i had never seen The Mack, maybe because i hadn't seen that poster before, maybe because it hadn't played as a double-feature with Taxi Driver before.
there are two cinematic shots between Travis Bickle and black people in Taxi Driver: one inside the cafe at a table, one on the sidewalk in passing. these shots are poetic expressions of a mindset that isn't discussed in this movie. evidence for the function of these shots is provided by their form. which is totally true about all of Taxi Driver, which movie i adore as much as i can adore movies.
those two shots are explained in The Mack. the thematic cohesion between these movies is such a QT touch. The Mack is a wonderful blending of both movie and social culture:
Pimp: "Hey, I don't hafta take this! I'm a rich nigga! I thought you paid these pooh-butts off! You beat walkin' motherfuckers!"
^when someone lays it down. i like a line like this because it adds to the exposition without talking to the audience. that's clearly a pimp talking to a cop for private reasons.
there's an even better conversational exchange with dynamic living textures, but it's not in the imdb quotes section. The Mack is vibrant in all sorts of ways, related to money and power, life and narrative, and i'm both glad i saw it and how i did.
i skipped Darling Lili and Fraulein Doktor to come home and write, so now i'll probably never see those movies. damn.
i barely knew anything about When Women Had Tails // When Women Lost Their Tails before i went in.
but, while standing outside before the movie, my friend mentioned to me that it's set around cavemen and Italian. literally hadn't read anything about this movie, i'd been imagining an American western.
there are pros and cons to learning about a movie before you see it, in my opinion. related to life being about discovery or understanding. but so, Italian comedies are outrageous, you know, and for example i'm not today a fan of My Name Is Nobody, but i am a fan of Four Times that Night, so it depends. i busted out my phone and went to imdb to look into things, upon hearing it's Italian.
its record was clean, real clean. the director of both movies, '70 and '72, was Pasquale Festa Campanile, who was one of the writers for The Leopard and Rocco and His Brothers. both which movies had multiple writers and all crew members have a long track record. the dp for Had Tails shot Four Flies on Grey Velvet and Il Postino. the dp for Lost Tails started his career around Aldrich's Sodom and Gomorrah, worked with Corbucci for Navajo Joe and The Great Silence, has 80 titles in his credits. one of the writers for Had Tails is Lina Wertmüller, who was the first woman nominated for best director at the Oscars. later Ennio Morricone's name will appear in both opening credits.
both the movies were dubbed, which was helpful in this case. the Italians. pfwew. multitudinous is actually greatly expressed in their comedic style. you have to be prepared to accept that absolutely anything might be funny. both Tails made me laugh while reflecting upon death. but through their comedy they each operated aware of tragedy. except on top of that in Lost Tails a guy's personal physical problem is he ends up existing as only his head.
it'd take me two, three paragraphs to describe everything about Tails. i'll give a personal summary instead. for Lost Tails other friends had arrived. five of us sat in the front row and experienced Italian prehistoric comedy with open eyes and open hearts, afterward discussing the surprising and unexpected ways the movie made us feel and think. i'll remember the night and the movies until i die, trashculturemutantjunkie from the inside.