Buffalo 66

Started by children with angels, March 05, 2003, 07:19:44 PM

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godardian

#15
May 19, 2003, 11:55:57 AM
I really loved the film. I'm able to separate Gallo the person from his character; in fact, he seems the type of person who may only be able to show any vulnerability at all through a character like this.

The scene I always remember is the tap-dancing scene. Just interrupt everything for this one tender, transcendent moment. That was wonderful. I didn't feel that way again until the "Wise Up" sequence in Magnolia. It's not self-indulgence, it's audience-indulgence, to give us beautiful little unexpected things like that.
""Money doesn't come into it. It never has. I do what I do because it's all that I am." - Morrissey

"Lacan stressed more and more in his work the power and organizing principle of the symbolic, understood as the networks, social, cultural, and linguistic, into which a child is born. These precede the birth of a child, which is why Lacan can say that language is there from before the actual moment of birth. It is there in the social structures which are at play in the family and, of course, in the ideals, goals, and histories of the parents. This world of language can hardly be grasped by the newborn and yet it will act on the whole of the child's existence."

Stay informed on protecting your freedom of speech and civil rights.

children with angels

#16
May 22, 2003, 11:53:24 AM
I felt exactly the same way the first time I saw the film: the tap dancing scene was the moment that just sealed the film to forever be in my top movies of all time - it absolutely blew me away... That plus the Ben Gazzara song. Those moments where you just leave the reality of the movie momentarily and are just transported are invariably my favourites: the Wise-up scene in Magnolia, the end of 8 1/2 (well, a lot of 8 1/2 actually)...

I totally agree: these are audience indulgent moments, often mis-interpreted as self-indulgent ones. Although it all depends on whether you feel indulged or not, I guess. I do.
"Should I bring my own chains?"
"We always do..."

http://www.alternatetakes.co.uk/
http://thelesserfeat.blogspot.com/

Subotai

#17
June 07, 2003, 10:48:32 PM
I love this movie. Just lok at my scrren name.

SHAFTR

#18
June 07, 2003, 11:40:49 PM
I haven't seen it...I'll get right on it.
"Talking shit about a pretty sunset
Blanketing opinions that i'll probably regret soon"

bonanzataz

#19
June 07, 2003, 11:43:47 PM
Quote from: BILLYBROWNI love this movie. Just lok at my scrren name.

do you want a plaque or a medal?


hehe, i'm just kidding, it's all in good fun. welcome to the boards.
The corpses all hang headless and limp bodies with no surprises and the blood drains down like devil's rain we'll bathe tonight I want your skulls I need your skulls I want your skulls I need your skulls Demon I am and face I peel to see your skin turned inside out, 'cause gotta have you on my wall gotta have you on my wall, 'cause I want your skulls I need your skulls I want your skulls I need your skulls collect the heads of little girls and put 'em on my wall hack the heads off little girls and put 'em on my wall I want your skulls I need your skulls I want your skulls I need your skulls

modage

#20
June 07, 2003, 11:44:47 PM
Quote from: BILLYBROWNI love this movie. Just lok at my scrren name.

:roll: *(looking)
Christopher Nolan's directive was clear to everyone in the cast and crew: Use CGI only as a last resort.

ono

#21
June 08, 2003, 12:51:59 AM
I too thought the tapdancing was perfect, cinematic bliss before reading anything here.  It's one of those transcending moments, and I thought of Magnolia and Punch-Drunk Love immediately, because that's the kind of thing it is.  Amelie is full of 'em, too.  And that's one of the things that makes the film great.

It does have its weaknesses, though.  Throwing Gallo's unsavory personality aside, the film itself has an unbelievable premise.  Ricci's character falls for Brown in a manner that while it may be possible and explainable in real life, it doesn't really make sense in the movie.  We don't know anything about Ricci's character, either.  And that outfit, with her breasts almost ready to pop out for the entire movie, well, that transcends the picture in a bad way, especially considering Gallo's comments about wanting to "work" with Ricci ever since he saw the Adam's Family.  Along with that, there's the issue of Gallo's change.  I think of the change Michael Corleone had in The Godfather, for some reason, because some say it came out of nowhere.  Arguments can be made both ways.  There are some subtleties, but I would have liked more depth to their relationship, more depth to his psychology, and more to his change.

Bad movies, as Siskel once said, are never too short.  Good ones are never too long.

godardian

#22
June 08, 2003, 01:24:48 AM
Quote from: OnomatopoeiaI too thought the tapdancing was perfect, cinematic bliss before reading anything here.  It's one of those transcending moments, and I thought of Magnolia and Punch-Drunk Love immediately, because that's the kind of thing it is.  Amelie is full of 'em, too.  And that's one of the things that makes the film great.

It does have its weaknesses, though.  Throwing Gallo's unsavory personality aside, the film itself has an unbelievable premise.  Ricci's character falls for Brown in a manner that while it may be possible and explainable in real life, it doesn't really make sense in the movie.  We don't know anything about Ricci's character, either.  And that outfit, with her breasts almost ready to pop out for the entire movie, well, that transcends the picture in a bad way, especially considering Gallo's comments about wanting to "work" with Ricci ever since he saw the Adam's Family.  Along with that, there's the issue of Gallo's change.  I think of the change Michael Corleone had in The Godfather, for some reason, because some say it came out of nowhere.  Arguments can be made both ways.  There are some subtleties, but I would have liked more depth to their relationship, more depth to his psychology, and more to his change.

Bad movies, as Siskel once said, are never too short.  Good ones are never too long.

I'm of the opinion that a movie needn't follow the "real," "psychological" expectations set by the 19th-century novel to be great. Anti-psychological has been just as powerful an impulse across the arts for much of the twentieth century (and beyond). Take the novel, for example: Even though they're doing virtually opposite things, a Robbe-Grillet can be as great as a Dostoyevsky. And though I would never claim that Vincent Gallo could be put in the same category as a Hitchock, I would say that the Bunuels, Antonionis, and Godards of the film world had just as much to offer, despite their artistic disdain for psychology.
""Money doesn't come into it. It never has. I do what I do because it's all that I am." - Morrissey

"Lacan stressed more and more in his work the power and organizing principle of the symbolic, understood as the networks, social, cultural, and linguistic, into which a child is born. These precede the birth of a child, which is why Lacan can say that language is there from before the actual moment of birth. It is there in the social structures which are at play in the family and, of course, in the ideals, goals, and histories of the parents. This world of language can hardly be grasped by the newborn and yet it will act on the whole of the child's existence."

Stay informed on protecting your freedom of speech and civil rights.

children with angels

#23
June 08, 2003, 04:49:51 AM
Oh yeah - I can never relate when people say that a minus point for the movie is the fact that it's unrealistic: that's what I love the absolute most about it...! Gallo has absolutely no right to have a girl fall in love with him - let alone a beautiful young girl whom he has just kidnapped: it is completely and utterly ridiculous! And that, for me, is the beauty of the movie. It's like the ultimate male fantasy: you can be as much of an asshole as you like and you're still going to have some amazing girl fall in love with you. It's a beautiful lie...
"Should I bring my own chains?"
"We always do..."

http://www.alternatetakes.co.uk/
http://thelesserfeat.blogspot.com/

SoNowThen

#24
June 08, 2003, 09:41:18 PM
I find I can be just like Gallo in the first 2/3 of the movie, most of the time. Y'know, the whole hating everyone, not trusting anyone, freaking out constantly, and most of all what he says to Ricci in the diner, that girls "stink", because they're liers, and backstabbers, etc.

And then I'll fall for a new chick, and be such a happy-dazed asshole with a shit eating grin on my face, wanting to buy strangers heart cookies in donut shops, like Gallo at the end of the movie.

I love Buffalo 66.
Those who say that the totalitarian state of the Soviet Union was not "real" Marxism also cannot admit that one simple feature of Marxism makes totalitarianism necessary:  the rejection of civil society. Since civil society is the sphere of private activity, its abolition and replacement by political society means that nothing private remains. That is already the essence of totalitarianism; and the moralistic practice of the trendy Left, which regards everything as political and sometimes reveals its hostility to free speech, does nothing to contradict this implication.

When those who hated capital and consumption (and Jews) in the 20th century murdered some hundred million people, and the poster children for the struggle against international capitalism and America are now fanatical Islamic terrorists, this puts recent enthusiasts in an awkward position. Most of them are too dense and shameless to appreciate it, and far too many are taken in by the moralistic and paternalistic rhetoric of the Left.

edison

#25
June 08, 2003, 09:48:36 PM
What a great film, totally surprised me when i first saw it in the theater. love the look most of all.

"I drive cars that shift themselves"

That whole scene had me rolling. It's like what the fuck?, hes complaining about her car?, pretty out there, which is why i love it, totally unexpected.

looking forward to Brown Bunny, even though ive heard bad things about it but oh well.

EL__SCORCHO

#26
June 09, 2003, 07:26:15 PM
I saw this film when it just came out on video and I thought it was ok. Nothing amazing. I've never wanted to see it again , but people here keep bringing it up, so maybe I'll have to revisit this thing and see if i was right the first time.

modage

#27
June 09, 2003, 08:15:41 PM
Quote from: EL__SCORCHOI saw this film when it just came out on video and I thought it was ok. Nothing amazing. I've never wanted to see it again , but people here keep bringing it up, so maybe I'll have to revisit this thing and see if i was right the first time.

ditto. exactly.  saw it when it came out, thought nothing of it, but all this goddamned hype on here makes me so curious to see it again.  although admittedly my tastes have changed a bit from that many years ago, usually my first impressions end up being right, (even after a re-viewing many years later).
Christopher Nolan's directive was clear to everyone in the cast and crew: Use CGI only as a last resort.

bonanzataz

#28
June 20, 2003, 04:01:43 PM
i didn't like this movie... at all. i just rented and was bored most of the way through. vincent gallo pissed the shit out of me and without seeing Brown Bunny I knew exactly what the critics must be complaining about. the only parts worth any notice were the tapdancing scene, angelica huston's performance (really, has she ever given a bad performance?), and the end. and i don't mean the end in a sarcastic way like thank god it's over. the end of the movie made me feel happy, like, i'm so glad that they're in love and it's oh so happy and the credits roll and i'm like, aw, how sweet. then i remembered the hour and a half that preceded it all and i'm like, no, that's shit. it was too long, too boring, and i hardly gave a shit about any of the characters. it was an interesting character study to an extent, but god, what an annoying character. i wouldn't be able to sit through it again.

i liked the look of it though. they shot it on some cool film stock.
The corpses all hang headless and limp bodies with no surprises and the blood drains down like devil's rain we'll bathe tonight I want your skulls I need your skulls I want your skulls I need your skulls Demon I am and face I peel to see your skin turned inside out, 'cause gotta have you on my wall gotta have you on my wall, 'cause I want your skulls I need your skulls I want your skulls I need your skulls collect the heads of little girls and put 'em on my wall hack the heads off little girls and put 'em on my wall I want your skulls I need your skulls I want your skulls I need your skulls

Duck Sauce

#29
June 21, 2003, 01:38:44 AM
Quote from: bonanzataz
i liked the look of it though. they shot it on some cool film stock.

whats that?
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