Nazi_Fighter_David
A rejoint le oct. 1999
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Note de Nazi_Fighter_David
"Elizabeth," the first film, was about a young woman coming to the throne in a period of great turmoil, and how she dealt with that
It was love in the context of power, betrayal, and survival
In "Elizabeth: The Golden Age," we're dealing with the most famous aspects of her regime, the Spanish Armada, the Babington Plot, which was a major plot against her, and Walter Raleigh bringing back the very early understanding of the New World, and the horizons beyond Britain It is the exploration of unrestricted power
Elizabeth, as cultured and as intelligent and eloquent as she was, had never left the shores of England And into her court, strides an explorer who has literally been where the maps end The gallant Raleigh (Clive Owen) was a free spirit who thrills the queen with his tales and discoveries at sea The classic 16th-century adventurer who doesn't play by any official rules, and he does bring into the world of the court something very alluring, enigmatic and charismatic, which has a big impact on the queen
The relationship between Raleigh and Elizabeth was very complicated There were things holding Elizabeth back "We mortals have many weaknesses; we feel too much, hurt too much or too soon we die, but we do have the chance of love." These words were spoken by Sir Walter Raleigh to the Virgin Quenn It's very rare that the Queen takes interest in a man, and she does
At this special point, England was very weak militarily Elizabeth had discharged the navy And once again it was the old problem of religious instability, which harasses the human race frequently
Anybody that's interested in this period of history will find it fascinating just how capable Elizabeth was in regards to how she dealt with the captive Queen of Scots
Mary Stuart (Samantha Morton) had great respect for the Protestant Elizabeth, and was remarkably intrigued by her, and desperate to meet her, and fascinated For several years Elizabeth suffered about her execution because she really believed two things She believed that any queen was divine She accepted as true that her Catholic cousin was there by the will of God, and therefore, Mary was there by the will of God And in executing Mary, she would disintegrate her one belief that she herself was divine
Mary found it in death Elizabeth had to find it in life So if you look at the Armada, Elizabeth finally does become divine, and that's why we had to admire how the scene of the Armada is shot, by Shekhar Kapur, in that way It's not actually a fiery sea battle between two countries It's a 'Holy War' with Spain Therefore, the defining moments of the Armada is when Elizabeth walks up across the verdant cliffs in flowing white nightgown She's no longer the Avenging Queen She's instead a supernatural being, a disembodied soul defeating the enemy, dominating the fearless of the waves, the force of the storm, and the strength of fire
Dripping with intrigues, plots, battles, mysteries, and strong emotions, the film captured the ecclesiastical spaces of the cathedrals to look more like a palace environment It also captured the feel of the16th century architecture, linking and matching it to the proper locations
In "Elizabeth: The Golden Age," we're dealing with the most famous aspects of her regime, the Spanish Armada, the Babington Plot, which was a major plot against her, and Walter Raleigh bringing back the very early understanding of the New World, and the horizons beyond Britain It is the exploration of unrestricted power
Elizabeth, as cultured and as intelligent and eloquent as she was, had never left the shores of England And into her court, strides an explorer who has literally been where the maps end The gallant Raleigh (Clive Owen) was a free spirit who thrills the queen with his tales and discoveries at sea The classic 16th-century adventurer who doesn't play by any official rules, and he does bring into the world of the court something very alluring, enigmatic and charismatic, which has a big impact on the queen
The relationship between Raleigh and Elizabeth was very complicated There were things holding Elizabeth back "We mortals have many weaknesses; we feel too much, hurt too much or too soon we die, but we do have the chance of love." These words were spoken by Sir Walter Raleigh to the Virgin Quenn It's very rare that the Queen takes interest in a man, and she does
At this special point, England was very weak militarily Elizabeth had discharged the navy And once again it was the old problem of religious instability, which harasses the human race frequently
Anybody that's interested in this period of history will find it fascinating just how capable Elizabeth was in regards to how she dealt with the captive Queen of Scots
Mary Stuart (Samantha Morton) had great respect for the Protestant Elizabeth, and was remarkably intrigued by her, and desperate to meet her, and fascinated For several years Elizabeth suffered about her execution because she really believed two things She believed that any queen was divine She accepted as true that her Catholic cousin was there by the will of God, and therefore, Mary was there by the will of God And in executing Mary, she would disintegrate her one belief that she herself was divine
Mary found it in death Elizabeth had to find it in life So if you look at the Armada, Elizabeth finally does become divine, and that's why we had to admire how the scene of the Armada is shot, by Shekhar Kapur, in that way It's not actually a fiery sea battle between two countries It's a 'Holy War' with Spain Therefore, the defining moments of the Armada is when Elizabeth walks up across the verdant cliffs in flowing white nightgown She's no longer the Avenging Queen She's instead a supernatural being, a disembodied soul defeating the enemy, dominating the fearless of the waves, the force of the storm, and the strength of fire
Dripping with intrigues, plots, battles, mysteries, and strong emotions, the film captured the ecclesiastical spaces of the cathedrals to look more like a palace environment It also captured the feel of the16th century architecture, linking and matching it to the proper locations
Atheist, Marxist, Freudian, Surrealist, anarchist, fetishist, satirist, or Spaniard, Luis Buñuel was all these or more
One of the greatest of all filmmakers, Buñuel expressed an extraordinary personal vision of the world through an exceptional self-effacing special taste, creating a body of work unequaled in its abundance of meaning and its power by any other
In 1946, Buñuel moved to Mexico where, between more conventional assignments, he summed up his creativity with a vengeance His first masterpiece of this prolific period, "The Young and the Damned" was a masterpiece of social surrealism and the founding work of third world barrio repulsion
Portraying the distress of delinquents in MexicoCity's streets, he admitted the effects of shockingly cruel environment but declined to glamorize his victim-heroes: the gang torments a blind beggar who is himself a skillful paedophile, while a Freudian dream the most 'innocent' boy fights a friend for his mother' s sexual favors
The film is powerful enough to make a one firm man weep or encourage a true-believer to lose hope Once seen, its disturbing images can never be forgotten
In 1946, Buñuel moved to Mexico where, between more conventional assignments, he summed up his creativity with a vengeance His first masterpiece of this prolific period, "The Young and the Damned" was a masterpiece of social surrealism and the founding work of third world barrio repulsion
Portraying the distress of delinquents in MexicoCity's streets, he admitted the effects of shockingly cruel environment but declined to glamorize his victim-heroes: the gang torments a blind beggar who is himself a skillful paedophile, while a Freudian dream the most 'innocent' boy fights a friend for his mother' s sexual favors
The film is powerful enough to make a one firm man weep or encourage a true-believer to lose hope Once seen, its disturbing images can never be forgotten
Leone's most ambitious epic moves across three separate time periods: the twenties, the thirties and the late sixties
It starts in 1933, with the murder of a woman after merciless gangsters have briefly interrogate her (while Noodles hides out in an opium den), then returns to the disastrous night of the bloody betrayal, then jumps to Noodles' return to New York in 1968, then shifts back to the early 1920s to their adolescence This display in a series of flashbacks and flash-forwards is used throughout the film, until the climax where all the dissociated parts of the story fall into place
"Once Upon a Time in America" tells the story of five precocious teenagers born in Brooklyn and the Bronx, Noodles (Robert DeNiro), Max (James Woods), Patsy (James Hayden), Cockeye (William Forsythe), and Dominic (Noah Moazezi), the youngest
As kids in 1921 Prohibition New York, they take only superficial interest in minor street crime, spoiling things or stealing from drunks, until they start running their own rackets
Noodles is sexually attracted to Deborah (Jennifer Connelly/Elizabeth McGovern), the mesmerizing ballet dancer, sister of their loyal friend Fat Moe (Larry Rapp), the son of a saloon-keeper But the gang's rivalry with Bugsy (James Russo), another street hoodlum, leads to Dominic being fatally wounded and Noodles going to jail for years for taking a bloody revenge in a blind rage
When Noodles is released from prison a decade later, Max was there with a car and a hooker Noodles joins his three pals, who have become prosperous by continuing in the crime world including entwining with unions and the strikers, led by their leader Jimmy Conway (Treat Williams).
The four best friends accept to assault a jeweler in Detroit, for a major mafioso Frankie Minoldi (Joe Pesci), and his sidekick Joe (Burt Young) And at the end of Prohibition in 1933, the top mob criminals find themselves having gathered $1 million
In their vacation in Miami, Noodles was highly worried that Max's next plan is a step too dangerous to take and too risky
The most tragic and moving part of the film is probably the romantic obsessions of Noodles Noodles and Deborah have deep and strong affinity for one another Noodles feels he has the right to Deborah's feelings, but she closed herself to him years ago when he responded Max's call over her own Noodles seem unaware of her decision... Their meeting in 1968 only communicates what could have been
In one memorable scene, young Patsy (Brian Bloom) is awaiting for a young hooker Her price is a fancy frosted cake While awaiting, Patsy attentively observes the cake and recognizes he can scoop some of the white cream without damaging it Tempted by the good taste of the cream, he devours entirely the cake on the staircase and forgets the girl Here we felt the kid's innocence and hesitancy between pastry over sex
Friendship, innocence, trust, passion, honor, betrayal, and guilt are the most important basis on which Leone's encircles his masterpiece
It starts in 1933, with the murder of a woman after merciless gangsters have briefly interrogate her (while Noodles hides out in an opium den), then returns to the disastrous night of the bloody betrayal, then jumps to Noodles' return to New York in 1968, then shifts back to the early 1920s to their adolescence This display in a series of flashbacks and flash-forwards is used throughout the film, until the climax where all the dissociated parts of the story fall into place
"Once Upon a Time in America" tells the story of five precocious teenagers born in Brooklyn and the Bronx, Noodles (Robert DeNiro), Max (James Woods), Patsy (James Hayden), Cockeye (William Forsythe), and Dominic (Noah Moazezi), the youngest
As kids in 1921 Prohibition New York, they take only superficial interest in minor street crime, spoiling things or stealing from drunks, until they start running their own rackets
Noodles is sexually attracted to Deborah (Jennifer Connelly/Elizabeth McGovern), the mesmerizing ballet dancer, sister of their loyal friend Fat Moe (Larry Rapp), the son of a saloon-keeper But the gang's rivalry with Bugsy (James Russo), another street hoodlum, leads to Dominic being fatally wounded and Noodles going to jail for years for taking a bloody revenge in a blind rage
When Noodles is released from prison a decade later, Max was there with a car and a hooker Noodles joins his three pals, who have become prosperous by continuing in the crime world including entwining with unions and the strikers, led by their leader Jimmy Conway (Treat Williams).
The four best friends accept to assault a jeweler in Detroit, for a major mafioso Frankie Minoldi (Joe Pesci), and his sidekick Joe (Burt Young) And at the end of Prohibition in 1933, the top mob criminals find themselves having gathered $1 million
In their vacation in Miami, Noodles was highly worried that Max's next plan is a step too dangerous to take and too risky
The most tragic and moving part of the film is probably the romantic obsessions of Noodles Noodles and Deborah have deep and strong affinity for one another Noodles feels he has the right to Deborah's feelings, but she closed herself to him years ago when he responded Max's call over her own Noodles seem unaware of her decision... Their meeting in 1968 only communicates what could have been
In one memorable scene, young Patsy (Brian Bloom) is awaiting for a young hooker Her price is a fancy frosted cake While awaiting, Patsy attentively observes the cake and recognizes he can scoop some of the white cream without damaging it Tempted by the good taste of the cream, he devours entirely the cake on the staircase and forgets the girl Here we felt the kid's innocence and hesitancy between pastry over sex
Friendship, innocence, trust, passion, honor, betrayal, and guilt are the most important basis on which Leone's encircles his masterpiece