supersoul

As far as I remember, Steve Sylvester's departure was due to the kick in the ass that Paul Chain (who is a great guitarist) gave him because he was fed up with his egomania, especially since when the famous Rockerilla compilation, "Gathered," was released, the track included from Death SS, entirely composed by Paul Chain, bore Silvestri's name!

Wow, I saw it late, the Kaleidoscope!!! my favorite bunch of crazies, Feldthouse was called "the Turk" for all the eastern instruments he played, and Criil changed his name with every album, I used his Maxvell Buda in some nick. Anyway, I like the album from the following year better: Incredible, with Darrow who left for the Nitty Gritty Dirt Band. Good job Tollani for the comparison with the Camper even though "going beyond" is much easier 20 years later.

I saw Carax's "Les Amants du Pont-Neuf" when it came out, which was a bit redundant but very beautiful; I should watch it again, I don't know if I would still have the same benevolent judgment from back then. Anyway, trust me on "The Three Burials," it's raw and dry with a blues undertone, showing things that master CLINT WOULD NEVER ALLOW TO BE SEEN IN HIS MODESTY.

it's really him, Odradek, we will see him again in the Coen Brothers' film in the role of wise Sheriff Bell searching for Moss with the suitcase full of money along the border between Texas and Mexico. I’ll bet my life on his performance but not on the Coen movie; I saw in a US trailer how they’ve made the poor Bardem look with a ridiculous wig like Roy Orbison's, and he’s supposed to play the ruthless killer Chirurgh... just imagine: may God send us (possibly) a good one.

.... or yours! ahahaha!!!

A real bastard doesn’t lecture the kid by quoting that line from the movie; just like Munny, Eastwood has aged, and old age brings wisdom. (Re)Watch Unforgiven (1992) and you’ll notice the difference.

Blacchedogghe, I think your surrealist reviews are more beautiful; here you’ve been infected by poletti and his clichés. Eastwood has become great with the camera; this film is beautiful "beyond" the story, splendid in its colors and lights when the moment is calm, and dark and gloomy when things go awry, when violence comes into play. And even Munny isn't the villain you claim at the end; he's just a shade of gray. The real villain was "The Man with No Name" in Clint's first western as a young director, and in Unforgiven, he has reached the point of quoting himself. Even there, in the final scene, he razes the town that lynched his brother years earlier, erasing the name on the sign at the entrance of the town and writing "hell"!!! Once again, it's about return, hatred, revenge, memory (of the western genre).

Blackdog, I tell you that if you've touched that stunning dry shot from Unforgiven with the same personal-futuristic-fantastic tone of Rusty and Zombies, I'll tell you in national preview that I won't read your review a priori (from Anzio), my stomach couldn't take it.

...good to know.

...I meant the GONG from Shamal onwards... they will be incomparable, but if there's a preference to be made, I definitely prefer the psychedelic phase of Allen.