What Do The Color Of Wrist

Per un Pugno di dollari


1964

Aliases: Fistful of Dollars

Aliases: For a few dollars

Filmmaker: Sergio Leone
Actors: Clint Eastwood - Gian Maria Volonte - Marianne Koch

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In the dark corners of my memory lurks so deep memories of my first Leone I not sure if this is it or "It was a Time in the West "that I saw. Should there be a cycle Leone the movies because the two tracks merge for me now.

Anyway, this handful of dollars, with In retrospect, the revoyures multiple amazes me: the film is the first western de Sergio Leone and already all the invention of the filmmaker is there under our eyes and ears. Sergio Leon e is a painter decorator which absorbed the characteristics of the western myth to rebuild, give him a brand new dress, all flamboyant, highly charged with false signs realistic limits of caricature, as if the film could become excessive, a coarseness of characters where the characters craggy to participate on stage in a conga or a close representation of stuffing festive, colorful and provocative, but very alive and healthy despite the seeming crass, ostentation of villainy.

But they never fall into the ridiculous or in a form too rough for them. I often use the image of the tightrope walker to evoke this graceful gesticulation balancing act that many filmmakers are involved here but I think Leone achieves blatant exploitation in this sense. What is even more amazing is that it will achieve greater mastery in his subsequent films, including more complex sets of relationships between the characters more searched.

In this handful of dollars, human relations are chick comes down to the man with no name (Clint Eastwood ) in his duel with Ramon (Gian Maria Volonte ) and probably something more with subtle Marianne Koch between seduction and benevolence. It stops there.

The main argument of the film, dramatically pumped about "Yojimbo "Kurosawa, is the passage of this strange, nameless, in a city where corruption and violence reign, where two clans clash in a surge of more destructive consequences. The unnamed man by his malice and his sense Moral plays the angel of God, salvation of men, monsters and executioner vigilante killers.

This dog in a bowling game, Clint Eastwood embodies it with skill. The young actor will thus impose his blue eyes , smart, on a series of westerns Leonean before cooling completely for Dirty Harry. It raises a whole new piece of mythology westernienne.

Similarly Gian Maria Volonte manage to expand its role in patient trigger "For a Few Dollars More", but already he imbues his hero infernal rot and any necessary megalomania. I love this actor. It was something indefinable that cares tokens. In many ways, it reminds me of Maurice Ronet: the beautiful faces that could play the hero, but who knew in their faces so well expressed by the darkness of human they are thus Coltines roles bastard of a mess.

Difficult to circumvent the name of Ennio Morricone here who, like others, immediately finds its place in the processing stage of this story. The dressing is wonderfully original music, very catchy, catchy and above all in phase with the sound world that imagines that time. His music is so effective that it was hard then not to associate directly with the genre, the Far West, the true, pure, juicy, with mucus, the hairs of his beard unshaven, the tan , dusty boots, short, real barbaque.

"A Fistful of Dollars" opens the door to the history of cinema hits large Tatana, the Tiagi definitely! And the public dazed at first by what he saw on the screen, then remains fond of this new type of comedia delloueste. Forward for the new peplum, spaghetti western is launched, served al dente!

Trombi : Clint Eastwood
:

Marianne Koch :

Gian Maria Volonte :

Jose Calvo :

Sieghardt Rupp :

Benito Stefanelli :

Joseph Egger :

Antonio Prieto :

Margarita Lozano :

Bruno Carotenuto :

Wolfgang Lukschy :

My Marriage Invitation Email Format

Good Tony and Angele women


1960

Alias: The girls

Alias: The Good Time Girls

Filmmaker: Claude Chabrol
Actors: Bernadette Lafont - Lucile Saint-Simon - Clotilde Joano - Stéphane Audran

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Chabrol An old, very old, who like often with the director caused in me a kind of groping forward that is not unpleasant. If a very large part of his career, most of his 20 or 30 years, he instead invested the fields of social thriller, which allowed him to attack his enemy loved it, although the disgusting and cowardly bourgeoisie province, his early films are moving much less clear. Her youth does she mumble? The guy is he looking for? I do not know. Anyway, these "good women" adopt a style maneuvering between comedy of manners, bittersweet chronicles generational, and finally the trifle romantic film noir.

One wonders if Chabrol is not obsessed by the people he knows best, so this time: the youth, whom he also portrays in "The cousins " or "Le Beau Serge " and he likes to rust out, grinning with glee and evil. We already discovered this propensity to observe patient entomologist and ordered the gestures of his characters trapped in the clichés they feed themselves. With a certain perversity Chabrol leaves its heroes become mired in a fate that seems hopelessly drawn by social conventions or their own stupidity, a sum of various obstacles, they appear eager not to be overcome, let s 'pile to hasten their fall. Here the 4 "good women" most interesting, not an escape to failure and that damn lack of perspective that the years pre-68 posed on an entire everyone but perhaps more for women.

Bernadette Lafont first, what are your dreams?

nocturnal butterfly, she spends her time in the unfortunate burning wings. Happy laughing in the glow in the assertion of a false power, its furtive love with a soldier on leave leave it alone too.

His restless nights the place to thank you for a couple of men who have no other consideration than to make her an object of pleasure. Wolves have violated the lamb.

Although Lucile Saint-Simon appears as a comparatively less important, any drift in love with a very stupid boy, whose dummy comes down to imposing an encyclopedic culture, recitative and hollow, allowing Chabrol of biting one of his portraits wild aggressive and he has the secret, that of a family trapped in its habits and mental restrictions, coming from a province not so far removed from Paris supposed freedoms elsewhere, but considerably infoutue tolerance and openness . This sequence where parents come to meet the bride of their son is both frightening and comic. In any successful development.

Of all the characters that embodied Stephane Audran is the one that moved me most.

He is trying somehow to get out the head of the brackish water that keeps her condition. This life of a shop assistant desert, where boredom gangrene gradually minds, is a kind of prison for it. Her distress when she discovers his colleagues work in the room where it occurs every night on stage to get some fresh air, breathe a breath of fresh air, that horror is sincere, an brutality moving. It also loses its share of freedom. She had reached s'aménager a small space, it no longer exists. It is again under the influence of a sad routine, that of workers, colleagues, endless hours and encroaches on private land.

But of course, the one that feels most badly the harshness of existence, it Clotilde Joano , angelica, more youthful, still very tender and virgin

the small Red Riding Hood advance with the naive and sweet childhood fantasies that outside the walls, no life have shaped them. By dint of fairy tales, reading the water rose, this is Emma Bovary to life, kind and ingenuous priest to be devoured by the most cunning fox. His boss at the evil eye and phrasing so stinking lubricity perverse ( Pierre Bertin) is on the verge of making her snacks libidinous

but the big, fat, muscular The hairy Mario David who wins the song.

But there was something to watch out, his eyes wild, this strange habit of following him everywhere, his clown at the restaurant, its words, its funny warnings he gives before putting him to death. For Chabrol even dares him soft poles, to save her, but no, this gourd, this poor little blind struggles to get eaten. Love inhibitions and makes fool.

This fable is a rare social cruelty, therefore, since it does not save anyone. Failure is unanimous, so to speak. This no doubt that makes reading a bit hard to swallow. When the shooting criticize other images, realism tends to put the tips. Almost coarse, the intention is no less comical. That's what I said earlier: the cruelty displayed generates a laugh a bit nervous, a little embarrassed, not knowing which way to turn.

Trombi :
Ave Ninchi :

Sacha Briquet :

Jean-Louis Maury :

Albert Dinan :

Claude Berri :

Dolly Bell :

France Asselin and Gabriel Gobin :

Dominique Zardi :

Philippe Castelli :

Jean-Marie Arnoux :

Karen Blanguernon :

Snowmobile Salvage New York

2010

Filmmaker: Alix Delaporte
Actors: Clotilde Hesme - Antoine Couleau - Evelyne Didi - Gregory Gadebois

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Strange film processing shift between two love stories. I just saw, one after the other two films are diametrically opposed. I first saw "Marriage Italian " where Sophia Loren and Marcello Mastroianni are fighting and love each other by yelling and that "Angela and Tony" where two characters spend the movie to feel the buttocks without lifting the jaw. Both films come together on this difficulty in communicating feelings that are often taken as being at risk for his fragile little heart. Both the Italian screams, as the French did in the taciturn sailor.

Angela (Clotilde Hesme ) lost his footing and ended up in jail. In fact, she was unable to maintain strong links with his son. Feelings of guilt and shame, a youth too immature and the anguish of a seriously impede the future unclear at this time restore the relationship with his kid.

In parallel, it seeks to reintegrate the job, maintain his parole and why not, fall in love, have a family that has probably contributed to explode before. In this regard, it is unclear what happened with the father and step-parents. These have custody of the child. My goodness, who cares. She tries to move on. And Tony could well be that "something else".

Tony (Greg Gadebois ) is just as stingy with words. That's the kind of guy to just look at you without answering the question you ask him, get the picture, not super convenient, for whom things are relatively simple, a pragmatic and especially someone who wants avoiding conflict, seeking peace, not like his little brother, Mad Dog has the anger and striking the word up. Gregory Gadebois comes from the "French Comedy," which gives home Sometimes the movies (which I should say ready) of very great actors. Actually, it was the major argument that caught my attention. And we must concede that his performance is not really stunning. However, how this role could buried highlight the talents of comedian? Difficult eh?

And in every way, the main character is one that plays Clothilde Hesme . In seeking to stabilize a life that is a party to rack and water, it also tries to regain the esteem of his kid, being a mother. In this it reminds me a lot to the character portrayed by Julie Gayet in "standing 8 times " Xabi Molia shot in 2009 but released last year.

and I'm thinking it is symptomatic of the state of our society, our patrols that two young emerging artists and a few months away the same type of character, engaged in close combat with similar concerns about their role as mothers in trouble financially. Symptomatic and disturbing, without losing hope. The crisis is definitely there. We must adapt. There, up on our screens.

The realization of Alix Delaporte is at times very academic: plans very postcard, oddly, punctuate a formal image sharper. As if the task to anchor the narrative in a particular landscape, a bit wild and hard, could explain the nature dry yet profound act of characters who prefer to say. Most of the time the camera is very close to the characters. In search of words or demonstrations are the expression of the hero. In vain. I am not convinced, nor charmed by a well defined style. But we must be lenient with a first embodiment.