In het andere Clash of the Titans topic is battle-lijst, regels, en imdb top 250 te zien.
De eerst volgende post bevat het eerste battle dus stemmen maar!
Clash of the Titans Battle Thread
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DarkoDonnie
- Oscar nominatie
- Berichten: 1481
- Lid geworden op: 20 nov 2003 20:38
Clash of the Titans Battle Thread
Even wat eerder begonnen, want moet morgen om 5 uur mijn bed uit.
In het andere Clash of the Titans topic is battle-lijst, regels, en imdb top 250 te zien.
De eerst volgende post bevat het eerste battle dus stemmen maar!
In het andere Clash of the Titans topic is battle-lijst, regels, en imdb top 250 te zien.
De eerst volgende post bevat het eerste battle dus stemmen maar!
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DarkoDonnie
- Oscar nominatie
- Berichten: 1481
- Lid geworden op: 20 nov 2003 20:38
#221: La Passion De Joan de Arc (1928)
All Movie review:
One of the undisputed masterpieces of cinema, Carl Dreyer's The Passion of Joan of Arc glows with the fervor of spiritual and aesthetic single-mindedness that is so intense it's almost blinding. With a script culled from the actual proceedings that led to Joan of Arc's burning at the stake, the movie seems an artifact from a lost time. Dreyer imagines the French saint's ordeal as an exalted passage to grace. Insisting that his actors not wear makeup, he captures images of indelible immediacy; Joan's sad, soulful eyes and the craggy faces of her leering inquisitors stay with you. The realism is as much emotional as it is physical. Recognizing that the truth of the story lay less in historical accuracy than in psychological nakedness, Dreyer paints an almost abstract march to martyrdom. The spare, blinding-white set seems stylized, as is Dreyer's high-pitched visual strategy, which relies heavily on close-ups. Frequently, you're left with little but a harsh cascade of them, with no wider shots to ground the action in a given space — the drama literally transpires across the human face. Holding it all together is Renée Falconetti, in one of the great performances in film history. Her mournful eyes wide with rapture, Falconetti seems under a spell, as is the viewer by her. The performance was too great, so intense that Falconetti never returned in front of the camera again. The movie and her performance have since inspired imitations, most notably in the work of Danish director Lars von Trier, whose melodramas of female suffering seem almost tawdry by comparison. As influential as it is singular, The Passion of Joan of Arc remains many decades later an overwhelming experience and an undiminished tour de force. — Elbert Ventura
VS
#88: Duck Soup (1933)
All Movie review:
Along with A Night at the Opera, Duck Soup is often regarded as the definitive Marx Brothers movie, the picture in which every shot, every line, and every gag worked. Modern audiences are often surprised to learn that it was a notorious flop that killed the Brothers' contract at Paramount Pictures in the mid-1930s. Audiences harried by the Great Depression seemed unable to connect with the Marx Brothers in their Paramount movies, at least not in the way that Broadway theatergoers and Paramount executives who'd seen them in The Cocoanuts or Animal Crackers did. Part of the problem may have been their piercing topicality and ethnic humor, whether Groucho's Jewish conniver or Chico's fake Italian. And no movie was more piercing in its topicality in 1933 than Duck Soup, a satire of nationalism, diplomacy, and international intrigue that seemed all too real as Hitler's rise to power in Germany dominated world news. When the Marxes then moved to MGM, the company's chief of production, Irving Thalberg, convinced them to tone down their image and give themselves sympathetic personae, and audiences then devoured their work. But Duck Soup, a failure in its time, remains the brothers' definitive film in their classic original style. — Bruce Eder
All Movie review:
One of the undisputed masterpieces of cinema, Carl Dreyer's The Passion of Joan of Arc glows with the fervor of spiritual and aesthetic single-mindedness that is so intense it's almost blinding. With a script culled from the actual proceedings that led to Joan of Arc's burning at the stake, the movie seems an artifact from a lost time. Dreyer imagines the French saint's ordeal as an exalted passage to grace. Insisting that his actors not wear makeup, he captures images of indelible immediacy; Joan's sad, soulful eyes and the craggy faces of her leering inquisitors stay with you. The realism is as much emotional as it is physical. Recognizing that the truth of the story lay less in historical accuracy than in psychological nakedness, Dreyer paints an almost abstract march to martyrdom. The spare, blinding-white set seems stylized, as is Dreyer's high-pitched visual strategy, which relies heavily on close-ups. Frequently, you're left with little but a harsh cascade of them, with no wider shots to ground the action in a given space — the drama literally transpires across the human face. Holding it all together is Renée Falconetti, in one of the great performances in film history. Her mournful eyes wide with rapture, Falconetti seems under a spell, as is the viewer by her. The performance was too great, so intense that Falconetti never returned in front of the camera again. The movie and her performance have since inspired imitations, most notably in the work of Danish director Lars von Trier, whose melodramas of female suffering seem almost tawdry by comparison. As influential as it is singular, The Passion of Joan of Arc remains many decades later an overwhelming experience and an undiminished tour de force. — Elbert Ventura
VS
#88: Duck Soup (1933)
All Movie review:
Along with A Night at the Opera, Duck Soup is often regarded as the definitive Marx Brothers movie, the picture in which every shot, every line, and every gag worked. Modern audiences are often surprised to learn that it was a notorious flop that killed the Brothers' contract at Paramount Pictures in the mid-1930s. Audiences harried by the Great Depression seemed unable to connect with the Marx Brothers in their Paramount movies, at least not in the way that Broadway theatergoers and Paramount executives who'd seen them in The Cocoanuts or Animal Crackers did. Part of the problem may have been their piercing topicality and ethnic humor, whether Groucho's Jewish conniver or Chico's fake Italian. And no movie was more piercing in its topicality in 1933 than Duck Soup, a satire of nationalism, diplomacy, and international intrigue that seemed all too real as Hitler's rise to power in Germany dominated world news. When the Marxes then moved to MGM, the company's chief of production, Irving Thalberg, convinced them to tone down their image and give themselves sympathetic personae, and audiences then devoured their work. But Duck Soup, a failure in its time, remains the brothers' definitive film in their classic original style. — Bruce Eder
Eh, moet je beide films in hun geheel hebben gezien om te mogen stemmen? Ik heb vroeger wel scènes uit 'La Passion De Jeanne d'Arc' gezien tijdens colleges en er ook iets over opgeschreven. Duck Soup ken ik alleen van reputatie.
(Zou het trouwens niet handig zijn om naast de reviews ook jaartal en IMDb-link en -ranking te vermelden?)
(Zou het trouwens niet handig zijn om naast de reviews ook jaartal en IMDb-link en -ranking te vermelden?)
Alleen Duck Soup gezien, dus voel ik me niet gerechtigd te stemmen. Duck Soup is wel één van de betere, misschien wel de beste Marx Brothers die ondanks de ouderdom nog steeds grappig zoniet hilarisch op plaatsen is. De anarchistische en intelligente humor van met name Chroucho blijft van bijna niet te overtreffen hoog niveau. De Marx Brothers hebben meerdere malen mijn katerige en brakke zondagmidagen draagbaar gemaakt waarvoor hulde!
Jammer dat ik La Passion De Joan de Arc niet heb gezien, anders zou ik zeker voor Duck Soup Stemmen.
Jammer dat ik La Passion De Joan de Arc niet heb gezien, anders zou ik zeker voor Duck Soup Stemmen.
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Colonel_Kurz
- Walk of Fame
- Berichten: 30480
- Lid geworden op: 29 dec 2002 11:59
- Locatie: Utrecht
- Contacteer:
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DarkoDonnie
- Oscar nominatie
- Berichten: 1481
- Lid geworden op: 20 nov 2003 20:38
Ja is goed doe ik de volgende keer!Colonel_Kurz schreef:Heb ik nu even gedaan, hopelijk doet Donnie het de volgende keer zelf.Bolo schreef:(Zou het trouwens niet handig zijn om naast de reviews ook jaartal en IMDb-link en -ranking te vermelden?)
En als je er 1 van de twee maar gezien hebt mag je ook wel stemmen, er zullen er maar weinigen zijn die deze films gezien hebben. En kunnen jullie de titel waarop jullie stemmen even vetgedrukt maken, dat is makkelijker en overzichtelijker.
Stemmen tegen iets wat ik niet ken, is zinloos en in principe ook niet juist zonder goede en afdoende argumenten. Hiermee maak je deze hele verkiezing een farce. Dat resulteert lslechts in een overwinning gebaseerd op drijfzand.DarkoDonnie schreef: En als je er 1 van de twee maar gezien hebt mag je ook wel stemmen, er zullen er maar weinigen zijn die deze films gezien hebben.
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DarkoDonnie
- Oscar nominatie
- Berichten: 1481
- Lid geworden op: 20 nov 2003 20:38
Ook goed, dan maar wachten op iemand die beiden heeft gezien. Dan is er tenminste 1 stem. Anders moet ik kiezen. Maar goed de volgende battles bevatten wat meer 'bekendere' films.JB schreef: Stemmen tegen iets wat ik niet ken, is zinloos en in principe ook niet juist zonder goede en afdoende argumenten. Hiermee maak je deze hele verkiezing een farce. Dat resulteert lslechts in een overwinning gebaseerd op drijfzand.
DarkoDonnie schreef: Ook goed, dan maar wachten op iemand die beiden heeft gezien. Dan is er tenminste 1 stem.
Maak je er na het verstrijken van de normale speeltijd de "gouden stem" van. Wil ik overigens liefst wel een goede beargumentatie zien, net doen alsof je ze hebt gezien dat kan iedereen. Ja toch?-edit spelfoutjes-
Laatst gewijzigd door JB op 16 dec 2003 12:49, 1 keer totaal gewijzigd.
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FuzzyWuzzy
- Oscar nominatie
- Berichten: 1041
- Lid geworden op: 14 aug 2003 16:55
- Locatie: Delft
- Contacteer: