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1001 films you must see before you die- Part X: 1970-1974

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Re: 1001 films you must see before you die- Part X: 1970-1974

Mensaje  JM el Sáb Nov 07, 2009 1:12 pm

583
Young Frankenstein (Mel Brooks, 1974)




If you were to argue that Mel Brooks's Young Frankenstein ranks among the top-ten funniest movies of all time, nobody could reasonably dispute the claim. Spoofing classic horror in the way that Brooks's previous film Blazing Saddles sent up classic Westerns, the movie is both a loving tribute and a raucous, irreverent parody of Universal's classic horror films Frankenstein (1931) and Bride of Frankenstein (1935). Filming in glorious black and white, Brooks re-created the Frankenstein laboratory using the same equipment from the original Frankenstein (courtesy of designer Kenneth Strickfaden), and this loving attention to physical and stylistic detail creates a solid foundation for nonstop comedy. The story, of course, involves Frederick Frankenstein (Gene Wilder) and his effort to resume experiments in re-animation pioneered by his late father. (He's got some help, since dad left behind a book titled How I Did It.) Assisting him is the hapless hunchback Igor (Marty Feldman) and the buxom but none-too-bright maiden Inga (Teri Garr), and when Frankenstein succeeds in creating his monster (Peter Boyle), the stage is set for an outrageous revision of the Frankenstein legend. With comedy highlights too numerous to mention, Brooks guides his brilliant cast (also including Cloris Leachman, Madeline Kahn, Kenneth Mars, and Gene Hackman in a classic cameo role) through scene after scene of inspired hilarity. Indeed, Young Frankenstein is a charmed film, nothing less than a comedy classic, representing the finest work from everyone involved. Not one joke has lost its payoff, and none of the countless gags have lost their zany appeal. From a career that includes some of the best comedies ever made, this is the film for which Mel Brooks will be most fondly remembered.


JM

Cantidad de envíos : 1944
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Re: 1001 films you must see before you die- Part X: 1970-1974

Mensaje  JM el Sáb Nov 07, 2009 2:03 pm

584
Chinatown (Roman Polanski, 1974)




Roman Polanski's brooding film noir exposes the darkest side of the land of sunshine, the Los Angeles of the 1930s, where power is the only currency--and the only real thing worth buying. Jack Nicholson is J.J. Gittes, a private eye in the Chandler mold, who during a routine straying-spouse investigation finds himself drawn deeper and deeper into a jigsaw puzzle of clues and corruption. The glamorous Evelyn Mulwray (a dazzling Faye Dunaway) and her titanic father, Noah Cross (John Huston), are at the black-hole center of this tale of treachery, incest, and political bribery. The crackling, hard-bitten script by Robert Towne won a well-deserved Oscar, and the muted color cinematography makes the goings-on seem both bleak and impossibly vibrant. Polanski himself has a brief, memorable cameo as the thug who tangles with Nicholson's nose. One of the greatest, most completely satisfying crime films of all time.


JM

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Re: 1001 films you must see before you die- Part X: 1970-1974

Mensaje  JM el Sáb Nov 07, 2009 2:14 pm

585
Céline et Julie vont en bateau (Celine and Julie Go Boating)
(Jacques Rivette, 1974)




Celine and Julie Go Boating (French: Céline et Julie vont en bateau) is a 1974 French film directed by Jacques Rivette.
Celine and Julie Go Boating is a hypnotic, circular film that is as much about the magic of cinema and narrative as it is about "real" magic. The film starts slowly, and it's not clear at first whether or not the film is simply about two very different women getting to know each other and become friends. The film begins with a seemingly documentary look at a lazy afternoon in a non-descript Parisian park. But we soon discover--as Celine leaps up from her park bench to chase after julie--that that the film is about play on many different levels, including playing parts, trying on other character's personalities, and even evoking an older era of cinema, as Celine and Julie in black 'ninja' style clothes hark back to the underground gangs of Feuillade's "Les Vampires" (a silent film serial beloved by the Surrealists).
These initial chase scenes evoke a fairy atmosphere, or a childrens' game of "Let's follow the White Rabbit". The actual feelings of the women for each other becomes another thread to follow. But then, after Julie (Dominique Labourier), a shy but dreamy librarian, invites to her apartment the bohemian Céline (Juliet Berto), who dresses skimpily to do her magic acts in down-at-the-heels cabaret.


JM

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Re: 1001 films you must see before you die- Part X: 1970-1974

Mensaje  JM el Sáb Nov 07, 2009 2:48 pm

586
Blazing saddles (Mel Brooks, 1974)




Mel Brooks scored his first commercial hit with this raucous Western spoof starring the late Cleavon Little as the newly hired (and conspicuously black) sheriff of Rock Ridge. Sheriff Bart teams up with deputy Jim (Gene Wilder) to foil the railroad-building scheme of the nefarious Hedley Lamarr (Harvey Korman). The simple plot is just an excuse for a steady stream of gags, many of them unabashedly tasteless, that Brooks and his wacky cast pull off with side-splitting success. The humor is so juvenile and crude that you just have to surrender to it; highlights abound, from the lunkheaded Alex Karras as the ox-riding Mongo to Madeline Kahn's uproarious send-up of Marlene Dietrich as saloon songstress Lili Von Shtupp. Adding to the comedic excess is the infamous campfire scene involving a bunch of hungry cowboys, heaping servings of baked beans and, well, you get the idea.


JM

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Re: 1001 films you must see before you die- Part X: 1970-1974

Mensaje  JM el Sáb Nov 07, 2009 8:07 pm

587
The Godfather Part II (Francis Ford Coppola, 1974)




Francis Ford Coppola took some of the deep background from the life of Mafia chief Vito Corleone--the patriarch of Mario Puzo's bestselling novel The Godfather--and built around it a stunning sequel to his Oscar-winning, 1972 hit film. Robert De Niro plays Vito as a young Sicilian immigrant in turn-of-the-century New York City's Little Italy. Coppola weaves in and out of the story of Vito's transformation into a powerful crime figure, contrasting that evolution against efforts by son Michael Corleone to spread the family's business into pre-Castro Cuba. As memorable as the first film is, The Godfather II is an amazingly intricate, symmetrical tragedy that touches upon several chapters of 20th-century history and makes a strong case that our destinies are written long before we're born. This was De Niro's first introduction to a lot of filmgoers, and he makes an enormous impression. But even with him and a number of truly brilliant actors (including maestro Lee Strasberg), this is ultimately Pacino's film and a masterful performance.


JM

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Re: 1001 films you must see before you die- Part X: 1970-1974

Mensaje  JM el Sáb Nov 07, 2009 8:45 pm

588
Angst essen Seele auf (Ali: Fear eats the soul)
(Rainer Werner Fassbinder, 1974)




Rainer Werner Fassbinder paid tribute to his mentor, Douglas Sirk, with this loose adaptation of All That Heaven Allows, the classic American soaper of a widow falling for younger man to the disapproval of family and friends. Fassbinder combines the Sirk melodrama with the story told in his own The American Soldier. An aging, lonely charwoman (sweet old Brigitte Mira) befriends a Moroccan guest worker (El Hedi ben Salem) at least 20 years her junior. Finding comfort and happiness in one another's company, they suddenly marry. Her kids are aghast, his friends appalled, and the neighborhood turns its back, so the two pull together for support. Their relationship ironically begins to unravel when the pressure of community prejudice eases and they must confront the gulf between them. Combining melodrama with social commentary, Fassbinder offers a sharp, incisive portrait of prejudice in modern Germany grounded in contemporary social conditions. Mira delivers a tender, vulnerable performance and Fassbinder molds Salem's stiffness into a distinctive character trait of a man ill at ease in German society. It's an assured and beautiful film, full of gliding camerawork and evocative images, and invested with intimacy and gentleness. Even Fassbinder's characteristically grim conclusion defies tragedy for a glimmer of hope, a welcome and affecting rarity in his career.


JM

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Re: 1001 films you must see before you die- Part X: 1970-1974

Mensaje  JM el Sáb Nov 07, 2009 8:47 pm

589
Bring me the head of Alfredo Garcia (Sam Peckinpah, 1974)




Sam Peckinpah knew he couldn't call a movie Bring Me the Head of Alfredo Garcia and get away with it. That's why he did it. When he undertook this nakedly personal project, in self-exile in Mexico, the director was a deeply bitter man out of favor with critics, the media, and the Hollywood establishment, which had just released his Pat Garrett & Billy the Kid in a mutilated version. "Bring Me the Head..." sounded like the parody title of an ultraviolent Sam Peckinpah movie, and he flung it in our faces just as his onscreen surrogate tosses the titular object at the camera.
Thing is, the movie is a masterpiece--raw, shocking, beautiful, and brave--in which Peckinpah confronts his enemies and his own demons. Warren Oates plays a gringo piano-player stuck in Mexico who hears that some powerful men are willing to pay a bounty on a guy he knows. They don't know the guy is already dead, killed in a car accident. It'll be easy to exhume the trophy and collect the money--except that it will cost our seedy hero everything he has and ever wanted.
John Huston's Treasure of the Sierra Madre had always been a key legend for Peckinpah; this film is a subterranean re-imagining of it, with Oates as both the son of Fred C. Dobbs and the carnival-mirror reflection of Peckinpah himself. And Isela Vega's performance as the sainted whore Elita--bruised and worldly one minute, radiant and clear-skinned as a child the next--is an act of grace.


Bring Me The Head Of Alfredo Garcia - These bloopers are hilarious

JM

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Re: 1001 films you must see before you die- Part X: 1970-1974

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