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Immagine del profilo di faraaj-1

faraaj-1

Iscritto in data dic 2005
Favourite genres in order of preference:

Film Noir, Westerns, Giallo, Musicals, 40's-50's Grade-B Horror, Screwball comedies, jazz movies

Favourite directors:

Robert Altman, Ingmar Bergman, Akira Kurosawa, Majid Majidi, Federico Fellini, Satyajit Ray, Sergio Leone, Billy Wilder, John Huston, Stanley Kubrick, Alfred Hitchcock, Sidney Lumet, Stanley Kramer, Clint Eastwood, Frank Capra, Joel Coen, Howard Hawks, John Ford, Peter Bogdanovich, Orson Welles, Steven Spielberg, John Carpenter, Charles Chaplin

Favourite Films by genre:

FILM NOIR
The Maltese Falcon (1941)
Double Indemnity (1944)
Out of the Past (1947)
The Big Sleep (1946)

WAR
Battaglia di Algeri, La (1966)
Apocalypse Now (1979)
Ballada o soldate (1959)

IRANIAN CINEMA
Baran (2001)

BIOPIC
Untergang, Der (2004)
Oberst Redl (1985)

HORROR
The Exorcist (1973)
Alien (1979)
Don't Look Now (1973)

GRADE-B HORROR
Cat People (1942)
Invasion of the Body Snatchers (1956)
Them! (1954)

NEO-NOIR
The Long Good-bye (1973)
L.A. Confidential (1997)
Sin City (2005)
Chinatown (1974)

MUSICAL
Fiddler on the Roof (1971)
My Fair Lady (1964)
Showboat (1936)
Oliver! (1968)
Guys and Dolls (1955)

COURTROOM CLASSIC
12 Angry Men (1957)
Anatomy of a Murder (1959)
To Kill a Mockingbird (1962)

WESTERN
The Ox-Bow Incident (1943)
3:10 to Yuma (1957)
The Far Country (1954)

REVISIONIST WESTERN
Butch Cassidy and the Sundance Kid (1969)
The Wild Bunch (1969)
Unforgiven (1992)
The Treasure of the Sierra Madre (1948)

WESTERN - JOHN WAYNE
Red River (1948)
Rio Bravo (1959)

SPAGHETTI WESTERN
Buono, il brutto, il cattivo, Il (1966)
Per qualche dollaro in più (1965)

FELLINI
Amarcord (1973)
Strada, La (1954)
Nights of Cabiria (195?)

KUROSAWA
Rashômon (1950)
Yojimbo (1961)

CHAPLIN
Monsieur Verdoux (1947)
The Great Dictator (1940)
City Lights (1931)

KUBRICK
Full Metal Jacket (1987)
The Shining (1980)
Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964)

HITCHCOCK
Vertigo (1958)
Rear Window (1954)
The 39 Steps (1935)

INGMAR BERGMAN
Sjunde inseglet, Det (1957)
Jungfrukällan (1960)

HISTORIC
Lawrence of Arabia (1962)
Becket (1964)

SCI-FI
Metropolis (1926)
Gattaca (1997)

LITERARY
Sense and Sensibility (1995)
The Remains of the Day (1993)
Cyrano de Bergerac (1990)

LOVE STORY
Fa yeung nin wa (2000)
Casablanca (1942)
The African Queen (1951)

DRAMA
Citizen Kane (1941)
Glengarry Glen Ross (1992)
The Last Picture Show (1971)

SOCIAL DRAMA
One Flew Over the Cuckoo's Nest (1975)
Babettes gæstebud (1987)
Ladri di biciclette (1948)
Schindler's List (1993)
Stanza del figlio, La (2001)

ACTION-ADVENTURE
The Lord of the Rings: The Return of the King (2003)
Indiana Jones and the Last Crusade (1989)
Raiders of the Lost Ark (1981)
Spider-Man 2 (2004)

THRILLER
The Manchurian Candidate (1962)
Salaire de la peur, Le (1953)
Fargo (1996)
Se7en (1995)
Pulp Fiction (1994)
Marathon Man (1976)
Léon (1994)
Assault on Precinct 13 (1976)

MYSTERY
The Usual Suspects (1995)
Blowup (1966)
Mulholland Dr. (2001)
Picnic at Hanging Rock (1975)

ROMANTIC COMEDY
Sleepless in Seattle (1993)
When Harry Met Sally... (1989)

RACE RELATIONS
In the Heat of the Night (1967)
Do the Right Thing (1989)
Mississippi Burning (1988)
Guess Who's Coming to Dinner (1967)

GANGSTER
The Untouchables (1987)
The Godfather: Part II (1974)
Once Upon a Time in America (1984)
The Godfather (1972)
Goodfellas (1990)

COMEDY
This Is Spinal Tap (1984)
The Big Lebowski (1998)
Postino, Il (1994)
The Odd Couple (1968)
Punch-Drunk Love (2002)

SCREWBALL COMEDY
It Happened One Night (1934)
The Philadelphia Story (1940)
Roman Holiday (1953)
Ti diamo il benvenuto nel nuovo profilo
I nostri aggiornamenti sono ancora in fase di sviluppo. Sebbene la versione precedente del profilo non sia più accessibile, stiamo lavorando attivamente ai miglioramenti e alcune delle funzionalità mancanti torneranno presto! Non perderti il loro ritorno. Nel frattempo, l’analisi delle valutazioni è ancora disponibile sulle nostre app iOS e Android, che si trovano nella pagina del profilo. Per visualizzare la tua distribuzione delle valutazioni per anno e genere, fai riferimento alla nostra nuova Guida di aiuto.

Distintivi4

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Valutazioni2406

Valutazione di faraaj-1
The Accountant
7,35
The Accountant
Il cervello di Frankenstein
7,39
Il cervello di Frankenstein
Anora
7,510
Anora
Shōgun
8,68
Shōgun
L'uomo delle castagne
7,67
L'uomo delle castagne
Pusher 3 - L'angelo della morte
7,37
Pusher 3 - L'angelo della morte
Pusher II - Sangue sulle mie mani
7,37
Pusher II - Sangue sulle mie mani
Pusher - L'inizio
7,37
Pusher - L'inizio
La grande scommessa
7,89
La grande scommessa
Roadgames
6,68
Roadgames
Chopper
7,17
Chopper
Tropic Thunder
7,17
Tropic Thunder
The Lincoln Lawyer
7,37
The Lincoln Lawyer
Vivere e morire a Los Angeles
7,37
Vivere e morire a Los Angeles
I senza nome
7,98
I senza nome
Tavole separate
7,37
Tavole separate
Adolescence
8,210
Adolescence
Il grande duello
6,46
Il grande duello
1883
8,710
1883
Pelle di serpente
7,18
Pelle di serpente
Come uccidere vostra moglie
6,56
Come uccidere vostra moglie
Il fascino discreto della borghesia
7,79
Il fascino discreto della borghesia
A Real Pain
7,19
A Real Pain
Il momento di uccidere
7,58
Il momento di uccidere
La giuria
7,18
La giuria

Liste2

  • Arletty, Jean-Louis Barrault, and Pierre Brasseur in Amanti perduti (1945)
    Top 250 Films
    • 250 titoli
    • Pubblico
    • Modificato il 27 apr 2011
  • Federico Fellini
    My favourite directors
    • 50 persone
    • Pubblico
    • Modificato il 15 apr 2011

Recensioni175

Valutazione di faraaj-1
Shutter Island

Shutter Island

8,2
8
  • 14 ago 2010
  • Scorcese's on a roll here

    Scorcese has often been called America's greatest living director. Certainly with classics like Mean Streets, Taxidriver and Raging Bull to his credit decades ago, and others like Goodfellas and Gangs of New York in the intervening year, there is much weight in holding him in such high esteem, along with the expectations that come with it. My first impression with each new film since Goodfellas has been that its lesser Scorcese. He appears to have fallen from the lofty standards he set early in his career. The themes of the film do not have the gravitas one expects of a Scorcese film etc. On first viewing, I felt that way about both Gangs of New York and The Departed. Second and third viewings changed my opinion and I now know both films to be classics and the Scorcese magic is self evident.

    Shutter Island, which is a big move away from the broad range that Scorcese normally works within, is a horror-thriller film - well, more thriller than horror and thus more mainstream than his usual fare. The only other mainstream Scorcese film that comes to mind is Cape Fear. While I was never impressed with Cape Fear, the original B&W noir classic being far superior, I readily admit to loving Shutter Island from the first frame.

    People forget that Scorcese is the original film nerd and his understanding of cinema and the great masters is unparalleled. In this visually enchanting masterpiece, I saw clear shades of King Kong, the Val Lewton films of the 40s e.g. Isle of the Dead, Hitchcock's Vertigo and North by Northwest and of course the expressionist classic The Cabinet of Dr Caligari. However, it was all of a piece with a clear visual style that gelled and worked. There are remarkable set-pieces littered throughout the film - too many to mention. The performances are uniformly great. While, De Caprio, Ben Kingsley and Emily Watson are all acclaimed, Mark Ruffalo is less well known and shines in this, his best role since Zodiac.

    I won't go into the plot details but given that this is a thriller, suffice to say that there is at least one major plot twist. I've seen several reviewers commenting on and emphasizing the big twist. Many saw it coming and disliked the film, others couldn't see the twist coming and loved the film as a result. I think that basing your opinion on the plot twist misses the point. With the large number of thrillers that Hollywood churns out each year, I don't think is a plot twist out there that hasn't been covered threadbare by multiple films. What is important to me is the visual sense and style, which is present in Shutter Island in bucket-loads!
    Un condannato a morte è fuggito

    Un condannato a morte è fuggito

    8,2
    10
  • 6 ago 2010
  • Attention to detail

    There's a point in the second half of A Man Escaped when a new prisoner (Jost) joins the central figure (Fontaine) in his thus far solitary prison cell. The new prisoner expresses amazement at the very idea of someone thinking they can escape from this prison - look at the walls, the guards, the steel bars. He is reasonable in his thinking as a newcomer to the scene, but we, the audience already know that yes it is possible to escape and how this feat is to be engineered.

    The entire film leading up to that point is a clinically minute study of how one plans an escape. Short on words, although there is a regular voice-over, this is a visually arresting form of storytelling. Contrary to some IMDb comments that the film might be perceived as slow-moving or boring, I actually think its riveting. My 8 year old son was sitting in the TV lounge when I started the film. He was drawn into the film within minutes (despite the subtitles) and sat through the entire film and really enjoyed it. With the attention span of youngsters and the additional challenge of it being in a foreign language and B&W to boot, it requires masterly storytelling to engage such a young audience.

    There is great attention to detail and authenticity. The real life prisoner (Andre Devigy) was a consultant on the film, it was filmed in the actual prison where the prisoner escaped from and even the original rope and hooks used for the escape were used for the film! This is almost a documentary but with non-professional actors recreating in a compressed time frame actual events. For me, Bresson's Pickpocket's train sequence is among the finest in cinema history. Its obvious throughout A Man Escaped that the same genius who made Pickpocket crafted this masterpiece.
    La città nuda

    La città nuda

    7,5
    7
  • 25 dic 2009
  • Dated but groundbreaking

    I'm a big fan of early film noir - stylized films like Big Sleep, Double Indemnity, Out of the Past etc. with their femme fatales and flawed heroes. With the end of WWII came the return of many film-makers like Producer-Narrator Mark Hellinger who had experience in shooting documentaries with all their realism during the war. Starting with The Naked City, noir saw the impact of combat photography in location shootings and gritty realism.

    The Naked City, as narrated at the outset by the producer, was shot on location in New York in the apparently scorching summer of 1947. There are lots of scenes shot with hidden cameras, passersby unaware that a film was being shot. That would've created a significant impact at a time when everything was shot on set - and heavily stylized. In the present age, when nearly all outdoor shooting is 'on location', the impact of Naked City diminishes significantly. The plot plods along, the acting is generally wooden, although Barry Fitzgerald gives an interesting if over-acted performance. A lot of the authentic police procedural is too tame and dated compared to what one normally see on TV today.

    Apart from the groundbreaking decision to shoot on location, the only other selling point of the film is the chase in the last 15 minutes of the movie. That was the bulk of the films outdoor shooting and its great. Its suspenseful, well shot and the narration works great. It reminded me of the great M by Fritz Lang. For serious noir fans, The Naked City has to be seen once, but its not a film to be revisited repeatedly like some of the earlier classics of the genre.
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      16 lug 2013

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