderland,the writers spin Alice's fantasy adventure into a more surrealist direction with the random running around of naked children, (thankfully without Carroll's signs) the breastfeeding of the old lady and a unicorn (!),and fellow guests at the house disappearing into air drawing out Lilly's fantasy of childhood,into the snake of adulthood.
Retaining his independent French New Wave spirit by shooting the entire film on his own 200-year-old manor house and its surrounding 225-acre, director Malle and cinematographer Sven Nykvist take advantage of the limitations by giving Lilly's adventures a closed-off appearance,where every attempt she makes to leave, leads Lilly back to the house. Making everyone else round the house fade-out like ghosts,Malle gathers snippets of reality with close-ups held in silence glimpsing at the reality Lilly is leaving.
Beautifully using forced perspective to keep Lilly at a child's height, Malle wraps the surrealism in a grotesque,oddly enchanting oder, with the unicorn and birds being given a rotting appearance, and the Old Lady/mother stand-in only being able to survive thanks to breast milk. Sipping on her last performance, Therese Giehse casts a great, unsettling mood as the Old Lady,whose mumbled words Giehse uses to keep Lilly permanently unsettled. Dreaming to escape from the unfolding battle of the sexes,Cathryn Harrison elegantly threads Lilly's child sense of wonder with a sensitive maturity that glows as the black moon rises.
Le piège (1958)-First IMDb review for film. 8
Drifting Film Noir loner Gino Carsone in on the same winds of Gino Costa's postman that rings twice, the screenplay by co-writer/(with Roland Laudenbach/Jacques Marcerou & André Tabet) director Charles Brabant take the outline and escape to their own Film Noir destination,with the front page of newspapers gusting across the floor bringing Gino's (played by a gritty Raf Vallone) past back to the headlines. Playing hide and seek with their love and Gino's criminal past, the writers make the triangle between Gino,his lover Cora ,and her dad-in-law Caillé (played by a very good Charles Vanel) become fractured with unease over Caillé's lust for Cora (played by a romantic Magali Noël )undermining Gino's trust in him,and kicked around by all, maid Denise (a wickedly seductive Betty Schneider) unlocking a vindictive sting for the final Film Noir escape.
Steaming up the opening and closing credits by freeing smoke, director Brabant and cinematographer Edmond Séchan give Gino's escape to the arms of Cora a hot,sweaty, grubby Film Noir atmosphere of everything being covered in grease and oil,and clouds of shadows taking the wheels off Gino and Cora's plans. Contrasting the rugged look of Gino, (and the peculiar winky-dink score from Alain Goraguer and Maurice Leroux) Brabant laces Cora and Denise with beautifully stylised two-shots, that dig into the Femme Fatale tension between them with the use of mirrors that reflects the devilish smiles they each possess,as Gino finds he has no escape.
Other flicks:
Jericho (1937) 6
Venus In Fur (1969) 8
Whipped by Gianfranco Reverberi’s spidery Jazz score,director Massimo Dallamano & cinematographer Sergio “Don’t Torture A Duckling” D'Offizi eye up top quality sleaze with lush stylisation of ruby reds and pristine whites giving a decadent atmosphere to the couple. While some of the more left-field choices interrupt the mood, ( a sex scene between two horses gives turns the erotica dead!)Dallamano makes most of them work by using them to peel the layers of Severin,from extended first-person shots handing out S&M punishment from Severin’s view,and splintered flashbacks unveiling Severin’s desire for humiliation.
Unzipping Leopold von Sacher-Masoch’s 1870 novella for the jet-set Euro crowd, “Fabio Massimo” (likely a fake name-this is Fabio’s lone credit) adaptation does extremely well at retaining the feeling of breaking taboos from Severin’s and Wanda’s relationship, with each new erotic act they partake in, (beginning from Wanda whipping Severin, to him requesting Wanda to sleep with other men so he can watch them)placing a chink in the armour of their romance. Dominating proceedings, Laura Antonelli gives an outstanding performance as Wanda,that brims with an erotic sensuality,that Antonelli hooks with a restrained sorrow over the tears in their marriage. Chained up from all sides, Régis Vallée gives an excellent, expressive performance as Severin, which captures the arousal and the pain Severin receives from the venus in fur.
Black Moon (1974) 8
Playing out the first 15 minutes with muffled radio noise being the lone dialogue, the screenplay by Louis Malle & Joyce Buñuel, (she would soon divorce her then-husband Juan Luis Buñuel) give the dialogue a clipped,fairy tale-style presentation, via the characters being limited to first names or descriptions, ("The Old Lady") and the murmurs of a literal battle of the sexes encourages Lilly to crawl deeper into the dream-scape of the house. Taking soil from the rabbit hole of Lewis Carroll's Alice in Wonderland,the writers spin Alice's fantasy adventure into a more surrealist direction with the random running around of naked children, (thankfully without Carroll's signs) the breastfeeding of the old lady and a unicorn (!),and fellow guests at the house disappearing into air drawing out Lilly's fantasy of childhood,into the snake of adulthood.
Retaining his independent French New Wave spirit by shooting the entire film on his own 200-year-old manor house and its surrounding 225-acre, director Malle and cinematographer Sven Nykvist take advantage of the limitations by giving Lilly's adventures a closed-off appearance,where every attempt she makes to leave, leads Lilly back to the house. Making everyone else round the house fade-out like ghosts,Malle gathers snippets of reality with close-ups held in silence glimpsing at the reality Lilly is leaving.
Beautifully using forced perspective to keep Lilly at a child's height, Malle wraps the surrealism in a grotesque,oddly enchanting oder, with the unicorn and birds being given a rotting appearance, and the Old Lady/mother stand-in only being able to survive thanks to breast milk. Sipping on her last performance, Therese Giehse casts a great, unsettling mood as the Old Lady,whose mumbled words Giehse uses to keep Lilly permanently unsettled. Dreaming to escape from the unfolding battle of the sexes,Cathryn Harrison elegantly threads Lilly's child sense of wonder with a sensitive maturity that glows as the black moon rises.
Le piège (1958)-First IMDb review for film. 8
Drifting Film Noir loner Gino Carsone in on the same winds of Gino Costa's postman that rings twice, the screenplay by co-writer/(with Roland Laudenbach/Jacques Marcerou & André Tabet) director Charles Brabant take the outline and escape to their own Film Noir destination,with the front page of newspapers gusting across the floor bringing Gino's (played by a gritty Raf Vallone) past back to the headlines. Playing hide and seek with their love and Gino's criminal past, the writers make the triangle between Gino,his lover Cora ,and her dad-in-law Caillé (played by a very good Charles Vanel) become fractured with unease over Caillé's lust for Cora (played by a romantic Magali Noël )undermining Gino's trust in him,and kicked around by all, maid Denise (a wickedly seductive Betty Schneider) unlocking a vindictive sting for the final Film Noir escape.
Steaming up the opening and closing credits by freeing smoke, director Brabant and cinematographer Edmond Séchan give Gino's escape to the arms of Cora a hot,sweaty, grubby Film Noir atmosphere of everything being covered in grease and oil,and clouds of shadows taking the wheels off Gino and Cora's plans. Contrasting the rugged look of Gino, (and the peculiar winky-dink score from Alain Goraguer and Maurice Leroux) Brabant laces Cora and Denise with beautifully stylised two-shots, that dig into the Femme Fatale tension between them with the use of mirrors that reflects the devilish smiles they each possess,as Gino finds he has no escape.
Other flicks:
Jericho (1937) 6