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1001 films you must see before you die- Part XI: 1975-1979

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1001 films you must see before you die- Part XI: 1975-1979

Mensaje  JM el Jue Feb 19, 2009 10:39 pm

1001 films you must see before you die
Part XI: 1975-1979


590
Dog day afternoon (Sidney Lumet, 1975)




A gripping true crime yarn, a juicy slice of overheated New York atmosphere, and a splendid showcase for its young actors, Dog Day Afternoon is a minor classic of the 1970s. The opening montage of New York street life (set to Elton John's lazy "Amoreena") establishes the oppressive mood of a scorching afternoon in the city with such immediacy that you can almost smell the garbage baking in the sun and the water from the hydrants evaporating from the sizzling pavement. Al Pacino plays Sonny, who, along with his rather slow-witted accomplice Sal (John Cazale, familiar as Pacino's Godfather brother Fredo), holds hostages after a botched a bank robbery. Sonny finds himself transformed into a rebel celebrity when his standoff with police (including lead negotiator Charles Durning) is covered live on local television. The movie doesn't appear to be about anything in particular, but it really conveys the feel of wild and unpredictable events unfolding before your eyes, and the whole picture is so convincing and involving that you're glued to the screen. An Oscar winner for original screenplay, Dog Day Afternoon was also nominated for best picture, actor, supporting actor (Chris Sarandon, as a surprise figure from Sonny's past), editing, and director (Sidney Lumet of Serpico, Prince of the City, The Verdict, and Running on Empty).



Última edición por JM el Dom Nov 08, 2009 11:40 pm, editado 6 veces

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Re: 1001 films you must see before you die- Part XI: 1975-1979

Mensaje  JM el Jue Feb 19, 2009 11:12 pm

591
One flew over the cuckoo's nest (Milos Forman, 1975)




One of the key movies of the 1970s, when exciting, groundbreaking, personal films were still being made in Hollywood, Milos Forman's One Flew over the Cuckoo's Nest emphasized the humanistic story at the heart of Ken Kesey's more hallucinogenic novel. Jack Nicholson was born to play the part of Randle Patrick McMurphy, the rebellious inmate of a psychiatric hospital who fights back against the authorities' cold attitudes of institutional superiority, as personified by Nurse Ratched (Louise Fletcher). It's the classic antiestablishment tale of one man asserting his individuality in the face of a repressive, conformist system--and it works on every level. Forman populates his film with memorably eccentric faces, and gets such freshly detailed and spontaneous work from his ensemble that the picture sometimes feels like a documentary. Unlike a lot of films pitched at the "youth culture" of the 1970s, One Flew over the Cuckoo's Nest really hasn't dated a bit, because the qualities of human nature that Forman captures--playfulness, courage, inspiration, pride, stubbornness--are universal and timeless. The film swept the Academy Awards for 1976, winning in all the major categories (picture, director, actor, actress, screenplay) for the first time since Frank Capra's It Happened One Night in 1931.



Última edición por JM el Dom Nov 08, 2009 11:42 pm, editado 4 veces

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Re: 1001 films you must see before you die- Part XI: 1975-1979

Mensaje  JM el Mar Feb 24, 2009 10:30 pm

592
Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles (Chantal Akerman, 1975)




Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles is a 1975 film by Belgian filmmaker Chantal Akerman.
At 201 minutes, Jeanne Dielman examines a single mother's regimented schedule of cooking, cleaning and mothering over three days. The mother, Jeanne Dielman (whose name is only derived from the title), also prostitutes herself to a male client daily for her and her son's subsistence. Like her other activities Jeanne's prostitution is rote and uneventful. The picture's third day witnesses Jeanne's routine benignly unravel with events like dropping a newly washed spoon and appearing at businesses before opening. These alterations to Jeanne's existence climax when she unexpectedly orgasm's with her day's client. Following this coitus Jeanne stabs the male customer in the neck with scissors.
Upon its release, the New York Times called Jeanne Dielman the "first masterpiece of the feminine in the history of the cinema." Chantal Akerman scholar Ivone Margulies asserts the picture is a filmic paradigm for uniting "feminism and anti-illusionism." The film was named the 19th greatest film of the 20th Century by the Village Voice.
Jeanne Dielman's static framing, extended duration takes and lack of reversal shots force the viewer to objectively experience its protagonist and her social role's oppression. Through exposure to "images between the images" Akerman forges new content that, resultantly, requires new form. Though the filmmaker's static frame and extended duration shots stem from structural cinema, their unique application to women's domestic work position Jeanne Dielman outside dominant patriarchal film languages and into one specifically "feminist." The picture inverts normal filmic expectations by removing drama from emotional intensity and attaching it to extended duration takes - takes, that is, connotative of boredom. Jeanne Dielman's temporal dilation equalizes its exposition and drama to transform "knowledge of an object" - Jeanne's oppression - into a "vision" of it.



Última edición por JM el Dom Nov 08, 2009 5:03 pm, editado 2 veces

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Re: 1001 films you must see before you die- Part XI: 1975-1979

Mensaje  JM el Mar Feb 24, 2009 11:32 pm

593
The Rocky Horror Picture Show (Jim Sharman, 1975)




The Rocky Horror Picture Show is a 1975 British-American musical comedy film that parodies science fiction and horror films. Still in limited release 33 years after its premiere, it has the longest running theatrical release in film history. It gained notoriety as a midnight movie in 1977 when audiences began participating with the film in theaters across the country. "Rocky Horror" is the first movie from a major film studio, such as 20th Century Fox, to be in the midnight movie market. Widely known by mainstream audiences, it has a large international following and is one of the best known and most financially successful midnight movies of all time. In 2005, the film was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant."
The film, considered a cult classic, is an adaption of the British musical stage production The Rocky Horror Show. Richard O'Brien, author of the stage show, was assisted by Jim Sharman in writing the screenplay. The movie introduces Tim Curry and features Susan Sarandon and Barry Bostwick along with cast members from the original Kings Road production of the play performed at the Royal Court Theatre.
The story, narrated by a criminologist, is that of a newly engaged young couple, Brad Majors and Janet Weiss, who find themselves lost and with a flat tire on a cold and rainy night. Seeking a phone with which to call for help, the two knock on the door of a nearby castle, which they find is inhabited by strange and outlandish people who are holding an Annual Transylvanian Convention. They watch, still wet from the rain, as the Transylvanians dance the Time Warp, the film's signature song.



Última edición por JM el Dom Nov 08, 2009 6:32 pm, editado 3 veces

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Re: 1001 films you must see before you die- Part XI: 1975-1979

Mensaje  JM el Mar Mar 03, 2009 11:33 pm

594
Deewaar (Yash Chopra, 1975)




Deewaar or Deewar is a classic Indian movie, directed by Indian director Yash Chopra. Built upon the angry young man persona of Amitabh Bachchan, the movie came at a time when the lofty heights of freedom movements were dashed by the stark reality of corruption that had steeped into society. The story is unique because of the inherent moral ambiguity in the leading character; Bollywood films usually portray an unreal distinction between good and evil.
It is remembered for its powerful dialogue (Salim-Javed) and performances by the lead actor Amitabh Bachchan who was ably supported by Shashi Kapoor, playing the role of his younger brother. Amitabh Bachchan's character, Vijay Verma, is said to have been based on the life of the Bombay (Mumbai) gangster, Haji Mastan Mirza. Deewaar' followed Zanjeer, another path breaking movie for Amitabh Bachchan, though he lost the Filmfare Best Actor Award to Sanjeev Kumar (Aandhi) that year.
The movie tells the story of two brothers, Vijay and Ravi Verma, who follow different career paths: Vijay is a smuggler and Ravi the policeman who is asked to hunt Vijay down. Vijay Verma (Amitabh Bachchan) and Ravi Verma (Shashi Kapoor) are the sons of a trade unionist, Anand Verma(Satyen Kappu), who was defeated and disgraced by the management of his firm using his family as bait. A young Vijay's arm is branded with the words "My Father Is A Thief." Unable to bear the public disgrace father deserts the family, and the sons are raised by their mother(Nirupa Roy)who brings them to Bombay City, who suffers the trials and tribulations of a poor single mother. Vijay Verma, the elder brother, grows up with an acute awareness of his father's humiliation and is victimized for his father's supposed misdeeds. In the process of fighting for his rights Vijay, who starts out as a boot polisher and becomes a dockyard worker in his youth, becomes a smuggler and a leading figure of the underworld.



Última edición por JM el Dom Nov 08, 2009 9:40 pm, editado 2 veces

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Re: 1001 films you must see before you die- Part XI: 1975-1979

Mensaje  JM el Jue Mar 05, 2009 7:40 pm

595
Monty Python and the Holy Grail (Terry Jones, 1975)




Could this be the funniest movie ever made? By any rational measure of comedy, this medieval romp from the Monty Python troupe certainly belongs on the short list of candidates. According to Leonard Maltin's Movie & Video Guide, it's "recommended for fans only," but we say hogwash to that--you could be a complete newcomer to the Python phenomenon and still find this send-up of the Arthurian legend to be wet-your-pants hilarious. It's basically a series of sketches woven together as King Arthur's quest for the Holy Grail, with Graham Chapman as the King, Terry Gilliam as his simpleton sidekick Patsy, and the rest of the Python gang filling out a variety of outrageous roles. The comedy highlights are too numerous to mention, but once you've seen Arthur's outrageously bloody encounter with the ominous Black Knight (John Cleese), you'll know that nothing's sacred in the Python school of comedy. From holy hand grenades to killer bunnies to the absurdity of the three-headed knights who say "Ni--!," this is the kind of movie that will strike you as fantastically funny or just plain silly, but why stop there? It's all over the map, and the pace lags a bit here and there, but for every throwaway gag the Pythons have invented, there's a bit of subtle business or grand-scale insanity that's utterly inspired. The sum of this madness is a movie that's beloved by anyone with a pulse and an irreverent sense of humor. If this movie doesn't make you laugh, you're almost certainly dead.



Última edición por JM el Dom Nov 08, 2009 10:45 pm, editado 1 vez

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Re: 1001 films you must see before you die- Part XI: 1975-1979

Mensaje  JM el Sáb Mar 07, 2009 3:24 pm

596
Barry Lyndon (Stanley Kubrick, 1975)




In 1975 the world was at Stanley Kubrick's feet. His films Dr. Strangelove, 2001: A Space Odyssey, and A Clockwork Orange, released in the previous dozen years, had provoked rapture and consternation--not merely in the film community, but in the culture at large. On the basis of that smashing hat trick, Kubrick was almost certainly the most famous film director of his generation, and absolutely the one most likely to rewire the collective mind of the movie audience. And what did this radical, at-least-20-years-ahead-of-his-time filmmaker give the world in 1975? A stately, three-hour costume drama based on an obscure Thackeray novel from 1844. A picaresque story about an Irish lad (Ryan O'Neal, then a major star) who climbs his way into high society, Barry Lyndon bewildered some critics (Pauline Kael called it "an ice-pack of a movie") and did only middling business with patient audiences. The film was clearly a technical advance, with its unique camerawork (incorporating the use of prototype Zeiss lenses capable of filming by actual candlelight) and sumptuous production design. But its hero is a distinctly underwhelming, even unsympathetic fellow, and Kubrick does not try to engage the audience's emotions in anything like the usual way.
Why, then, is Barry Lyndon a masterpiece? Because it uncannily captures the shape and rhythm of a human life in a way few other films have; because Kubrick's command of design and landscape is never decorative but always apiece with his hero's journey; and because every last detail counts. Even the film's chilly style is thawed by the warm narration of the great English actor Michael Hordern and the Irish songs of the Chieftains. Poor Barry's life doesn't matter much in the end, yet the care Kubrick brings to the telling of it is perhaps the director's most compassionate gesture toward that most peculiar species of animal called man. And the final, wry title card provides the perfect Kubrickian sendoff--a sentiment that is even more poignant since Kubrick's premature death.



Última edición por JM el Dom Nov 08, 2009 11:37 pm, editado 1 vez

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Re: 1001 films you must see before you die- Part XI: 1975-1979

Mensaje  JM el Dom Nov 08, 2009 1:42 am

597
Faustrecht der Freiheit (Fox and his friends)
(Rainer Werner Fassbinder, 1975)




Fox and His Friends, (German: Faustrecht der Freiheit) is a 1974 West German film written and directed by Rainer Werner Fassbinder, starring Rainer Werner Fassbinder himself and Peter Chatel, Karlheinz Böhm, Rudolf Lenz, Karl Schedyt, Hans Zander and Kurt Raab.
Frantz, a.k.a. Fox (Rainer Werner Fassbinder), a working-class young man, meets a bourgeois homosexual and mingles with that milieu after winning the lottery.


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Re: 1001 films you must see before you die- Part XI: 1975-1979

Mensaje  JM el Dom Nov 08, 2009 1:47 am

598
India song (Marguerite Duras, 1975)




India, 1937. Anne-Marie Stretter is the wife of the French ambassador and leads a solitary yet privileged life in Calcutta. The tedium of her existence is relieved by numerous illicit love affairs with government officials, young men who find her an object of desire and fascination. The Vice Consul is driven insane by his love for her and, expelled from the ambassador’s palace, cries like a sick animal. Life continues for Anne-Marie Stretter, the same tedious existence…


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Re: 1001 films you must see before you die- Part XI: 1975-1979

Mensaje  JM el Dom Nov 08, 2009 1:54 am

599
Picnic at Hanging Rock (Peter Weir, 1975)




Situated somewhere between supernatural horror and lush Victorian melodrama, director Peter Weir's lyrical, enigmatic masterpiece is an imaginative tease. The setting is a proper turn-of-the century Australian boarding school for girls, a suffocating institution built on strict moral codes, repressed sexuality, and a subtle but enforced class structure. As the film opens, girls draped in immaculate white dress prepare for a picnic at the nearby volcanic formation, Hanging Rock, and Weir hangs an air of dark foreboding over the proceeding. "You'll have to love someone else, because I won't be here very long," says one virginal girl, Miranda, to her friend. Her words are prophetic: during the picnic, Miranda, along with two other girls and an uptight schoolmistress, vanish into the rocks. While a search party repeatedly returns to the rock to look for either the girls or the reasons for their disappearance, Weir leaves the mystery unsolved. Like Antonioni's L'Avventura, the vanishing is open to numerous interpretations--both rational and illusory--but Weir drops enough allegorical clues that it feels like a parable. He transforms the landscape and weather into menacing and eerie images; outlines of faces can be seen in the rocks, while the oppressive heat beating down on the picnic doubles as an atmospheric metaphor for the girls' unbearable social and sexual confinement. These images and other plot twists toward the end hint that this mysterious vanishing, on some level, was actually a form of spiritual escape--the only out, other than death, from the film's bleak, tightly structured community. Regardless of how you see it, though, this hypnotic puzzle remains the highlight of the '70s Australian New Wave.


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Re: 1001 films you must see before you die- Part XI: 1975-1979

Mensaje  JM el Dom Nov 08, 2009 12:33 pm

600
Maynila sa Mga Kuko ng Liwanag (Manila in the Claws of Brightness)
(Lino Brocka, 1975)




Maynila: sa mga Kuko ng Liwanag (also known as Manila in the Claws of Brightness) is a five time FAMAS award winning 1975 Filipino film directed by renowned director Lino Brocka based on a novel by acclaimed Palanca and Liwayway Magazine award-winning writer Edgardo M. Reyes. It is considered as one of the classics of Filipino cinema.
It stars then-newcomer Bembol Roco and Brocka-regular Hilda Koronel, followed by a supporting cast of Lou Salvador, Juling Bagabaldo, and Tommy Yap. The movie's cinematography is by Brocka's protegè Mike de Leon (as Miguel de Leon), who later on became a great director himself. The movie also has a spin-off "Bankang Papel sa Dagat ng Apoy" starring action star and future president of the Philippines, Joseph Estrada and written and directed by Maynila's author, Edgardo Reyes.
The film is based on the story Sa mga Kuko ng Liwanag written by Edgardo Reyes and serialized in Liwayway Magazine from 1966 to 1967. For each episode or installment, Reyes provides enough incidents - bringing the end of the installment to enough of a conclusion - to satisfy the reader, at the same time keeping enough elements unresolved to entice him back for more. After twenty or more installments full of subplots and side characters exiting or dying or having climactic fits, the reader notices several advantages and disadvantages.


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Re: 1001 films you must see before you die- Part XI: 1975-1979

Mensaje  JM el Dom Nov 08, 2009 12:37 pm

601
Salò o le 120 giornate di Sodoma (Saló or the 120 days of Sodom)
(Pier Paolo Pasolini, 1975)




Salò o le 120 giornate di Sodoma (Salò or the 120 Days of Sodom) is a controversial 1975 film written and directed by Italian director Pier Paolo Pasolini with uncredited writing contributions by Pupi Avati. It is based on the book The 120 Days of Sodom by the Marquis de Sade. Because of its scenes of intensely sadistic graphic violence, the movie was extremely controversial upon its release, and remains banned in several countries to this day. It was Pasolini's last film; he was murdered shortly before Salò was released.


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Re: 1001 films you must see before you die- Part XI: 1975-1979

Mensaje  JM el Dom Nov 08, 2009 12:40 pm

602
Nashville (Robert Altman, 1975)




This 1975 film sits near the top of any list of the best films of the 1970s, perhaps in the top five and, in some people's minds, at the pinnacle itself. Robert Altman, at his most Altmanesque, spins together plot strands involving two dozen people over the course of one particularly busy weekend in Music City, USA. Though several of the story lines deal with country-western stars--played by Henry Gibson, Ronee Blakley and Karen Black--the plot also deals with the country scene's wannabes, the business people who pull the strings and the operative for a mysterious presidential candidate who is trying to get the de facto endorsement of some of the country stars by having them appear at a rally for him. (The unknown but rocketing presidential aspirant was eerily echoed the next year, when Jimmy Carter came out of nowhere to win the presidency.) Blakley is heartbreakingly fragile as a Loretta Lynn-like singer on the verge of total mental meltdown, while Lily Tomlin is outstanding as a housewife-gospel singer who has a dalliance with a randy folk-rock cad, perfectly played by Keith Carradine (who won an Oscar for his song "I'm Easy"). The cast also includes Jeff Goldblum, Scott Glenn, Keenan Wynn, Shelley Duvall, Geraldine Chaplin (hilarious as a fatuous British TV journalist), Barbara Harris, Michael Murphy, and Ned Beatty, with cameos by Elliott Gould and Julie Christie as themselves. Next to Mean Streets, perhaps the most influential film of the decade.


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Re: 1001 films you must see before you die- Part XI: 1975-1979

Mensaje  JM el Dom Nov 08, 2009 12:45 pm

603
Cría cuervos (Raise Ravens) (Carlos Saura, 1975)




Cría cuervos (English: Raise Ravens) is a 1976 Spanish film directed by Carlos Saura. The film is an allegoric drama about an eight year old girl dealing with loss. Highly acclaimed, it received the Cannes film festival Special Jury Prize Award.
Eight-year-old Ana, stoic and mute approaches her father’s bedroom where she has heard a gasping sound and a woman’s plaintive sobs. Descending the stairs, she spies an attractive middle-aged woman, hastily dressing and rushing from the bedroom to the front door of the darkened house. The woman and Ana exchange glances but do not speak. Once the woman has left, Ana enters her father’s bedroom and finds the man dead, apparently from a heart attack. As if not really understanding the gravity of the situation, Anna unflappably takes away a half-full glass of milk, which she carries to the kitchen and cleans. In the kitchen, she sees her mother, who chides her for being up so late and sends her off to bed.
Reality and fantasy swap places. The bizarre death of Ana's father, who will prove to be a Fascist military man, is real. The apparently banal appearance of the mother at the fridge, on the other hand, is in fact fantasized by the grieving child. Ana’s mother is already dead; her image is only a fanciful illusion of the little girl’s mind. Blaming her mother’s illness and death on her father, Ana has dissolved a mysterious powder she believes to be a potent poison in his milk glass as a willful act of murder. Her belief in the power of the poison is thus confirmed when her father dies.


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Re: 1001 films you must see before you die- Part XI: 1975-1979

Mensaje  JM el Dom Nov 08, 2009 4:10 pm

604
O Thiassos (The travelling players) (Theo Angelopoulos, 1975)




The Travelling Players (O Thiassos) is a 1975 Greek film directed by Theo Angelopoulos.
It appears on most lists of the greatest films of the 20th century. It uses less than one hundred shots to explore the history of mid-century Greece. Angelopoulos is also fond of manipulating time, sometimes going chronologically backward and forward within a single shot. His films often include dead spots that invite the viewer to think about what has just transpired on the screen. Motionless tableaus and direct address to the camera by actors shedding their film identities are other favored techniques.


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Re: 1001 films you must see before you die- Part XI: 1975-1979

Mensaje  JM el Dom Nov 08, 2009 4:15 pm

605
Jaws (Steven Spielberg, 1975)




In the vastly overrated 1998 book Easy Riders, Raging Bulls, author Peter Biskind puts the blame for Hollywood's blockbuster mentality at least partially on Steven Spielberg's box-office success with this adaptation of Peter Benchley's bestselling novel. But you can't blame Spielberg for making a terrific movie, which Jaws definitely is. The story of a Long Island town whose summer tourist business is suddenly threatened by great-white-shark attacks on humans bypasses the potboiler trappings of Benchley's book and goes straight for the jugular with beautifully crafted, crowd-pleasing sequences of action and suspense supported by a trio of terrific performances by Roy Scheider (as the local sheriff), Richard Dreyfuss (as a shark specialist), and particularly Robert Shaw (as the old fisherman who offers to hunt the shark down). The sequences on Shaw's boat--as the three of them realize that in fact the shark is hunting them--are what entertaining moviemaking is all about.


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Re: 1001 films you must see before you die- Part XI: 1975-1979

Mensaje  JM el Dom Nov 08, 2009 4:19 pm

606
The killing of a Chinese bookie (John Cassavetes, 1975)




The Killing of a Chinese Bookie is a 1976 gangster film directed and written by John Cassavetes and starring Ben Gazzara.
A rough and gritty film, it is comparable in form to Martin Scorsese's Mean Streets (1973) and indeed Scorsese helped Cassavetes in its inception. The formidable character Gazzara plays was based on an impersonation he did for his friend Cassavetes in the 1970s. The actor and director collaborated for the first time on Cassavetes' film Husbands (1970) where Gazzara appeared alongside Peter Falk and Cassavetes himself. The collaboration of the two men culminated in The Killing of a Chinese Bookie, with Gazzara taking the lead role of the hapless strip joint owner Cosmo Vitelli.
The film's original release, at 135 minutes in length, was a commercial disappointment and the movie was pulled from distribution after only seven days. At a May 17, 2008 George Eastman House screening in Rochester, Ben Gazzara said he 'hated' the original cut; 'it's too long', he told Cassavetes.
The film opens with Cosmo Vitelli (Ben Gazzara) making the final payment on a longstanding gambling debt to a sleazy loanshark (played by the film's producer Al Ruban). To celebrate his long-anticipated freedom, strip club owner Vitelli has an expensive night out with his three favorite dancers ("Margo", "Rachael" and "Sherry"). The evening culminates in a card game in which Vitelli loses $23,000, effectively returning him to the debtors condition he has just left. Using the debt as leverage, his mob creditors coerce him into agreeing to perform a "hit" on a rival. Vitelli is led to believe that his target is a small time criminal of minor consequence; in fact, he is a major figure in the Chinese mafia. Vitelli, with difficulty, manages to kill the man and several of his bodyguards but is severely wounded.


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Re: 1001 films you must see before you die- Part XI: 1975-1979

Mensaje  JM el Dom Nov 08, 2009 4:22 pm

607
Carrie (Brian De Palma, 1976)




This terrifying adaptation of Stephen King's bestselling horror novel was directed by shock maestro Brian De Palma for maximum, no-holds-barred effect. Sissy Spacek stars as Carrie White, the beleaguered daughter of a religious kook (Piper Laurie) and a social outcast tormented by her cruel, insensitive classmates. When her rage turns into telekinetic powers, however, school's out in every sense of the word. De Palma's horrific climax in a school gym lingers forever in the memory, though the film is also built upon Spacek's remarkable performance and Piper Laurie's outlandishly creepy one. John Travolta has a small part as a thug, De Palma's future wife, Nancy Allen, is his girlfriend, and Amy Irving makes her screen debut as one of the girls giving Carrie a hard time.


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Re: 1001 films you must see before you die- Part XI: 1975-1979

Mensaje  JM el Dom Nov 08, 2009 4:23 pm

608
The outlaw Josey Wales (Clint Eastwood, 1976)




Clint Eastwood fired the original director, Philip Kaufman (The Right Stuff), and took over the reins of this project himself. He may have had a point: this brutal, thoughtful western, a near-tragedy about a Civil War veteran whose past comes looking for him, is probably Eastwood's most mature frontier drama prior to the Oscar winning Unforgiven. Hoping to build a quiet life in a cooperative community of settlers, Eastwood's Wales blames himself when his enemies attack the homestead, and he has to revert to his warrior instincts to help fend off the threat. The jittery intensity of Sondra Locke (who would be Mrs. Eastwood, at least for a while), and the screen-filling charisma of the late Chief Dan George harmonize beautifully with Eastwood, who had finally figured out how to add depth and texture to his stock-in-trade Man of Steel persona. This one may be too short on action to satisfy fans of Eastwood's Dirty Harry films, or of the Italian westerns he made with Sergio Leone, but it's an honorable effort.


JM

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Re: 1001 films you must see before you die- Part XI: 1975-1979

Mensaje  JM el Dom Nov 08, 2009 4:26 pm

609
All the President's men (Alan J. Pakula, 1976)




It helps to have one of history's greatest scoops as your factual inspiration, but journalism thrillers just don't get any better than All the President's Men. Dustin Hoffman and Robert Redford are perfectly matched as (respectively) Washington Post reporters Carl Bernstein and Bob Woodward, whose investigation into the Watergate scandal set the stage for President Richard Nixon's eventual resignation. Their bestselling exposé was brilliantly adapted by screenwriter William Goldman, and director Alan Pakula crafted the film into one of the most intelligent and involving of the 1970s paranoid thrillers. Featuring Jason Robards in his Oscar-winning role as Washington Post editor Ben Bradlee, All the President's Men is the film against which all other journalism movies must be measured.


JM

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Re: 1001 films you must see before you die- Part XI: 1975-1979

Mensaje  JM el Dom Nov 08, 2009 4:51 pm

610
Rocky (John G. Avildsen, 1976)




The only remaining evidence that Sylvester Stallone might have had a respectable career, this 1976 Oscar winner (for Best Picture, Director, and Editing) is still the quintessential ode to an underdog and one of the best boxing movies ever made. After writing the script about a two-bit boxer who gets a "million-to-one shot" against the world heavyweight champion, Stallone insisted that he star in the title role, and his equally unknown status helped to catapult him (and this rousing film) to overnight success. The story is familiar, but it has been handled with such vitality and emotional honesty that you can't help but leap and cheer for Rocky Balboa, the chump turned champ (despite his valiant defeat in the ring) who stuns the boxing world with the support of his timid girlfriend, Adrian (Talia Shire), and grizzled trainer, Mickey (Burgess Meredith). Oscar nominations went to all the lead actors (including Burt Young as Adrian's hot-tempered brother), but four sequels could never top the universal appeal of this low-budget crowd pleaser.


JM

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Re: 1001 films you must see before you die- Part XI: 1975-1979

Mensaje  JM el Dom Nov 08, 2009 4:57 pm

611
Taxi driver (Martin Scorsese, 1976)




Taxi Driver is the definitive cinematic portrait of loneliness and alienation manifested as violence. It is as if director Martin Scorsese and screenwriter Paul Schrader had tapped into precisely the same source of psychological inspiration ("I just knew I had to make this film," Scorsese would later say), combined with a perfectly timed post-Watergate expression of personal, political, and societal anxiety. Robert De Niro, as the tortured, ex-Marine cab driver Travis Bickle, made movie history with his chilling performance as one of the most memorably intense and vividly realized characters ever committed to film. Bickle is a self-appointed vigilante who views his urban beat as an intolerable cesspool of blighted humanity. He plays guardian angel for a young prostitute (Jodie Foster), but not without violently devastating consequences. This masterpiece, which is not for all tastes, is sure to horrify some viewers, but few could deny the film's lasting power and importance.


JM

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Re: 1001 films you must see before you die- Part XI: 1975-1979

Mensaje  JM el Dom Nov 08, 2009 5:14 pm

612
Network (Sidney Lumet, 1976)




Media madness reigns supreme in screenwriter Paddy Chayefsky's scathing satire about the uses and abuses of network television. But while Chayefsky's and director Sidney Lumet's take on television may seem quaint in the age of "reality TV" and Jerry Springer's talk-show fisticuffs, it's every bit as potent now as it was when the film was released in 1976. And because Chayefsky was one of the greatest of all dramatists, his Oscar-winning script about the ratings frenzy at the cost of cultural integrity is a showcase for powerhouse acting by Peter Finch, Faye Dunaway and Beatrice Straight (who each won Oscars), and Oscar nominee William Holden in one of his finest roles. Finch plays a veteran network anchorman who's been fired because of low ratings. His character's response is to announce he'll kill himself on live television two weeks hence. What follows, along with skyrocketing ratings, is the anchorman's descent into insanity, during which he fervently rages against the medium that made him a celebrity. Dunaway plays the frigid, ratings-obsessed producer who pursues success with cold-blooded zeal; Holden is the married executive who tries to thaw her out during his own seething midlife crisis. Through it all, Chayefsky (via Finch) urges the viewer to repeat the now-famous mantra "I'm as mad as hell, and I'm not gonna take it anymore!" to reclaim our humanity from the medium that threatens to steal it away.


JM

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Re: 1001 films you must see before you die- Part XI: 1975-1979

Mensaje  JM el Dom Nov 08, 2009 5:18 pm

613
Voskhozhdeniye (The ascent) (Larisa Shepitko, 1976)




The Ascent (Russian: Восхожде́ние, Voskhozhdeniye), is a 1976 black and white Soviet film directed by Larisa Shepitko (wife of film director Elem Klimov) and made at Mosfilm. It was Shepitko's last film before her death in a car accident in 1979. The film won the Golden Bear award at the 1977 Berlinale.
The film describes the journey of two Soviet partisans during World War II. Hungry and unable to get supplies, the two soldiers venture into German-occupied territory.


JM

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Re: 1001 films you must see before you die- Part XI: 1975-1979

Mensaje  JM el Dom Nov 08, 2009 6:04 pm

614
Ai no corrida (In the realm of the senses) (Nagisa Oshima, 1976)




Nagisa Oshima's sensational, 1976 film concerns a woman (Eiko Matsuda) whose obsessive sexual relationship with her husband (Tatsuya Fuji) crosses the line from passion into the territory of life and death. One of the most sexually explicit films ever to play in mainstream theaters (though it did run into legal trouble both in the U.S. and Japan), it has an air of palpable doom, suggesting that sex can be a doorway to suicide. Lest this sound like grunge-era noodling over dreams of self-destruction, be assured that the Kyoto-born Oshima (Merry Christmas, Mr. Lawrence) takes a somewhat formal, middle-aged perspective on the conjunction of various mysteries of existence.


JM

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Re: 1001 films you must see before you die- Part XI: 1975-1979

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