lariana56

kosmogabri, I also like "A Man Called Horse" but I find the story a bit far-fetched. The white man, initially regarded as a "dog," eventually becomes the chief of the tribe. (If I remember correctly) A great example of a career man.

Muffi, according to Poletti, is "Gone with the Wind" the greatest western of all time.

I agree, with Contemplazione. For example, this and "Dances with Wolves," which are from the early 90s, said something new in the field of the western. "Unforgiven," from a stylistic point of view, gloomy, dark, fierce, addresses the theme of violence in a way that had never been done before. (As far as I know) "Dances with Wolves" is an epic film that embraces many themes. Some have said that it tells the story of the destruction of an entire people in a Manichean way, but I disagree. As far as historical knowledge goes, in my opinion, the Native Americans are represented by Costner as truthfully as possible. (You can't even tell the story of World War II without being biased) @azzo, keeping in mind that "Once Upon a Time in the West" is a milestone, primarily for its time and the soundtrack.

Yes, it's understandable, even for the English I know. Muffi, I went to the site you mentioned, and it's really the one, but after the slash of occston, you need to connect the nm to the slash. Hi Muffi and Contemplation.

Muffi, we were writing the comment together, let me check link rotto nm/notes/pjazz7-8intro.php

Contemplation, thank you. The fact that it’s written in English shouldn’t be an issue, if you can understand it... just kidding, don’t get me wrong.

Many years ago, I listened to them, and the impression was favorable, but I was deep into punk and didn’t pursue the conversation. I think I need to rediscover them. Contemplation, I note "Music Of Another Present Era" and "Distant Hills." What is the Penguin Guide? Can it be bought?

I imagine it's part of the series "The Last Screams of the Savanna" etc. What do they call them? Snuff movies, I think.

Occult Supersovereign, I keep Mario Bava in mind. I saw The House with Laughing Windows, and I didn't like it, just like various Etruscans, etc. I want to tell you what I like or not. I don't like crime shows where five minutes before the end, the inspector gives the murderer a pat on the shoulder and tells him he can confess now... since he knows it's him. I don't like quiz mysteries (In the manner of Agatha Christie), they lack suspense and are too intricate, not one has made cinema history. Now it's time for the films I would take to a desert island. Apocalypse Now, The Conversation, The Godfather, Nashville, America Today, Lenny, Cabaret, Kiss Me, Stupid, Days of Heaven, The Apartment, Interiors, Crimes and Misdemeanors, Play It Again, Sam, Gangster Story, Lolita, Full Metal Jacket, Dr. Strangelove, Taxi Driver, Casino, Raging Bull, Wittgenstein, A Short Film About Killing, Breathless, Blues Brothers, Blade Runner, Thelma & Louise, The Duellists, Schindler's List, Women on the Verge of a Nervous Breakdown, That Obscure Object of Desire, The Monsters, The Great Escape, Bicycle Thieves, Big Deal on Madonna Street, La Dolce Vita, Amarcord...
Now it's time for my favorite films of the 90s, but not only. Reservoir Dogs, The Protagonists, Murder in Broad Daylight (Both have a delightful ending), Trainspotting, Natural Born Killers, and Dick Tracy (Although the second time I watched them, I found the stylistic solution a bit hard to digest). Inseparables, Carrington, The Cement Garden, Leolo, Blue Film, Sweetie, The Piano, Portrait of a Lady, Secrets and Lies. Regarding credible westerns, I liked Dances with Wolves and The Compadres, but among all the others, I choose Red Shadows, Winchester '73, and Butch Cassidy. Now it's time for the thrillers that I like. First of all Psycho and most of Hitchcock's films, North by Northwest, Frenzy, Rear Window, Torn Curtain, and Dial M for Murder, an extraordinary example of how a story can keep the audience on the edge of their seats even though it was practically filmed in one room. (Like Rope) Elevator to the Gallows, In Cold Blood, The Lady from Shanghai, The Infernal Quinlan, Shining, The Black Widow, Christine, (I like the story more than the direction) Misery, (although the ending is contrived) The Postman Always Rings Twice, the beautiful L.A. Confidential. (Inextricable, but it's not necessary to understand the plot) Elevator to Hell, (also very intricate, but visually stunning)... and many others. We are europhiles in almost everything, and when we should be, there are those who drool over Argento, and I can't understand it. For example, in Deep Red the killer is an old lady, whom the director makes die in a gruesome way, it has no head or tail from a psychological point of view, and the plot doesn’t hold up.

Occult Supersovereign, you're right, I don't like horror, and I don't know Fulci, Mattei, Deodato, Lenzi, Martino, Massaccesi. Of the genre, I enjoyed The Omen, The Exorcist, because they are well made, also Don't Open That Door, which is inspired by a true event even if it seems impossible, but more than all of them, The Shining, which doesn't show bloody scenes but gives chills because it's cerebral. Now I'm going out; tonight I'll check to see if you've replied.