GhostontheNet wrote:Last night I watched Sanjuro directed by Akira Kurosawa.
I can see why my dad termed this film The Seven Stooges the first time I saw it about a decade ago. Back then I thought it was another director's satire of Kurosawa, but it is in fact Kurosawa's satire of samurai cliches. In this regard, Toshiro Mifune is cast as the offbeat ronin who calls the tune as the nine samurai are hopelessly lost in the power struggles between the Superintendent and the Chamberlain.
bigsleepj wrote:High and Low
A classic Akira Kurosawa crime drama starring Toshiro Mifume....
Sanjuro is great. Its not as excellent as Yojimbo but it has a charm of its own. I enjoy watching it every now and again.
In your defense, I think the 2005 version is a lot more accessible to audiences than the 6 hour monster that is the '95 version is. For the sake of the story spreading to the masses, I'm glad they made a shorter version of Pride and Prejudice. Though, because I'm a super fan/purist over the book, I prefer the longer version (I'm dumb like that with Shakespeare adapted into movies too. They can't cut anything out. D: ). But both versions have their own charms, I think. Yet, like the_wolfs_howl, I sadly couldn't enjoy the newer version as much, even though I wanted to (because I was thinking too much on what great things they left out from the book instead of being able to enjoy the story. ;_; ), but I'm glad you and many others still enjoy it! : DAngelicTotoro wrote:...I'm just going to ignore that slight about one of my favorite movies ever. And move on. After all, it is a matter of personal taste and what really reached you. Everyone has their own opinion.
(I guess I'm in the minority that prefers the 2005 version to the 95' mini series. Don't care if the bbc one is more accurate, the movie brings me such joy and bliss, that I can watch it countless times. Oh wait, I've already done that too. :b)
GhostontheNet wrote:Tonight I watched Histoires Extraordinaires directed by Roger Vadim, Louis Malle and Federico Fellini.
Where many Gothic horror films conceive of innocence haunted by a force of evil, these three short films inspired by Edgar Allan Poe stories make the fascinating innovation of corrupt protagonists haunted by a sense of decency. Vadim tells of a countess who is sexually libertine but ruthless as she is drawn by love to her cousin, a man who opts for a quiet life of contemplation and communion with animals. Malle tells of a man who is a sadist, bully, and misogynist as he murders his virtuous doppelgänger only to find he has sealed his own doom. Fellini tells of media vampirism and an actor in a living death who finds no redemption either in spiritual themes of movies he plays in, or a femme fatale who claims to be the woman of his dreams and the key to his salvation.
bigsleepj wrote:Never heard of it, but it sounds interesting. I'm not a fan of these kind of films but this one arguably intrigued me (and the famous names attached helps!).
GhostontheNet wrote:It perplexes me that where the aliens at the end (or are they us?) have achieved singularity, the humans are content to maintain a bioconservative humanism toward their own bodies as a doctrine of racial supremacy.
bigsleepj wrote:As I understand it the aliens are computers from either a vastly different race that achieved life or it is the remnants of our own technology that moved beyond human data and now want to re-connect with its distant, ancient and equally alien creators.
GhostontheNet wrote:Last night I watched Chinatown directed by Roman Polanski.
I'm impressed, it's not often you see a detective story where the audience is fully inside the protagonist and knows everything they know, when they know it. This is of course a different pleasure from like, the Sherlock Holmes "Wow, I didn't see that one coming" where the audience is about as befuddled as old-school Watson, or dramatic irony where the audience is made privy to things the detective doesn't know. Like Polanski's other films of the 60's and 70's, the bad guys win and injustice triumphs in a terrible way. As an auteur's countertrend to Hollywood's preference for a happy ending, I think this reflects the way that Polanski lost most of his family to the Holocaust when he was just a boy.
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