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@iside let’s not always disturb the father of green, I’ll tell you where your quote comes from, it’s the prophecy of the old “Eyes of Fire” from the Cree tribe that lived in the Canadian forests, by the way, the singer-songwriter Buffy Sainte-Marie is Cree.
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oh only now I realize you were asking nofake... well, it doesn’t matter
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In the former Yugoslavia, in fact, my favorite is "Uloga moje periodice u svetskoj revoluciji" by Bata Cengic.
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Well dear lovers of the original title, don't use it just for English but also when reviewing Polish films like "Noz w Wodzie" by Polanski or Czech ones like "Lásky jedné plavovlávsky" by Forman and "Skrivanci na nitích" by Jiri Menzel, or perhaps "Otac na sluzbenom putu" by Kusturica....
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I can't understand what your difficulty is in including both titles; I recently did it with Vanishing Point (Punto Zero). There are people here who have been following cinema not for two or three years but since the time of Berlinguer, and they are used to Corvo rosso non avrai il mio scalpo (Jeremiah Johnson), a squillo per l'ispettore Klute (Klute), Zozza Mary pazzo Gary, la calda notte dell'ispettore Tibbs, etc.
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@bjork, I thought it was understood that we were talking about the twilight of the western not in the sense of film production but as the end of the legendary epic and the beginning of a critical phase in which the Indians are not necessarily the villains, the hero is no longer a superman, and the legend no longer surpasses (my dear Poletti) reality.
@green, clearly I'm talking about Notte senza fine.
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@green, that is a timeless movie; it’s a peculiar western, because it could be a Greek tragedy, the first introspective investigative western, a Freudian analysis featuring a great Robert Mitchum.
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look for "Forced to Kill" by Tom Gries 1968, featuring, in my opinion, a remarkable cast: Charlton Heston, Donald Pleasence, Ben Johnson, Lee Majors, Slim Pickens, Anthony Zerbe. The twilight of the western is all here.
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Since in '93 I was already capable of understanding and willing, and since I bought this record with my own money, I was disappointed because I already had the previous Gish and thought that the Smashing with songs like "Siva" and "I am the one" could be the novelty of the new American rock made of wild innocence and energetically outside of genres. But Corgan wanted to break through at any cost, even if it meant breaking the band apart in case of failure, and so they spent months and months in the studio under Butch Vig to achieve a sound that appeared wild but was actually meticulously crafted. So now the good Corgan can enjoy life on par with Paris Hilton, and if the bank account drops... well, here comes the reunion.
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Green, ask Dad for his opinion on "Notte senza fine" (Pursued) by Raoul Walsh (1947), I would be interested to hear from an expert in western films.