Cinema of the World

Quote:
A two-bit criminal takes on the Mafia to avenge his brother's death in this drama based on a novel by Richard Stark (Donald E. Westlake). Earl Macklin (Robert Duvall) is a small time criminal who is released from prison after an unsuccessful bank robbery only to discover that a pair of gunmen killed his brother. As it turns out, the bank that Earl and his brother hit was controlled by gangster Mailer (Robert Ryan). Macklin learns that he's on the mob's hit list as well, so he teams up with his old partner Cody (Joe Don Baker) to take on Mailer and his second in command, Jake Menner (Timothy Carey). The Outfit also features a top-notch supporting cast, including Karen Black, Sheree North, Joanna Cassidy, Richard Jaeckel, and Anita O'Day; Marie Windsor and Elisha Cook, Jr. also appear, 18 years after their memorable turn together in The Killing.

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Quote:
What if you could remember the details of a past life? And what if you found that in that past life you were a total dick? Such is the fate of Peter Proud (Michael Sarrazin) whose past life has come back to haunt him. J. Lee Thompson (director of the original 1962 Cape Fear) directed this offbeat sexed-up thriller and really gives us a great taste of 70's culture. The outstanding cast also features a pre-Superman and Amityville Horror Margot Kidder and Jennifer O'Neill, star of Lucio Fulci's Sette Note in Nero and Luchino Visconti's last film L'Innocente.

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IMDb user comment:

Cool-as-hell parable on evils of capitalism.

Vampires are the real BAD guys (i.e. corporate honchos feeding on much more than blood) in this satirical, quirky outing. Visually stunning, with a main character who goes by the name of Giovanni Nosferatu... not to forget an army of white, man-eating utility cars from hell (just forget wimpy, musty ole bats!)... I mean, how can you go wrong?

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Warhol and Velvert Underground with Lou Reed, th Ramones, Sid Vicious, sex Pistols, even Rotten, the Stooges and Iggy, Debbie Harry, Television,Everyone!!!!!....”With exclusive footage of the legendary movers and shakers that played there. Plus, recollections from the likes of Richard Hell, Tom Verlaine, Patti Smith and Dee Dee Ramone...It's an explosive mix of people and events that really did make the walls of the city shake!."

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http://www.valdelomar.com/home.php?lang=en

José Val del Omar (Granada 1904 - Madrid 1982)


With an extraordinary artistic and technological talent, Val del Omar was a ''believer in cinema'' inspired by new horizons that he formulated in the term PLAT – representing the totalizing concept of a ''Picto-Luminic-Audio-Tactile'' art – apart from being a contemporary and a comrade of Lorca, Cernuda, Renau, Zambrano and other figures of a Silver Age of the Spanish culture, interrupted by the Civil War. In 1928 he anticipated various of his most characteristic techniques, including the ''apanoramic overflow of the image'' beyond the limits of the screen, and the concept of ''tactile vision''. These techniques. and those of ''diaphonic sound'' and other explorations in the field of electro-acoustics, would be applied in his Tríptico Elemental de España [Elementary Tryptich of Spain], begun in 1953 and only finished after his death. His work and tenacious research activity – quite against any tendency of misunderstanding and forgetfulness – did not begin to be rediscovered until shortly before his death, though it has constituted the beginning of a renaissance that continues to draw followers. ''Endless'', as he would put at the end of his films.

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(review from IMDB):
In a comedic sex pulp men's magazine format, in a very "Monty Python" style, the entire film is told from the position of a news reporter named "George Smutnam" in New York, relating the strange Vampiric happenings in Los Angeles, compiled by adventurous cameramen at great risk to themselves, chronicling alleged Vampire activity.

From the phallic cologne bottle commercial featuring masturbating model "Laura-Jean", to the efforts of Dracula / Suckula {the fanged actor actually has a necktie instead of the usual bow-tie} seducing several maidens, and indulging in both mutually-pleasurable oral and blood fetishes {particularly a very talented young lady with a perfectly-placed Devil's Mark}; an amusing Folger's coffee commercial featuring a couple sharing their intimate relations; to "Sandra Van Ocre" {a hilariously mustached man in drag} for an abrupt interview with "Rodney Alucard the 3rd", a direct descendant of Count Dracula. Then on to a parody of those "Go see Cal" Worthington car ads, complete with modified lyrics and a Negro slave girl; then back to Sandra for an interview with a female vampire named "Moona Lisa" who virtually cannibalizes her/him; now please view your monitor for another seemingly gratuitous scene of a couple having sex, when the girl surprisingly turns into a vampire; then a final exchange with Sandra who meets a predictably temporary demise by the fangs of Alucard and Moona.

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Description:
Mario is in Hannover to work as a miner but after loosing his job he decides to go back to Italy. When Totonno steals his passport to avoid the police and later on he offers him a new job as "magliaro" (cloth seller), Mario changes his mind and decides to follow Totonno to Hamburg. In Hamburg, Totonno and his friends have to sell Mayer's cloth but they meet with the hostility of a Polish gang and Mario falls in love with Paula Mayer.

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A good and deaf servant, Samryong faithfully serves Oh Saengwon and his family who have looked after him. One day, Sun-deok gets married for money to Gwang-shik, the son of Oh Saengwon. However, attracted by a maid Chu-weol, Gwang-shik treats Sun-deok badly. Feeling pity for Sun-deok who cries every night for her husband, Samryong secretly loves her. Samryong witnesses the love affair of Chu-weol and Gwang-shik, and informs Chu-weol's husband, which causes him to get kicked out of the house. That day a fire erupts at Oh's, and Samryong saves Sun-deok in the fire.
Critics praised the final scene of the film, in which the house burns, as a work of pioneering and experimental film making.

Awards: Grand Bell (Daejong) Award for Best Picture - 1965

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Couldn't find any english synopsis:
Un matrimonio maduro llega a su casa de verano y comprueba que ha sido asaltada. El marido sospecha de una banda de hippies y a los pocos dias, uno de ellos viola a la mujer, recuperando ella la sensualidad perdida.

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A young pacifist after refusing on principle to defend her sweetheart's honor and being banished in disgrace, joins a riverboat troupe as a singer, acquires a reputation as a crackshot after a saloon brawl in which the villain of the piece accidentally kills himself with his own gun, falls in love with his former fianceé's sister and finally bullies an apprehensive family into accepting him.

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dvdbeaver.com wrote:
L'AMOUR FOU is about the rehearsal for a play and the crack-up of a marriage. The central character, Sebastien, is rehearsing a production of Andromaque, by Racine, with his wife Claire playing the leading role. Near the beginning of rehearsals, she leaves the production, pleading claustrophobia at the presence of a television crew filming the proceedings[...] As the rehearsals continue, Claire becomes progressively more paranoid; gratuitously, she sleeps with an ex-lover, while Sebastien is himself unfaithful with an actress from the theatre. Eventually, after a weekend during which Claire and Sebastien, locked in their apartment, engage in an orgy of sex and destruction, she boards a train and leaves him.

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From the Screenwriter of "Who's Singin' Over There","The Marathon Family","Balkanski Spijun" (flicks that are Serbian Cinematography at its best) comes (Writing Credits) this brilliant movie set in the surreal atmosphere of an archaeological site in northern Serbia in the second half of the 20th century. During the excavations of ancient Roman ruins, an old archeology professor discovers a Roman tombstone for which he has been searching all of his life. The tomb actually covers the passage from this world to the “other” one. In an attempt to move it from its place, the professor suffers a heart attack and soon dies. However, he only appears to be dead; in fact he is in a state “between life and death.” Being half-dead, half-alive, he can now establish a connection between the living and the dead. Speaking with his loved ones who passed away he can suddenly see his life in a different perspective. With the help of the professor, even the dead, led by the desire to see their relatives and loved ones, pass through the same corridor only to find out that the world of the living is not quite as they remembered or imagined it.

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Loaded with lovely classic Lana WWII scenarios.

I wonder how many young women went off to join the W.A.C. thinking Sydney Guilaroff would be doing their hair and Irene (I) their uniform wardrobe.

We look at films like this as objects through which we can watch a moment in Hollywood time. Lana is simply delightful.

I watch a film like this just for a glimpse of wartime America through the eyes of jaded and spoiled Hollywood elites who are piping this 'dream' to a still highly naïve wartime America.

Watch for Mercury Theatre's -- also the character of Endora on Bewitched (1964)] -- Agnes Moorehead. I reckon that some would say that this glimpse of Moorehead is as fun as that of Lana Turner.

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"Last night in the aristocratic theatre was shown an obscure ( there is not a lot of information about this silent film outside the thick Schloss walls ) German film in which is depicted the well-known legend of a Swiss hero whose name was Herr Wilhelm Tell. The legend says that he was a very skilful marksman who successfully shot an apple ( thanks Gott it wasn’t a grape… ) from his son’s head, a difficult task ordered by a local tyrant who forced Herr Tell to do it in exchange for his freedom and by extension the liberation of his countrymen.

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IMDb synopsis:
Loosley based on the bestselling book of Allan Pease and Barbara Pease, this comedy focuses on typical gender stereotypes, causing difficulties in relationships between men and women. When Jan wants to sleep with Melanie, student Katrin scratches his car's paint. Instead of arguing, he falls in love with her and they finally marry. Meanwhile, his boring roommate Rüdiger is romantically linked to Melanie. However, both couples soon have to fight problems in their relationships...

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From IMDB:
José Mojica Marins, a director of horror films about the diabolical Coffin Joe, is spending Christmas with friends. Household members go violently mad for no reason: first grandpa, then the hosts' daughters, one of whom, Vilma, is about to get married. Mojica discovers that Vilma's mother made a pact with a witch in order to become pregnant with Vilma, promising this first-born child to Satan; her impending marriage to a human is stirring up things supernatural. It what seems like a dream, Mojica enters a bacchanal in which an entranced Vilma is about to wed to Satan's son; the master of ceremonies is none other than Coffin Joe. Can Mojica defeat his own creation and save Vilma?

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Bank robbery movie from Germany is hailed by some as the best of the genre.

The basic plot is simple, two guys rob a bank, however it quickly turns into something much more complicated as the police show up and the real brains behind the robbery proves to be outside the bank controlling events.

The film begins and I was struck by the sense that this was going to be a piece of Euro-sleaze, however it wasn't long before the film had grabbed me and pulled me into its web of tension. You're never really sure where this thing is going or what the ultimate plan or outcome is going to be. Its nice to see a movie that completely surprises you from start to finish

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From IMDB
Once more, Vlacil's films are largely about subjects that are not seen on screen. With some spoilers, here we have a story set in 1947 when Ukrainian right-wing anti-Communist guerillas, looking like and feeling like Nazi's, are trying to fight their way through Czechoslovakia to Austria. They come out of the forest to occupy a family's countryside farm house, kidnapping a doctor to help heal one of their wounded, but this could just as easily be about the post-war occupying forces in Eastern Europe, or the occupying Soviet forces in the 60's, as there is an initial belief that there is nothing anyone can do, or to coin a STAR TREK phrase, `Resistance is futile.' The film has a very languid pace which establishes the mood and pace of this small village, much of it is wordless, with a Sergio Leone acid-western feel, easily the most outstanding feature is the original music by Zdenek Liska, which plays on the inner psychological turmoil, providing an unseen character in the film. The father gives the appearance of passivity, as he is outmanned and outgunned, while his eager young son wants a taste of immediate revenge. But a wiser course of action is called for, waiting, giving the impression he is yielding to their demands, as the father wants to protect the lives of his wife and children, which allows for large doses of screen time where various family members are performing daily farm chores, just trying to survive this ordeal, while interspersed in each frame are men with machine guns who sadistically threaten their every impulse. This farmhouse under occupation represents a country under occupation, all feel like helpless victims where every moment is spent in fear, any minute things could spin helplessly out of control, and this film skillfully gets under everyone's skin.

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Plot:
Ali (Salem), is a young Moroccan Gastarbeiter (guest worker) in his late thirties, and Emmi (Mira), a 60-year-old widowed cleaning woman. They meet when Emmi ducks inside a bar, driven by the rain and drawn by the exotic Arabic music. A woman in the bar (Katharina Herberg) suggests Ali ask Emmi to dance, and she accepts. A strange and unlikely friendship develops, then a romance and finally they decide to marry.

What follows is a bitter and noxious reaction over their relationship. Gossipy neighbors treat them with contempt, complaining their (already noticeably dilapidated) tenement building has now become filthy. Emmi is shunned by her coworkers, and Ali faces discrimination at every turn. Emmi tells her son-in-law Eugen and daughter Krista (Fassbinder himself and Irm Hermann) that she is in love with Ali; Eugen thinks she is screwy.

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One of Fassbinder's most controversial films, The Bitter Tears of Petra von Kant is an obsessive, highly stylized look at the shifting power plays in relationships. Petra von Kant is an arrogant, caustic and self-absorbed fashion designer. She lives with her assistant who she constantly mistreats. Petra employs a new model and a lesbian affair unfolds. Fassbinder transcends the homosexual nature of the circumstance in this transparent exploration of dominance and submission.

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From IMDB

This is probably "Macbeth" as Shakespeare really saw it produced -- no fancy scenery, no elaborate sets, just stunning actors conveying everything Shakespeare intended to convey by the power of their own speech and actions.

Ian McKellen is quite possibly the greatest Macbeth ever to appear on film. He is absolutely brilliant in this record of the RSC's Other Place production, which chops up the text and does magical things with it. He knows when to use the verse Shakespeare gave him, and what to do with it. Perfectly complementing him is Judi Dench (great in the sleepwalking scene), a small and fragile she-devil. John Woodvine is a majestical Banquo - you truly believe he is the head of a long line of kings - while Ian MacDiarmid is a memorable Porter/Ross. Roger Rees is good value as Malcolm (despite the awful pullover), and Bob Peck is a calm Macduff, only stirred into action by his personal tragedy.

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from allmovie:
"Movies about making movies are usually concerned with the frantic desperation of a shoot, with crises popping up by the minute and everyone rushing about madly. Not so in Rainer Werner Fassbinder's film, allegedly about his experiences making Whity on-location in Spain. The first quarter of the film is taken up with a long scene in a hotel lobby which might have been directed by Michelangelo Antonioni. The lassitude and sense of sexual longing is almost suffocating, as members of the film within a film's cast and crew down drinks, break glasses, nuzzle on couches, or stare blankly into space. With the arrival of more money to continue the production and of the film's director (Lou Castel playing a handsome version of Fassbinder) and the film's star (Eddie Constantine more or less playing himself -- there is even a reference to his Lemmy Caution character), the energy level picks up -- especially when the director begins throwing hourly tantrums. And Fassbinder's narrative becomes more fragmented, featuring short snippets of conversations among the various characters, most of them complaining about someone else on the crew screwing things up. In one long and very funny scene, the director carefully reads a newspaper containing an article about him while a half-dozen other characters around him drift away. There is some witty use of music, too; three Leonard Cohen songs from his first album drone on during the long opening scene in the lobby, and later, a party scene plays out to Ray Charles' "Let's Go Get Stoned." This is all likely to be more amusing to those in the know about Fassbinder and his methods; less informed viewers are likely to see it as so much navel-gazing."

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ENTER THE VOID, the psychedelic thriller by visionary French maverick Gaspar Noé (IRREVERSIBLE, I STAND ALONE), is a cinematic thrill ride that's... ENTER THE VOID, the psychedelic thriller by visionary French maverick Gaspar Noé (IRREVERSIBLE, I STAND ALONE), is a cinematic thrill ride that's riveted audiences at the Cannes, Toronto, Sundance and SXSW film festivals. Nathaniel Brown and Paz de la Huerta star in a visceral journey set against the thumping, neon club scene of Tokyo, which hurls the viewer into an astonishing trip through life, death, and the universally wonderful and horrible moments between. An immersive and just plain mind-bending experience, ENTER THE VOID is sure to be one of the most talked-about films of the year. -- (C) IFC

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Synopsis:

In the rugged mountain gorges of southeastern Poland, a group of outcasts and desperadoes drive old, dilapidated trucks loaded with timber down the winding, wintry roads, with death awaiting them around every twist and turn.

The sudden appearance of a new boss —and his beautiful wife—becomes a deadly catalyst for violence in this dark, brutally realistic film. The Depot Of The Dead is based on a short story by Polish cult writer Marek Hlasko, who died tragically at age 35.

Veteran actors Tadeusz Lomnicki (Ashes and Diamonds), Emil Karewicz (Eroica, Canal) and Leon Niemczyck (Man on the Tracks, Vabank, Calls Controlled) offer gritty portrayals of wretched men in a desperate situation.

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Quote:

The story of three teenagers: a beautiful girl, Vanessa, and two boys, Mickael and Clement, one rich, one poor. The story of Mickael - judo fanatic and doomed lover - and his parents, both convinced that the sky will one day come crashing down on their heads, and both more than able to cope when it does. Blackly comic, brutally funny, heartbreaking, truthful. A tragi-comedy. About happiness and hardship, sex, luck and catastrophe.

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Love is Colder Than Death was Rainer Werner Fassbinder's first feature-length film (he had directed two shorts three years earlier: The Little Tramp and The Little Chaos), the story of a small-time pimp, Franz (Fassbinder), and his complicated relationship with his prostitute girlfriend, Joanna (Hanna Schygulla), and a criminal associate, Bruno (Ulli Lommel), who mysteriously and erotically enters their lives. Had the film been made at a later point in Fassbinder's all-too brief but remarkably illustrious and prolific career, the film's static aesthetic could have been read as a deliberate attempt on the director's part to show his critics that his camera need not move on inch to convey the same rapturous feeling of his greater films. Except Love is Colder Than Death is not a great Fassbinder film.

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