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Profilbild von Goodbye_Ruby_Tuesday

Goodbye_Ruby_Tuesday

Apr. 2005 ist beigetreten
I originally had a longer autobiography, but then I realized that the bulk of me could be summed up in this statement made by a dear friend of mine, better known as MissIlsaLund:
"You've always struck me as a hopeless romantic, even if (maybe especially if) you have a penchant for f--ked up love stories."


My blog: http://briefcinematicencounters.blogspot.com/2009/12/aloha.html

Top 50 Films:
1. In a Lonely Place
2. A Matter of Life and Death
3. His Girl Friday
4. Vertigo
5. The Royal Tenenbaums
6. Five Easy Pieces
7. Cleo from 5 to 7
8. Chinatown
9. L'Eclisse
10. Almost Famous

Best of the Rest
2046
25th Hour
Ace in the Hole
All the Real Girls
Apocalypse Now
Before Sunset
Blow-Out
Brief Encounter
Carol
Children of Men
Citizen Kane
City Lights
Il Conformista
The Cranes are Flying
La Double Vie de Veronique
The End of the Affair
Elevator to the Gallows
A Face in the Crowd
Far From Heaven
Half Nelson
Holiday
House of Mirth
It's a Wonderful Life
The Godfather Part II
La Jetee
Jules and Jim
The Lady Eve
Last Tango in Paris
Letter From an Unknown Woman
Lola Montes
Melancholia
The Naked Kiss
Only Angels Have Wings
Paris, Texas
Rear Window
Reds
Shadow of a Doubt
Shoot the Piano Player!
The Small Back Room
Some Came Running
Sunrise: A Song of Two Humans
The Tarnished Angels
Two for the Road
Two Lovers
The Thing
They Live by Night
Vivre sa Vie
Wild River
Wings of Desire
Zodiac
Willkommen auf neuen Profil
Unsere Aktualisierungen befinden sich noch in der Entwicklung. Die vorherige Version Profils ist zwar nicht mehr zugänglich, aber wir arbeiten aktiv an Verbesserungen und einige der fehlenden Funktionen werden bald wieder verfügbar sein! Bleibe dran, bis sie wieder verfügbar sind. In der Zwischenzeit ist Bewertungsanalyse weiterhin in unseren iOS- und Android-Apps verfügbar, die auf deiner Profilseite findest. Damit deine Bewertungsverteilung nach Jahr und Genre angezeigt wird, beziehe dich bitte auf unsere neue Hilfeleitfaden.

Abzeichen10

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Bewertungen1339

Bewertung von Goodbye_Ruby_Tuesday
Sabrina
7,66
Sabrina
Popstar: Never Stop Never Stopping
6,77
Popstar: Never Stop Never Stopping
Ad Astra - Zu den Sternen
6,57
Ad Astra - Zu den Sternen
Porträt einer jungen Frau in Flammen
8,09
Porträt einer jungen Frau in Flammen
The Terror
7,89
The Terror
Experten aus dem Hinterzimmer
7,19
Experten aus dem Hinterzimmer
Five Easy Pieces - Ein Mann sucht sich selbst
7,49
Five Easy Pieces - Ein Mann sucht sich selbst
Columbus
7,29
Columbus
Das Ende einer Affäre
7,08
Das Ende einer Affäre
Chernobyl
9,310
Chernobyl
Waco
7,86
Waco
Die amerikanische Nacht
8,07
Die amerikanische Nacht
Free Churro
9,810
Free Churro
The View from Halfway Down
9,910
The View from Halfway Down
The Souvenir
6,49
The Souvenir
Parasite
8,510
Parasite
Joker
8,31
Joker
Marriage Story
7,99
Marriage Story
Stürmische Höhen
7,57
Stürmische Höhen
BoJack Horseman
8,810
BoJack Horseman
Ein verborgenes Leben
7,48
Ein verborgenes Leben
Terror Camp Clear
8,510
Terror Camp Clear
Vox Lux
5,97
Vox Lux
Fleabag
8,79
Fleabag
Star Wars: Episode IV - Eine neue Hoffnung
8,65
Star Wars: Episode IV - Eine neue Hoffnung

Rezensionen27

Bewertung von Goodbye_Ruby_Tuesday
Ein Herz im Winter

Ein Herz im Winter

7,6
10
  • 2. Mai 2009
  • In a Lonely Place

    As with THE SILENCE--and, really, most of Ingmar Bergman's best work--this is a film of quiet grace, a subtle film that takes patience but is ultimately deeply rewarding by the end. It's a love triangle of sorts between two friends, a bachelor Maxime and his quiet friend Stephane who are business partners running a violin repair shop. Maxime begins a relationship with the beautiful violinist Camille, who soon becomes attracted to Stefane, who does not overtly return her advances. Stefane is really a voyeur who belongs in the same group as Harry Caul, L.B. Jeffries and Damiel the angel, all people who are flawed or broken in some way on the inside and feel compelled to look at others only from a distance, refusing to become involved. They seem to understand from behaviorism the depths of other people but can barely conceal their own loneliness or broken relationships--Stefane correctly states that he can never give Camille, or any "normal" woman, what she deserves. He deliberately pushes her away when he feels pressured into intimacy. He loves music and handles his violins (which can be argued are shaped like an ideal female body, revealing Stephane's asexuality) the way Maxime and other "normal" men handle women. Director Claude Sautet has a gift with letting human drama unfold, and he carefully studies the behavior of his characters, who come alive without force or question, so much that the audience feels like a you're listening on close friends fighting. Then a real-life couple, Emmanuel Beart and Daniel Auteuil are stunning (such a great, unique romance for a real-life couple--you couldn't ever imagine Brad Pitt and Angelina Jolie ever tackling this together), hitting all the right notes (pun intended) with the precision and understanding of great actors, and even better human beings. Auteuil in particular is spectacular because of Stephane's deep introvert nature, and Auteuil has to allude to so many conflicting emotions that are barely visible beneath the surface, and he does so much just with his eyes, which flutter with happiness and fall with regret with perfect grace.
    Mensch oder Teufel

    Mensch oder Teufel

    7,4
    10
  • 9. Dez. 2008
  • What happens when the American Dream become a nightmare?

    When the 1999 Best Picture winner American BEAUTY came out, its marketing campaign stressed for the audience to "look closer" at the typical American family; while I still enjoy Sam Mendes' debut film, I wish people had taken the film's famous tagline more to heart and sought out this obscure gem of a film, because it's both a time capsule of its time and it's one of the most ageless films of all time. James Mason delivers possibly his greatest performance under Nicholas Ray's trusted, fatherly direction (the master auteur also worked wonders exposing the surprising depth of Humphrey Bogart and Gloria Grahame in IN A LONELY PLACE (1950), Cyd Charisse and Robert Taylor in PARTY GIRL (1958), Farley Granger and Cathy O'Donnell in THEY LIVE BY NIGHT (1948) and of course the trio in REBEL WITHOUT A CAUSE) as a man going insane from 1950s repression. It's one of the greatest American films ever made that few Americans have actually seen (as of this writing it's not on Region-1 DVD), though Jean-Luc Godard, who named it one of the greatest American films of the 1950s and briefly referenced it in his film CONTEMPT (1963), and Martin Scorsese, who has written of its power and included clips in his great documentary A PERSONAL JOURNEY THROUGH American MOVIES WITH MARTIN SCORSESE (1995), are big fans of this film.

    Nicholas Ray's CinemaScope masterpiece was criticized and neglected upon its initial release after his smash hit REBEL WITHOUT A CAUSE (1955). What did they expect from a filmmaker whose titles of films, especially his previous one, defined his existence? BIGGER THAN LIFE is his subtle, scathing attack on the suffocating 1950s conformity and the empty promise of the American Dream--to the hip indie crowd, this is the 50s answer to HALF NELSON (2005). Like his Humbert Humbert of LOLITA (1962), Mason plays a British intellect who falls from grace in America. On the surface this film is an attack on Cortisone (and to the publicity department at 20th Century Fox, this film refused to place blame on the doctors, instead making the whole film look like Mason's fault with such captions of a doctor saying "I prescribed it--HE misused it!"), but what came first, the drug or the social claustrophobia? The Cortisone didn't create Ed Avery's psychosis, it only highlighted it, and it certainly won't cure it (Ray once wryly said that the film "is about a miracle drug. I don't believe in miracles"). Even as he eschews religion ("GOD WAS WRONG!") and the school system ("We're breeding a race of moral midgets!") during his bouts of heightened egomania, some balancing on horrifyingly awful and terrifyingly true, he's never free from his repression, which makes the film's seemingly Hallmark Happy Ending all the more disturbing.

    It's a masterpiece of repression, innocence lost, and, more simply, amazing film-making. I cannot stress how badly this film begs to be seen and rediscovered by a newer audience, not unlike how Hitchcock's VERTIGO received the respect it deserved after its initial lukewarm reception. God was wrong. Nicholas Ray was right.
    Nur Pferden gibt man einen Gnadenschuß

    Nur Pferden gibt man einen Gnadenschuß

    7,8
    9
  • 30. Okt. 2008
  • They shoot classics, don't they?

    In the background in one shot of Sydney Pollack's great film, one can see the poster for MGM's all-star GRAND HOTEL. This places the film around 1932, when Busby Berkeley was beginning to put on his kaleidoscopic, dreamy dance numbers and Marlene Dietrich was gliding on the other side of the gauze-filtered camera. These are the films that were popular distractions, one which Jean Harlow lookalike Alice Leblanc (Susannah York) probably flocked to see. THEY SHOOT HORSES, DON'T THEY? (TSHDT) is closer in tone with the gritty noir films starring Paul Muni, I WAS A FUGITIVE FROM A CHAIN GANG and SCARFACE, deeply black portraits of a world gone crazy--films which the strong-willed but brittle Gloria Beatty (Jane Fonda in one of her greatest performances) surely would've tipped her hat off to. TSHDT is closer to the latter, though the contestants are deceived by images of the former, with females hoping to be noticed by talent scouts or directors in the audience. This false sense of hope is what causes them to be put through an inhumane dance marathon (which includes dancing for 10+hour stretches and three-legged races) that really makes the contestants closer to cattle than humans, bet on for sport and by the end hoping for a way out. The marathon will eventually break the spirits or minds or bodies of almost everyone involved in one shape or form, leading to a finale that may be downbeat, but all the same I feel that there's really no other way this film could've ended.

    There are flaws in the late Sydney Pollack's depressing Depression-era masterpiece, the first being the flash-forwards that take us out of the action and try to make it be a murder mystery that really doesn't matter (I feel Pollack was trying too hard to make Robert, Gloria's dance partner, likable), and the second is Michael Sarrazin's bland performance next to the ferocity of Jane Fonda's amazing performance as the brave but breaking spirit Gloria, the quiet explosion of Susannah York and Gig Young as the ringmaster who knows he's manipulating the contestants. But Pollack's film is tonally assured--one can almost feel the exhaustion of the parade of desperate people who become human race horses, agreeing to be part of a non-stop dance contest in the blind hope of getting a $1,500 prize money. And yet even before the downbeat and unresolved ending, we never really care about who wins the contest--not because we aren't fascinated by the characters, but because already we can sense that there will be no happy ending (trust me, this ain't Capra) for these survivors struggling not to lose themselves to their environment. Maybe the bigger reason for doing the contest isn't the money--maybe it's the need to have hope in something.
    Alle Rezensionen anzeigen

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