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Dr Strangelove
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quote:
Originally posted by monolith94
Another great war film: The Cranes Are Flying
although we don't actually see that much of the war.
I also really liked Cold Mountain. I think I'm in the minority though. |
"Cold Mountain" has to be the best Civil War flick ever, but I think that it more belongs in the Romantic category. If you're going to include films in which war is primarily a background event then you could add "Casablanca".
Has anyone here ever seen "King of Hearts"? It was a great film, but it was more of a balck comedy than a war film.
For those of you who have seen "King of Hearts":
"And who are you?'
" I'm ....uh..... the king of hearts."
" Sire! You've returned!"
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alva
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Republic of Flanders
Sep 2001
time: 06:27
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quote:
We Were Soldiers - The Mel Gibson movie everyone forgets. |
Great movie
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A Bridge Too Far - Recently saw this for the first time watching it all the way through. |
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Glory - Everytime I see it on TV I stop and watch. Great performances. |
Is that the one with Denzel?
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Saving Private Ryan - Great battle scenes and it wasn't necessary a good ending |
This movie gets very bad stick for no apparent resons IMO. I know of very few other movies that caused me to piss my pants. The problem maybe that after those frist 20 minutes, anything after that is going to be a disapointment.
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Black Hawk Down - Hard movie to watch especially after losing some friends overseas. It has a lot of idealism and a lot WTF are we doing here. |
Must have seen about 4 times, great soundtrack too.
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Three Kings - very good performances from Clooney, Cube and Marky Boy |
Good movie but wouldn't classify it as a war movie though, rather an action movie in war enviroment.
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Great Escape - Classic movie |
For some reason I can't watch this movie anymore with chuckling all the way through. 
" Donald Pleasance is doing forgeries on bits of tin can with a bit of jam. Clang! And on the day of the escape, they’re all there, and Steve McQueen has joined up in the escape, and the British have trilby hats on, overcoats, canoe, a bit of a rabbit… And Steve’s just there in jeans and a T-shirt, disguised as an American man! He romps out, jumps in a motorbike, knocks a guy off, and within 15 minutes, he’s in the borders of Switzerland. This is from Poland! And if you don’t know the geography, it goes Poland, Czechoslovakia, Holland, Venezuela, Africa, the Hanging Gardens of Babylon… and then Switzerland."
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Full Metal Jacket - Another Classic |
Though perhaps not as serious as the rest but I really loved "Biloxi blues"
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molly bloom
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Lundenwic
Oct 2001
time: 15:27
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quote:
Originally posted by Combat Ingrid
To me it seemed to mostly deal with poop and related stuff 
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Pasolini being interviewed about his film:
Pasolini on Salò
Its [the new consumer society’s] permissiveness is false. It is the mask of the worst repression ever exercised by Power on the masses of citizens. In fact (it is a remark of one of my protagonists of my next film, which is taken from de Sade and set in the Republic of Salò):
"In a society where all is forbidden, one can do everything; in a society where only some things are permitted, one can do only those things."
One can say that repressive societies … were in need of soldiers and, in addition, of saints and artists, while the permissive society needs only consumers …
The brood hens, the Italians have accepted the new unnamed sacredness of merchandise and its consumption … The new Italians do not know what to do with sacredness; they are all, pragmatically, if not consciously, very modern. And as far as sentiment is concerned, they tend to free themselves of it rapidly.
Schwartz, Pasolini Requiem p.632 (originally from B. Allen Pier Paolo Pasolini "Heart" 122-126)
"Sade said, in a phrase not so famous as others, that nothing is as profoundly anarchic as power … so far as I know, there has never been in Europe a power as anarchic as that of the Republic of Salò."
Schwartz, p.644
"They are taken by chance, they are more than innocent. They think at first that it is all a game and only realize what is happening when it is too late … but I don’t want them to be politically superior or inferior [to their captors]. In fact, I believe them to be superior, but insofar as they are the victims in this film. I could not make them too tender, so good as too tear at the heart.
If I made them likable victims who cried and tore at he heart then everyone would leave the movie house after five minutes. Besides, I don’t do that because I don’t believe it.
Comments made at press conference during filming (from De Giusti, Pier Paolo Pasolini; as quoted in Schwartz, p.655)
"I must confess that even here I do not arrive at the heart of violence … the real violence is that of television … For me, the maximum of violence is a television announcer. In my films, violence is a mechanism, never a real fact." Schwartz, p.659
Q: Do you think it was a period of great decadence? P: It was the decadence of the Hitlerian period, but not certainly of great Western capitalism.
http://www.opsonicindex.org/salo/salpas.html
What happened in the historical Republic of Salo:
Correspondence between officials from Mussolini's puppet Republic of Salo and the police suggests a pact under which the fascists would transfer Jews to the Germans and death in the camps, Mr Sarfatti says.
The Republic of Salo routinely arrested Jews and sent them to Fossoli, a camp near Modena, where the SS took control and deported them to Germany, he writes.
Since Mussolini had been aware for some time of the fate that awaited the Jews, Mr Sarfatti concludes that Il Duce progressed from withdrawing their civil rights to permitting their physical destruction.
Mussolini "took part voluntarily and knowingly in the Shoah", he claims.
A rival historian, Giovanni Sabbatucci, blames "a general complicity by the Fascists of Salo in the deportation and extermination of the Jews".
http://www.telegraph.co.uk/news/mai.../25/wmuss25.xml
What happened to Pasolini in the war:
"For him, making the film, and setting it in Salo, struck deep personal chords, since his brother had been killed there during the war, and he himself had been captured by the Nazis nearby. Those "terrible days" inform the production design, from the villa, designed to look like the home of a "cultured Jew", to the haut bourgeois clothing, to the Art Deco and Bauhaus decorations, expressive of the era of functionalism and industrialism, to the De Chirico empty courtyards and streets. "
http://www.kamera.co.uk/features/pasolini.html
'Braveheart', whilst not featuring any poop, was a great stinking pile of merde, not even having the anachronistic virtues of Shakespeare's histories and tragedies.
The characters of Edward I and II were caricatures, and the portrayals of Edward II and Gaveston were ludicrous even by Gibson's shoddy standards. He plays fast and loose with chronology, geography, and most absurdly of all, with the parentage of Edward III.
Luckily I saw the film for free, because I would otherwise have attempted to claim damages for having had to sit through what felt like a tide of raw sewage.
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molly bloom
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Lundenwic
Oct 2001
time: 15:27
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I'd also recommend:
'The Life and Death of Colonel Blimp' :
"Powell's and Pressburger's fifth film, a masterwork, was made despite prime minister Winston Churchill's wishes. His opposition did the film one favour, since his refusal to release Laurence Olivier from service meant that Livesey took the role of Clive Candy, the character based on Low's Evening Standard cartoon, and made it entirely his own. He is matched by Walbrook as his best friend, the German Theo, and the young Deborah Kerr playing three key roles - governess, army driver and wife. Fears that a heroic character rooted in the values of Edwardian England would be unpatriotic were unfounded, and the film works as a wayward, heart-warming celebration of principle and a portrait of a survivor from an earlier age. Happily the film was restored by the BFI in the late 1970s, and the glorious Technicolor and rich texture of the designs can now be fully appreciated. "
http://www.channel4.com/film/a2z/f-L_3_a2z.html
Akira Kurosawa's 'Ran' :
" The film gains it weight and it’s ponderous style from Shakespeare’s King Lear, being fairly faithful to the play in its themes and tone, but also from traditional Japanese Noh theatre in its stylised designs and mannered performances. Kurosawa had tackled Shakespeare before in this way in his remarkable adaptation of 'MacBeth', 'Throne of Blood' (1957), a comparatively much more modest and smaller scale drama. 'Ran' has much grander ambitions but the sheer spectacle of some of the most stunningly visualised battle scenes ever filmed never seem to dwarf the human elements, they only serve to heighten the level of greed, power and folly that man can reach. The individual performances of the actors also live up to this intense drama. While to western eyes they can appear stiff and formal, each of the characters is perfectly captured in minute detail in gestures and in the clipped delivery of short commands and pronouncements carrying subtle hints of lust, greed and power that deliver devastating consequences. Just examine how few outward gestures and words are made by Taro’s wife, Kaede, yet how powerful her presence, how threatening her demeanour and how menacing those words. "
http://www.dvdtimes.co.uk/content.php?contentid=11597
And Ian McKellen's 'Richard III' :
" Energetic and fast paced (perhaps too fast paced) adaptation of Shakespeare's play updated to a twentieth century setting. Following a bloody civil war, the York family become the Royals of England. Richard (Ian McKellen), a physically deformed and mentally dark member of the family sets his sights on the throne. The fact that he must kill his two brothers, some nephews and several miscellaneous courtiers to get it is of little worry to him. On the contrary, he treats it like a game with the audience, with whom he conspires through a series of asides to explain his plotting.
Retaining the Shakespearian dialogue but compressing some characters and action, Richard Loncraine's film version of the celebrated stage show by Richard Eyre and McKellen succeeds in its conceit of setting the action in a 1930s world in which Richard becomes a fascist dictator modelled after Hitler and Mussolini (complete with black uniforms and distinctive insignia). Like Richard himself, this somewhat playful, somewhat serious approach is morbidly fascinating. McKellen is effective, backed by a large and substantial cast including Nigel Hawthorn, Adrian Dunbar, Kristin Scott Thomas, Maggie Smith and Robert Downey Jnr.
The inclusion of scenes of graphic violence, sex and even drugs may confuse those for whom Shakespeare represents a safe and anaemic form of culture, but should not surprise anyone who has ever studied the work. Richard is among Shakespeare's most fascinating characters, an example of a gleeful anti-hero many years before this became commonplace, and though the ending of the film somewhat distorts the ending of the play, it captures an essential vicious black humour exhibited in the dialogue throughout. "
http://homepage.eircom.net/~obrienh/r395.htm
I'd also recommend 'The Official Version' which is an Argentinian film focusing on the aftermath of one aspect of the country's 'Dirty War' against political dissidents. It centres upon what happened to underage children of the disappeared- 'adopted' by families of Junta supporters.
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Maquiladora
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Looks fine here. Clear your cache?
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Ned
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of Aptos, CA
Oct 1999
time: 21:27
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quote:
Originally posted by Verres
"A crowning achievement of 1980's Soviet cinema, Elem Klimov's Come and See is perhaps the ultimate WWII film. This savage and lyrical fever dream of death, rage and terror experienced through young eyes is a virtual primer for the subsequent, similarly psychedelic intensity of Terrence Malick's "The thin Red Line" and Spielberg's "Saving Private Ryan," Klimov's elegant, harrowing union of unflinching ferocity and dreamlike clarity moved "Empire of the Sun" author J.G. Ballard to declare Come And See the greatest war film ever made. Time Out New York agreed, saying "Come And See's nimble balance of the sordid with the elegiac makes Peckinpah's 'Cross of Iron' seem like 'Newsies.'
When young Florya willingly joins a group of Partisans fighting the Nazis in Byelorussia, USSR, he little suspects that he is plunging through the looking glass. Separated from his comrades during a paratroop attack and struck deaf by German artillery, Florya - in the company of Glascha, a beguiling peasant girl - wanders a battle-scorched Russian purgatory of prehistoric forests and man-made slaughter. Florya's journey takes him and us through a gallery of exquisitely poetic imagery and brutal human atrocity. Unlike traditional war films, Come And See never stoops to convenient heroic catharsis or genre movie narrative symmetry. Images of a beautiful girl's impromptu dance in the rain and an SS unit's spontaneous, self-congratulatory applause at their own butchery haunt with equal power. More than any other war film, Come And See unites the powerful truths and inescapable dilemmas that lurk behind both the raptures of youth and the horrors of war."
Does sound worth a look  |
I have seen this film. It is more than powerful. It is searing.
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01-02-2005 01:55
What exactly do you consider war?
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