supersoul

I don't think there’s anything unusual about the choice because this is one of the cornerstone records of alt country, revered for about thirty years, and dear Melisso, a five is a must here. Giving it a four diminishes it greatly; Allen goes beyond the clichés of country music to tell stories that, as he says, always happen in the same hole of the universe.

@bjorky, do you see that you always bring chaos to my reviews? Anyway, Ferribotte (Tiberio Murgia) was right in "Audace colpo dei soliti ignoti": take a cooking woman for a wife, take an exuberant woman for a lover.

Fortunately, I saw both of them and you are absolutely right; Hellman made two permeated by this atmosphere, the other was "Le colline blu," but "La sparatoria" with the woman caught between the two comes very close to "La notte dell'agguato." As for "Pursued" by Walsh, which I have mentioned several times in other comments, we are dealing with a masterpiece beyond genre and time.

Far from wanting to make an intervention as a "professor," I find it important to discuss, and I would address Gummo's statement about where the taste for the paradox is that the Coen brothers had accustomed us to. The paradox is that this is a film specifically drawn from Cain-like atmospheres and the noir derived from them, BUT WITHOUT the passionate drives that characterize them. The barber is an "asexual" character who doesn't act for a woman, and in my opinion, this is the paradoxical key to interpreting the film.

For once we agree, Poletti, but unlike you, I don't express my opinion in the face of those who give this film a 5.

Yes, he’s friends with the Coen brothers, the screenplay for Mister hula Hoop (if I remember correctly) is his. Quick, quick Alessio Iride, I’m re-listening to Eric's Trip and their Love Tara from 1993 for Sub Pop, not bad this lo-fi for a grunge label...

For me, Pakula is the one of the triad Klute-Parallax View-All the President's Men, then he loses all interest. The Prisoner of Fear by Mulligan is a great psychological film (like, after all, To Kill a Mockingbird, but more classical and less personal) by Mulligan, of which I remember a great western like "The Night of the Following."

The "review" is beautiful, heartfelt, and personal, but I wonder what the hell the Coen brothers were thinking when they made this film. Were they trying to show us how good they are at directing actors or their technical virtuosity? It's a mimicry of classic noir (which had the virtue of being concise in 90 minutes) when we already have "Double Indemnity" (or another hundred) in black and white to enjoy. They were great with Blood Simple, which revisited noir in a modern key with all those silences, and also with "Miller's Crossing," which is a great film filled with chatter, shot with irony and macabre symbolism as if they were Sam Raimi (and even there, a great Polito plays the caricature of the Italian mobster). You might say, but there's the great story of a man who wasn't there. But that story had already been told by Billy Wilder, John Huston, Hitchcock, Howard Hawks, Kubrick, Siegel, Siodmak. Paraphrasing someone, I’d say that the Coen brothers’ postmodern masturbation didn’t convince me this time.

...or "The incredible montage"

If, as usual, the link doesn't work, type the magic words Parallax View on YouTube, selecting the testing sequence.