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What Is The Last Film You Watched? (Older Films)


Mr. Breathmask

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Since Holkenborg named him as an inspiration in interviews about the score, you are hardly coming up with anything new Alex.

I knew it!

Millerite? I've never seen any of his films before this one

So?

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I've never seen The Witches of Eastwick.

George Miller did not direct Babe. He directed the sequel. I did see both of those films, on netflix years after they were out, I forgot.

And I forgot that I did see Happy Feet, in the theater, on a date. Completely un-memmorable film, other than it had Robin Williams as some kind of goofy Spanish penguin and like 3 other penguins too

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I watched Cast Away a few weeks ago. What a simple, effective film. I feel like I could easily watch it again already.

It loses a lot of steam when Hanks returns to mainland, though.

I don't think so. Hanks totally nailed the character, before, during and after his adventure. His solitude came across when he was again amongst his loved ones, even his previous relationship which had been broken beyond repair, was more incentive for him to start again, fresh, with a new outlook on life. He knew life had passed him by, and the only way for him was to change gears, set new goals. The strongest shot comes at the end when he's at the crossroads deciding which path in life he wants to continue on. Zemeckis always makes the symbolism to the point and clear in his films.

I agree that the return to civilization is good. It's my favorite part!

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Didn't Cast Away have a ton of deleted scenes that Zemeckis never put on DVD/blu? He should release them.

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I noticed Snowpiercer's score in the film in a positive way, but when I tried to listen to the album I lost interest.

For Mad Max 4, I heard nothing in the film that made me want to listen to it on its own at all. But it was fine in the film.

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I don't know about Herrmann, but the storm sequence sounded a lot like Wagner, particularly the horns -or at least like when Hansy channel Wagner, which he does very well.

Also I wish Verdi's Dies Irae would have been used more! When it started playing, I was smiling from ear to ear, but after 10 seconds, they faded it out....

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Also I wish Verdi's Dies Irae would have been used more! When it started playing, I was smiling from ear to ear, but after 10 seconds, they faded it out....

It also seemed to be mixed way too low in general. Compared to the rest of the soundtrack it needed to be front and center.

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Fedora (1978): Billy Wilder penultimate film Fedora seems at the same an homage to the genre of film noir and a stab at the whole film industry and star and appearance driven business of Hollywood. Wilder is once again teamed up with William Holden, the star of his classic Sunset Boulevard, and again the actor plays a down on his luck character. Not a screen writer here but a seasoned producer whose final chance to success hangs upon the famed yet reclusive film star Fedora making a comeback after years of silence and accepting the leading role in his new adaptation of Anna Karenina or as it is named with delicious irony in the movie "The Snows of Yesteryear".

As with many noirs this movie begins with a death. The rest of the movie follows in lengthy flashbacks as Holden's desperate film producer character Dutch tries to gain admittance to the Korfu villa of the mysterious Fedora, mostly without much success. Like in a good film noir clues continue to pile, we meet a cast of highly eccentric side characters like the angry hoarsely whispering countess Sobryanski played by Hildegard Knef and the suspicious doctor to the stars Vando (José Ferrer) that form the court of Fedora on her lonely island villa. There is a breezy feel to this "who-dunnit" or "who-will it-be" and there is great noirish biting humour and comedic relief to lighten up the mood although in the end the movie deals with very serious matters. Like with Hitchcock the mystery is only half of the story and the final revelations after Dutch's initial encounters with Fedora and her subsequent disappearance might not come as a huge shock to anyone with even rudimentary experience of detective stories but seeing the whole extent of the tragedy unfold brings a macabre quality (not unlike Sunset Boulevard) to it all as Wilder then holds up the mirror to the Hollywood society, the eternal worship of youth, public image and stardom and the grotesque lengths it has been taken in this case.

William Holden has in his later years that age worn charisma that suits perfectly the character of Dutch, a Hollywood creature that is highly aware of the nature of their business but somehow struggles to get by in that climate and retains some sense of decency even in his own tight spot. After initial desperate sell of his script he becomes more involved with the mystery and apparent plight of Fedora and Holden plays it all mostly with understatement, wit and heart. He slowly turns from a travelling salesman with a nice compliment and perfect sales pitch to a concerned hero. Marthe Keller is alluring, tortured and ever contradictory as Fedora, a perfect balance of a self worshipping star and damsel in distress. Wilder even reels in two unlikely cameos, Michael York and of all people Henry Fonda, who appears as himself and whose brief appearance is a nice wink and a nod to the audiences but again has the slight air of irony considering the circumstances.

The film has an old fashioned feel to it even though it is set in the 1970s that is only reinforced by Miklós Rózsa's score that seems to echo from the 1950s part film noir part romatic melodrama but it is surprisingly muted music from the maestro, perhaps toned down for the times. One could say that Rózsa as a frequent Wilder collaborator was ideal but it is really his romantic somewhat idiosyncratic and anachronistic musical voice that adds a slightly off-kilter, dream-like quality to this story where real and imagined entwine and people seem to live in the memories of greatness of the yesteryear. There is a grand love theme, which portrays Fedora and most of all the alluring effect the seemingly unaging star has on her fans and the brief burts of action contain some classic fervent Rózsa but all in all it feels like mixture and retread of old moods and moments from the composer but at the same time it is highly appropriate as the things we are seeing have been seen before in so many guises.

The film is not all that subtle with its message, a curiously shouty jab at the film industry from Wilder but at the same time a psychological portrait of people obsessed with fame and the tragedy of that. By no means a classic, a paler cousin to Sunset Boulevard, but still a rather interesting and entertaining portrait of Hollywood's often tragic realities that lurk behind the facades.

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Quite right. I always mix those two. Name corrected.

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Oh no chance of mixing the two on their appearance or performance. Just the names.

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I love Bill Holden in this movie. Actually i love him in most movies. If i were a man, i'd like to be like him...even dying by falling drunk over some furniture seems an option. ;)

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I love Bill Holden in this movie. Actually i love him in most movies. If i were a man, i'd like to be like him...even dying by falling drunk over some furniture seems an option. ;)

I agree, he's very ... manly. Who would not love to be him?

And he was with Audrey Hepburn. Not a bad life at all

A bit bony and no bosom.

Alex - who didn't know Pubs is a woman

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Currently watching Star Trek Generations. Basically keeping track of when everyone switches from their TV uniform to the DS9/movie style.

And the alien bounty hunter from The X-Files is a Klingon bridge officer, for some reason.

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It's basically a bloated TV movie, and a bad one at that, but a guilty pleasure.

Hepburn never did it for me. Not sensual enough. In fact, she's quite asexual.

That's what does it for me.

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