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[Cassius Clay]

To izmedju Skorsezea i Tarantina je po meni stvar ukusa, Skorsezeove priče su ekstra i možeš da se identifikuješ sa likovima, Tarantino je lud, ali za mene su Kjubrik i Linč liga za sebe.

Nadovezuju se jedan na drugog. Kao da vide ono što mi ne vidimo ili znaju što ne znamo.

Pogledam neki od tih Skorsezeovih filmova i pomislim "jebote koliko dobra radnja, vrh sam utrošio vreme, bilo je uživanje", a pogledam Kjubrikov i ureže mi se u mozak. Posle Skorsezeovih koje sam gledao nema znakova pitanja, a kao što sam kaže svaki Kjubrikov film možeš iznova gledati i skontati nešto novo.

Koliko znam i Skorsezeu je 2001. omiljen film. On pravi ultra mega giga filmove, ali i njega da pitaš ko je veći umetnik, sam bi čovek rekao.

Ova je pokušala da izvuče nešto dublje iz njega ali nije uspela. I da Linč sa Twin Peaks i najavom povratka... To su dva mozga koja se neće ponoviti.

Skorsezeovi najbolji filmovi su svi gengsta fazon, ne kažem, skidam kapu, i dalje je stvar ukusa, samo za mene lično jedno je pitko za sve a drugo je polarizijuće.

Ne znam osobu kojoj se ne svidja The Departed ili Wolf ili Shutter Island.

Kako je Kjubrik to vizuelno umeo da dočara, ona scena sa Šerbedžijom iz Eyes wide shut, nekako ... Možda je to nekome proseravanje ko zna

[mark !t zer0]

Pa dobro, Departed je remake, ja sam uvek za originalni scenario. Naravno, film mi se svideo, sve je odradjeno perfektno, ali ne bih sad to svrstavao u neko njegovo remek-delo samo iz tog razloga.

Ne znam, mozda ja nisam dovoljno pametan da shvatim, ili neki drugi razlog, ali dva puta sam gledao Mulholland Drive i, i dalje ne znam sta da kazem. Nije da sam neko ko pati za radnjom i obrtima ili ne znam čime, ali taj film me bukvalno baci u paranoju. Jedino se losije osecam kada odgledam Apokalipsu danas, kao da sam se drogirao 3 sata, iscedi film sve iz mene, dodje mi da izvrsim samoubistvo posle. Bukvalno kao da me neko siluje, tako se osecam.

[Vladan]

Zaboravio sam Cepa Fear jbg, jedan od najpotcjenjenijih filmova kao i After Hours koji je isto potcijenjen nevjerovatno. Dodati na listu jbg

Urose ta tri sto si nabrojio su najgori Martinovi filmovi vjerovatno ali su top za publiku. Ipak velika je sramota dati mu Oskara za Departed, a ne dati mu za Taxi Driver, Raging Bull ili Goodfellas, ova tri filma su potpuno drugi nivo u odnosu na Departed i generalno ta tri. The King of Comedy i Mean Streets takodje, od novijih Gangs of New York i Aviator daleko bolja ostvarenja od Departed po meni. Ali mi je Raging Bull apolutni broj jedan. Sve u tom filmu je perfektno odradjeno, prica, gluma, De Niro koji je Dzejka skinuo perfektno, Pesi prekucao, odnos izmedju njih od ljubavi do mrznje i nazad. I taj Dzejk Lamota koji ima sve, talenat, mladost ali je mnogo vise lud i poremecen i umjesto da je na krovu svijeta - propast, umjesto heroja ipak antiheroj i koliko god to bio dobar film, on je jos bolji, jos legendarniji zahvaljujuci Martinu, to je najvise njegov film, film u koji je najvise urezan njegov stil. I nije gangsterski.

[Vladan]

Top mi je taj kraj u American History X kad kaze parafraziram iskoristi neciji citat, neko je to vec bolje rekao od tebe, ako ne mozes da nadmasis citiraj Potpisao bih ovu recenziju nenadmasivog Eberta, najboljeg filmskog kriticara ikad

“Raging Bull” is not a film about boxing but about a man with paralyzing jealousy and sexual insecurity, for whom being punished in the ring serves as confession, penance and absolution. It is no accident that the screenplay never concerns itself with fight strategy. For Jake LaMotta, what happens during a fight is controlled not by tactics but by his fears and drives.

Consumed by rage after his wife, Vickie, unwisely describes one of his opponents as “good-looking,” he pounds the man's face into a pulp, and in the audience a Mafia boss leans over to his lieutenant and observes, “He ain't pretty no more.” After the punishment has been delivered, Jake (Robert De Niro) looks not at his opponent, but into the eyes of his wife (Cathy Moriarty), who gets the message.

Martin Scorsese's 1980 film was voted in three polls as the greatest film of the decade, but when he was making it, he seriously wondered if it would ever be released: “We felt like we were making it for ourselves.” Scorsese and De Niro had been reading the autobiography of Jake LaMotta, the middleweight champion whose duels with Sugar Ray Robinson were a legend in the 1940s and '50s. They asked Paul Schrader, who wrote “Taxi Driver,” to do a screenplay. The project languished while Scorsese and De Niro made the ambitious but unfocused musical “New York, New York,” and then languished some more as Scorsese's drug use led to a crisis. De Niro visited his friend in the hospital, threw the book on his bed, and said, “I think we should make this.” And the making of “Raging Bull,” with a screenplay further sculpted by Mardik Martin (“Mean Streets”), became therapy and rebirth for the filmmaker.

The movie won Oscars for De Niro and editor Thelma Schoonmaker, and also was nominated for best picture, director, sound, and supporting actor (Joe Pesci) and actress (Moriarty). It lost for best picture to “Ordinary People,” but time has rendered a different verdict.

For Scorsese, the life of LaMotta was like an illustration of a theme always present in his work, the inability of his characters to trust and relate with women. The engine that drives the LaMotta character in the film is not boxing, but a jealous obsession with his wife, Vickie, and a fear of sexuality. From the time he first sees her, as a girl of 15, LaMotta is mesmerized by the cool, distant blond goddess, who seems so much older than her age, and in many shots seems taller and even stronger than the boxer.

Although there is no direct evidence in the film that she has ever cheated on him, she is a woman who at 15 was already on friendly terms with mobsters, who knew the score, whose level gaze, directed at LaMotta during their first date, shows a woman completely confident as she waits for Jake to awkwardly make his moves. It is remarkable that Moriarty, herself 19, had the presence to so convincingly portray the later stages of a woman in a bad marriage.

Jake has an ambivalence toward women that Freud famously named the “Madonna-whore complex.” For LaMotta, women are unapproachable, virginal ideals--until they are sullied by physical contact (with him), after which they become suspect. During the film he tortures himself with fantasies that Vickie is cheating on him. Every word, every glance, is twisted by his scrutiny. He never catches her, but he beats her as if he had; his suspicion is proof of her guilt.

The closest relationship in the film is between Jake and his brother Joey (Joe Pesci). Pesci's casting was a stroke of luck; he had decided to give up acting, when he was asked to audition after De Niro saw him in a B movie. Pesci's performance is the counterpoint to De Niro's, and its equal; their verbal sparring has a kind of crazy music to it, as in the scene where Jake loses the drift of Joey's argument as he explains, “You lose, you win. You win, you win. Either way, you win.” And the scene where Jake adjusts the TV and accuses Joey of cheating with Vickie: “Maybe you don't know what you mean.” The dialogue reflects the Little Italy of Scorsese's childhood, as when Jake tells his first wife that overcooking the steak “defeats its own purpose.”

The fight scenes took Scorsese 10 weeks to shoot instead of the planned two. They use, in their way, as many special effects as a science fiction film. The soundtrack subtly combines crowd noise with animal cries, bird shrieks and the grating explosions of flashbulbs (actually panes of glass being smashed). We aren't consciously aware of all we're listening to, but we feel it.

The fights are broken down into dozens of shots, edited by Schoonmaker into duels consisting not of strategy, but simply of punishing blows. The camera is sometimes only inches from the fists; Scorsese broke the rules of boxing pictures by staying inside the ring, and by freely changing its shape and size to suit his needs--sometimes it's claustrophobic, sometimes unnaturally elongated.

The brutality of the fights is also new; LaMotta makes Rocky look tame. Blows are underlined by thudding impacts on the soundtrack, and Scorsese uses sponges concealed in the gloves and tiny tubes in the boxers' hair to deliver spurts and sprays of sweat and blood; this is the wettest of boxing pictures, drenched in the fluids of battle. One reason for filming in black and white was Scorsese's reluctance to show all that blood in a color picture.

The most effective visual strategy in the film is the use of slow motion to suggest a heightened awareness. Just as “Taxi Driver's” Travis Bickle saw the sidewalks of New York in slow motion, so LaMotta sees Vickie so intently that time seems to expand around her. Normal movement is shot at 24 frames a second; slow motion uses more frames per second, so that it takes longer for them to be projected; Scorsese uses subtle speeds such as 30 or 36 frames per second, and we internalize the device so that we feel the tension of narrowed eyes and mounting anger when Jake is triggered by paranoia over Vickie's behavior.

The film is bookmarked by scenes in which the older Jake LaMotta, balding and overweight, makes a living giving “readings,” running a nightclub, even emceeing at a Manhattan strip club. It was De Niro's idea to interrupt the filming while he put on weight for these scenes, in which his belly hangs over his belt. The closing passages include Jake's crisis of pure despair, in which he punches the walls of his Miami jail cell, crying out, “Why! Why! Why!”

Not long after, he pursues his brother down a New York street, to embrace him tenderly in a parking garage, in what passes for the character's redemption--that, and the extraordinary moment where he looks at himself in a dressing room mirror and recites from “On the Waterfront” (“I coulda been a contender”). It's not De Niro doing Brando, as is often mistakenly said, but De Niro doing LaMotta doing Brando doing Terry Malloy. De Niro could do a “better” Brando imitation, but what would be the point?

“Raging Bull” is the most painful and heartrending portrait of jealousy in the cinema--an “Othello” for our times. It's the best film I've seen about the low self-esteem, sexual inadequacy and fear that lead some men to abuse women. Boxing is the arena, not the subject. LaMotta was famous for refusing to be knocked down in the ring. There are scenes where he stands passively, his hands at his side, allowing himself to be hammered. We sense why he didn't go down. He hurt too much to allow the pain to stop.

Bas dok sam gledao posle Irishmana the conversation se vidi kod Pesija nevjerovatna zahvalnost De Niru i Skorsezeu sto su mu tada dali sansu, sto su ga kako i sam kaze izvukli iz blata. A koliko bi film samo bio siromasan bez Pesija

[Mr. Wolf]

The Departed je odlican rimejk, ali nije to taj nivo, pogotovo ne za Oskara. Medjutim, morali su da mu daju jer su ga preskocili bezobrazan broj puta. Inace mi to dosta smesna situacija bila, izlaze Kopola, Lukas i Spilberg sa kovertom, znalo se odmah kome ide Oskar

Ranging Bull, The Last Temptation of Christ, Goodfellas i coveku daju za The Departed. Najmanje dva Oskara je morao da dobije, najmanje.

[Vladan]

The movie won Oscars for De Niro and editor Thelma Schoonmaker, and also was nominated for best picture, director, sound, and supporting actor (Joe Pesci) and actress (Moriarty). It lost for best picture to “Ordinary People,” but time has rendered a different verdict.

Evo ovo sve govori, kao da je na kraju dana taj Oskar bitan, Raging Bull je klasik, a Ordinary People iako sjajan film nikad nece imati taj status. Ovo je maltene slucaj sa svim Martinovim filmovima do Departeda, covjek ima klasike, filmove koji ulaze u red najboljih svih vremena, a Oskara sto mu nisu dali za takve filmove je vec na obrazu akademije.

[Mr. Wolf]

Roger Ebert je od prvog filma hvalio Skorsezea, a u "Great Movie" kategoriji na njegovom sajtu su zavrsili - Mean Streets, Taxi Driver, Raging Bull, The Last Temptation of Christ, After Hours, The Age of Innocence i Goodfellas, plus jos nekoliko sa 4/4 zvezdice.

Neverovatno da je toliko kvalitetnih filmova covek snimio. Bas brutalno.

[Vladan]

Dje je Indigo da nam zada domaci da gledamo Skorsezeove filmove i dodjemo ovdje da komentarisemo

[Mr. Wolf]

Kad samo pomislim da ne bismo imali tonu njegovih filmova da De Niro nije uspeo da ga izvuce iz pakla droge.

EDIT:

Inace, zanimljiva prica

EDIT 2: Kad vec smaramo o Skorsezeu, ponovo radi sa Leom i to u sva tri naredna projekta (dva filma, jedna serija), a u Killers of the Flower Moon ce glumiti i De Niro, docekao da svoja dva omiljena coveka stavi u isti film

[bojanaBG]

Hapšenje u Bijeljini zbog piraterije - oštetio United Media za 450.000 evra

Prema nezvaničnim saznanjima, A. M. upravlja sajtovima andrija-i-andjelka.com, filmovitica.com, serijehaha.com, serije.co, filmovi.ws, praveserije.com i serijefilmovi.com.

[Mr. Wolf]

F.......

[Mr. Wolf]

[Arnel.S]

Parasite ne samo da je najbolji film godine, nego je i jedan od najboljih u ovoj deceniji.
Nestvaran posao Bonga.
Poslije bi isli: The Irishman, Pain and Glory, Marriage Story i Once Upon a Time… in Hollywood. Mada redoslijed i nije toliko bitan.

Driver i Phoenix maestaralni, ne zaostaju mnogo ni Banderas, De Niro i Song.
Scarlet je iskoristila mnogo prostora da pokaze talent, bas kao Joaquin i Adam.

[Sam Hornish Jr.]

jel to Tarantino najavio Kill Bill 3

[Vladan]

Odgledao Marriage Story i Jokera.

Oba mi se svidjaju, oba imaju pravi tempo i kroz oba dominiraju glumci, a ne prica.

Svi znaju koliko ja volim Betmena i Dzokera i cijeli taj svijet, iskreno bio sam skeptican sto se Dzokera tice, mislio sam nema trika da ce mi se svidjeti ali jeste, bas pozitivno iznenadjenje. Nije to Dzoker kakvog znamo, od Nikolsona preko Ledzera do Leta uz nenadmasivog Dzokera kroz Arkam igre ali Hoakin je dao liku nesto sasvim drugo, duboko ukorijenjeni problemi u glavi ali pokusaj da makar glumi normalnu osobu, naravno to nije u njegovoj prirodi i na kraju je isplivao totalni haos. Ipak svidjele su mi se jos neke stvari tu, cak i nagovijestaj da je Tomas Vejn njegov otac je zesci mindfuck i to ostavlja neke stvari otvorenim. Pritom taj kraj dje ipak Brusovi roditelji nisu random nastradali vec je to zbog cijelog pokreta koji je pokrenuo upravo Dzoker je isto jedan dobar zaokret. I najvise od svega mi se dopada sto je Dzoker zapravo simbol, ako uzmemo i najmanju mogucnost da su on Dzoker i Betmen braca imamo to da su dvije suste suprotnosti zapravo u jednom isti, simbol su, dobro i lose ali simbol. Brljantan je Hoakin, zna se koliko je on posvecen i koliko voli detalje i vidi se da se maksimalno dao, nesto drugacije ali samo njegovo i za mene bas iznenadjenje. Ipak ovakvo predstavljanje Dzokera, Tomasa Vejna i generalno Gotama nema sanse da ce se dopasti kriticarima.


Sto se tice Marriage Story briljiraju i Skarlet i Drajver, izuzetne role, pokazatelj koliko i najnormaliji ljudi idu daleko i koliko cijeli taj proces razvoda postane ruzan. Ipak kroz film nekako ti bude zao Drajvera, Skarlet ima taj bitch lik ali opet on je kriv makar 70% sto su dosli u tu situaciju. Na kraju kad ludilo prodje i kad dodje da vidi sina i doceka ga njen momak je uzasno teska scena, jedna od najnperijatnijih je kad dodje zena da vidi kako se ponasa sa sinom, ta njegova povreda ruke i pravljenje da je sve u redu i naravno prije toga biljke koje ce da ukrase njegov novi dom. Teska, tuzna i realna zivotna prica koju su na fantastican nacin njih dvoje predstavili.