John Ford, The Searchers, ending scene
http://www.youtube.com/watch?v=woahas_W35A
Ίσως το πιό όμορφο τέλος στην ιστορία του σινεμά.
http://www.youtube.com/watch?v=woahas_W35A
Ίσως το πιό όμορφο τέλος στην ιστορία του σινεμά.
Great Movie Directors, Thanks For The Memories
- Thread starter Κωστας Λυμπεροπουλος
- Start date
- 17 June 2006
- 14,350
Le Colonel Chabert (1994)
Η μεγάλη έφοδος των θωρακοφόρων του Μurat και του Saint-Hilaire στη μάχη του Eylau (1807).
Θεωρείται ίσως η μεγαλύτερη έφοδος του ιππικού στην ιστορία.
το ποδοβολητό των αλόγων από το 0:46 και μετά αξίζει να το ακούσετε Δυνατά.
Η μεγάλη έφοδος των θωρακοφόρων του Μurat και του Saint-Hilaire στη μάχη του Eylau (1807).
Θεωρείται ίσως η μεγαλύτερη έφοδος του ιππικού στην ιστορία.
το ποδοβολητό των αλόγων από το 0:46 και μετά αξίζει να το ακούσετε Δυνατά.
όντως πολύ όμορφη σκηνή και μεγάλη έκπληξη η μουσική υπόκρουση (Beethoven, σονάτα Hammerklavier και όχι κάποια πομπώδης ορχηστρική μουσική) που υποβάλλει τη μελαγχολία της σκηνής και όχι το "μεγαλειώδες" της επέλασης.
Stellios papa
AVClub Fanatic
Απάντηση: Re: Great Movie Directors, Thanks For The Memories
μου θυμισε τελος αλλα ...lucky luke
μου θυμισε τελος αλλα ...lucky luke
Γράψτε λάθος, είναι το β' μέρος απο τη σονάτα D.959 του Schubert και όχι Beethoven.:stupido2:
Re: Απάντηση: Re: Great Movie Directors, Thanks For The Memories
Είναι επόμενο, ο Lucky Luke αντιγράφει τα κλασσικά γουέστερν και όχι ...nouvelle vague.
Είναι επόμενο, ο Lucky Luke αντιγράφει τα κλασσικά γουέστερν και όχι ...nouvelle vague.
- 17 June 2006
- 14,350
Last edited by a moderator:
- 17 June 2006
- 14,350
Andrey Tarkovsky: H Θυσία
"...What is most dinstictive about our still from the film? I suggest this: the absence of spectacle, of show business.
What could be more limpid and serene and unrhetorical than the image which it purports to describe, one of several such in the film, the image of an infant (neither a Hollywodd cuttie nor a glum, unprepossesing, Bergmanesque brat) craning up at the branches of a tree (which itself is uncinematically puny) against the background of a shimmering (but not dazzlingly shimmering) lake and a skyscape of placid (un-baroque, resolutely unapocalyptic) clouds? The notion of a contemporary Hollywood filmmaker being drawn to the same story as that of The Sacrifice - an intellectual, convinced that a nuclear holocaust is about to destroy the planet, swears to God that he will sacrifice everything he is and has, himself, his family, even the little son we see in this still, if only it needn't be so - is unlikely but not unconceivable. He could not for an instant, however, have found a visual style so mysteriously simple and beautiful in which to relate it. The clouds would be rhetorically inflated by time-lapse cinematography, the lake would be straight out of National Geographic magazine, the tree would be a giant redwood, the infant Macauley Culkin. There is show business, and then there is cinema."
Gilbert Adair: Flickers - An Illustrated Celebration of 100 Years of Cinema, Faber & Faber, London, 1995
"...What is most dinstictive about our still from the film? I suggest this: the absence of spectacle, of show business.
What could be more limpid and serene and unrhetorical than the image which it purports to describe, one of several such in the film, the image of an infant (neither a Hollywodd cuttie nor a glum, unprepossesing, Bergmanesque brat) craning up at the branches of a tree (which itself is uncinematically puny) against the background of a shimmering (but not dazzlingly shimmering) lake and a skyscape of placid (un-baroque, resolutely unapocalyptic) clouds? The notion of a contemporary Hollywood filmmaker being drawn to the same story as that of The Sacrifice - an intellectual, convinced that a nuclear holocaust is about to destroy the planet, swears to God that he will sacrifice everything he is and has, himself, his family, even the little son we see in this still, if only it needn't be so - is unlikely but not unconceivable. He could not for an instant, however, have found a visual style so mysteriously simple and beautiful in which to relate it. The clouds would be rhetorically inflated by time-lapse cinematography, the lake would be straight out of National Geographic magazine, the tree would be a giant redwood, the infant Macauley Culkin. There is show business, and then there is cinema."
Gilbert Adair: Flickers - An Illustrated Celebration of 100 Years of Cinema, Faber & Faber, London, 1995