Deleted
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Post by Deleted on Jan 2, 2018 17:08:17 GMT
And yours? Happy 2018!
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Post by Martin Stett on Jan 2, 2018 17:10:29 GMT
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Deleted
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Post by Deleted on Jan 2, 2018 17:13:44 GMT
A Clockwork Orange was a UK/USA co production. If that doesn't count, Taxi Driver. Both happen to be my two favorite films.
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Post by Viced on Jan 2, 2018 17:15:32 GMT
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Post by Miles Morales on Jan 2, 2018 17:52:18 GMT
12 Angry Men
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Post by reggaetapes on Jan 2, 2018 18:43:37 GMT
Raging Bull
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Post by pacinoyes on Jan 2, 2018 19:31:13 GMT
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Javi
Badass
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Post by Javi on Jan 2, 2018 19:41:24 GMT
Same as yours, friend. McCabe is the American masterpiece as far as I'm concerned. Up there with As I Lay Dying as my favorite work from any American.
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Post by Mattsby on Jan 2, 2018 19:49:33 GMT
@tylerferrerosorel You sir have great taste.
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Nikan
Based
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Post by Nikan on Jan 2, 2018 20:29:41 GMT
Apocalypse Now would be a candidate.
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Post by therealcomicman117 on Jan 2, 2018 21:35:53 GMT
The Godfather
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Post by mhynson27 on Jan 2, 2018 22:18:15 GMT
Inception
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Film Socialism
Based
99.9999% of rock is crap
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Post by Film Socialism on Jan 2, 2018 22:27:40 GMT
The Thing
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Post by FrancescoAbides on Jan 2, 2018 22:35:48 GMT
There Will Be Blood
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Post by ingmarhepburn on Jan 2, 2018 23:05:59 GMT
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Post by jakesully on Jan 3, 2018 1:34:16 GMT
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Post by DeepArcher on Jan 3, 2018 3:03:32 GMT
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tobias
Full Member
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Post by tobias on Jan 3, 2018 3:22:34 GMT
Call me a conformist (and accuse me for this poster being way too big) but:
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Post by urbanpatrician on Jan 3, 2018 3:33:26 GMT
My top 4 is all American. Casablanca and Heat feel more American than the other two. Heat is more an example of a pure American pic, but Casablanca feels more.... old fashioned genre, I guess? Both are very American, but one is more Hollywood, the other is like the new 70s.
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Post by Tommen_Saperstein on Jan 3, 2018 3:49:44 GMT
Traffic
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tobias
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Post by tobias on Jan 3, 2018 7:00:09 GMT
Call me a conformist (and accuse me for this poster being way too big) but: Vertigo You know..... despite Vertigo being a standard choice to name, I think the original design indicates it as a pure obscure film. It has a more obscure design and original intent than anything by most of the acclaimed directors. More obscure than anything by Kubrick and Malick. And most movies by Fellini and Bergman. It kicks The Seventh Seal's ass in terms of pure obscure design, in fact. You can argue my definition of that or not, but I think only a handful of directors can claim something like Vertigo in this area. Lynch is probably one. Antonioni is another. I disagree with what you say in part. I agree that Vertigo is in essence, that is compared to the mindset of people in the US at the time, entirely obscure. It is a film about necrophilia based on a french detective novel and inspired among others by Bunuel's El (1952). It's a highly perverse film that in no way adheres to the conventional understanding of life, not even to the conventional understanding of plot. But I think Kubrick beats him out because Schnitzler in my mind is much, much more foreign to american society than perversity itself. And Eyes Wide Shut is about the most straight adaption of a book Kubrick ever made. It's Traumnovelle with only one major diversion, time and space. Content is the same, attitude is the same, it is entirely foreign to America like much of german culture (typcially in Europe the US would be closer alligned to France, the UK, Spain and today even Scandinavia). I'm quite convinced Kubrick took this from Ophüls who adapted Schnitzer twice and who Kubrick once in his youth claimed to be the greatest director (he never said that about anyone else as far as I'm concerned). If you try to actually read Schnitzler and then compare it to the understanding of critics of Eyes Wide Shut at the time, you will notice that they don't even understand the foundation of this film, the worldview itself is completely foreign to them. It's the same with all the laughable conspiracy theories about this film, all to avoid the truth, that this is not the critique of a particular kind of class of the powerful but of a particular lifestyle exhibited by those who partake in this artwork themselves (Schnitzler was actually like the characters he portrayed, his work was self-confrontational, in America the immidiate reaction is to push it away and to only see others in it and not oneself). Malick is in a sense to America what David Lean was to Britain. He's the great mythologist of American history, the opposite of obscure. Though he is in a way very obscure in Europe because none of that exists here. Badlands, Days of Heaven & The Tree of Life in particular adress an understanding of life that doesn't exist here because the conflict lines do not exist. There is not the vast, empty landscape of Badlands or Days of Heaven, not the same stiff understanding of christianity (there are devout christians but the culture around that is very different), not the same sense of work and competition (western europeans work significantly less than Americans and material status matters less). These are very American films. To the Wonder is obscure because it combines two very specific identities which few people will both understand, it's both southern American and Parisian. The ammount of people who match this overlap is very small. The Thin Red Line or Knight of Cups on the other hand are probably films you can understand from many different perspectives. The Seventh Seal I don't think is obscure at all. The Dance of Death is one of the biggest motifs in european history. It's possibly obscure to Americans but very close to my upbringing even. We extensively covered the black death in primary school and I always had the palpable sense that this happened right here. There are 1.000 year old churches all around in the area, old mass graves of vikings, settlements that predate even the viking discovery of America in the 10th century, etc. Even one of the most famous artworks in my state is a depiction of the dance of death from the 15th century inspired by the black death (though unfortunately it was destroyed in WW II, I think today there is an empty room dedicated to it), it's even possibly the most famous depiction of it that existed. In Sweden the historical sense is similar. When you walk through the old city of Stockholm, it feels apparent that this already in some form existed at the time of the black death. Bergman is extensively swedish and his films were largely not obscure at all. Where he comes from is very clear, especially to a swede with some basic understanding of his own culture. Fellini has a relatively high level of obscurity in his later films concerning memory, so it depends on what you mean when you say "most of". Amarcord I think certainly comes from a very obscure place.
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Post by themoviesinner on Jan 3, 2018 8:33:12 GMT
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Post by PromNightCarrie on Jan 3, 2018 11:03:49 GMT
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Post by HELENA MARIA on Jan 3, 2018 11:21:33 GMT
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Deleted
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Post by Deleted on Jan 3, 2018 11:36:28 GMT
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