Cinema Paradiso - Film Buffs Will Love This Movie

This is the perfect film to add to your Saturday Netflix queue, if you are an absolute die-hard lover of films. It's bittersweet and beautiful. Winning the Academy Award for Best Foreign Film in 1989, the film is often credited with reviving Italy's film industry, which later produced Mediterraneo  and Life Is Beautiful.

Review by Roger Ebert

There is a village priest in Cinema Paradiso  who is the local cinema's most faithful client. He turns up every week like clockwork, to censor the films. As the old projectionist shows the movies to his audience of one, the priest sits with his hand poised over a bell, the kind that altar boys use.

At every sign of carnal excess - which to the priest means a kiss - the bell rings, the movie stops and the projectionist snips the offending footage out of the film. Up in the projection booth, tossed in a corner, the lifeless strips of celluloid pile up into an anthology of osculation, an anthology that no one will ever see, not in this village, anyway.

Giuseppe Tornatore's Cinema Paradiso, which is one of this year's Oscar nominees for best foreign language film, takes place in Sicily in the final years before television. It has two chief characters: old Alfredo (Philippe Noiret), who rules the projection booth, and young Salvatore (Salvatore Cascio), who makes the booth his home away from an indifferent home.

As the patrons line up faithfully, night after night, for their diet of films without kisses, the boy watches in wonder as Alfredo wrestles with the balky machine that throws the dream-images on the screen. At first Alfredo tries to chase Salvatore away, but eventually he accepts his presence in the booth and thinks of him almost as his child. Salvatore certainly considers the old man his father, and (this is the whole point) the movies as his mother.

I wonder if a theater has ever existed that showed such a variety of films as the Cinema Paradiso does in this movie. Tornatore tells us in an autobiographical note that the theater in his hometown, when he was growing up, showed everything from Kurosawa to the Hercules movies, and in Cinema Paradiso we catch glimpses of Charlie Chaplin, John Wayne and of course countless Hollywood melodramas in which men and women look smolderingly at one another, come closer, seem about to kiss, and then (with the jerk of a jump-cut) are standing apart, exchanging a look of deep significance.

We become familiar with some of the regular customers at the theater. They are a noisy lot - rude critics, who shout suggestions at the screen and are scornful of heroes who do not take their advice.

Romances are launched in the darkness of the theater, friendships are sealed, wine is drunk, cigarettes smoked, babies nursed, feet stomped, victories cheered, sissies whistled at, and god only knows how this crowd would react if they were ever permitted to see a kiss.

The story is told as a flashback; it begins with a prominent film director (Jacques Perrin) learning in Rome that old Alfredo is dead and making a sentimental journey back to his hometown. Then we see the story of the director's childhood (portrayed by Cascio) and his teenage years, where he is played by Marco Leonardi. The earliest parts of the movie are the most magical. Then things grow predictable: There are not many rites of passage for an adolescent male that are not predictable and not many original ways to show the death of a movie theater, either.

Tornatore's movie is a reminder of the scenes in Truffaut's Day for Night, where the young boy steals a poster of Citizen Kane. We understand that the power of the screen can compensate for a deprived life and that young Salvatore is not apprenticing himself to a projectionist, but to the movies. Once that idea has been established, the film begins to reach for its effects, and there is one scene in particular - a fire in the booth - that has the scent of desperation about it, as if Tornatore despaired of his real story and turned to melodrama.

Yet anyone who loves movies is likely to love Cinema Paradiso, and there is one scene where the projectionist finds that he can reflect the movie out of the window in his booth and out across the town square so that the images can float on a wall, there in the night above the heads of the people. I saw a similar thing happen one night in Venice in 1972 when they showed Chaplin's City Lights in the Piazza San Marco to more than 10,000 people, and it was then I realized the same thing this movie argues: Yes, it is tragic that the big screen has been replaced by the little one.

But the real shame is that the big screens did not grow even bigger, grow so vast they were finally on the same scale as the movies they were reflecting.

#cinemaparadiso   #movielover   #movies   #filmmaking   #foreignfilms   #italianmovies   #academyawardwinner  

http://www.rogerebert.com/reviews/cinema-paradiso-1990

image | cinehouseuk.blogspot.com

Cinema Paradiso Original Trailer (1988)

On this day:
At 25th October of 1985, the movie "Krush Groove" premiered in US theaters. "Krush Groove" is a Warner Bros. film that was written by Ralph Farquhar and directed by Michael Schultz (who also produced the movie, along with George Jackson and Doug McHenry). This film is based on the early days of Def Jam Recordings and up-and-coming record producer Russell Simmons (renamed Russell Walker in the film), portrayed by Blair Underwood in his feature film debut. Russell Simmons was the film's co-producer and story consultant; he also had a cameo in the film as a club owner named Crocket. It was the number one movie at the box office that first weekend. The soundtrack was an even bigger smash.

The 80's saw the explosion of a new music art form called rap. Birthed in the South Bronx in the late 70's, its dominance in the mainstream began just a few years later. Rap, along with breakdancing, became a movement and caused a tidal wave among kids and teens that continues to this very day. Rap and the hip-hop phenomenon became so large that they ultimately began making headway in cinema. Hence, 1982 gave us "Wild Style", 1984 gave us "Breakin’" and "Beat Street", and 1985 gave us "Krush Groove".

"Krush Groove" was the ultimate rap/hip-hop motion picture. Loosely based on the early days of Def Jam and up and coming record producer Russell Simmons (renamed Russell Walker in the film and portrayed by Blair Underwood in his feature film debut), "Krush Groove" was directed by veteran director Michael Schultz (Cooley High, Car Wash and Greased Lightning).

Schultz also produced the movie along with George Jackson and Doug McHenry. Simmons was the film’s co-producer and story consultant, and he had a cameo in the film as a club owner named Crocket. The film also stars Sheila E., rap superstars Run-D.M.C., The Fat Boys, Kurtis Blow, Brian “B” Fine and Paul Anthony George of Full Force, Rick Rubin, Andre Harrell, Alonzo Brown, The Beastie Boys, and cameos by LL Cool J and New Edition.

"Krush Groove" tells the story of Russell Walker (Blair Underwood), a young rap producer modeled on Russell Simmons, creator of Rush Management and Def Jam Records. Simmons is still one of the chief forces in hip-hop and a scenemaker of Puffy-sized proportions. But at the time he was just the scrappy promoter of acts like Run DMC, LL Cool J and the Beastie Boys. (He also later pushed Public Enemy and Method Man.)

The real Simmons started Def Jam with producer Rick Rubin in Rubin's NYU dorm room and, in the film, Walker heads Krush Groove records (Krush Groove, Def Jam... get it ?) with Rubin gamely playing himself. Many of the main characters, in fact, are played by their real-life counterparts. So you get Run DMC (Run's quite good, DMC's stiff), the Fat Boys (hilarious), Shiela E. (musically out of place but fun) and old school legend Kurtis Blow all emoting like pros.

The main plot finds Run (Simmons real-life brother) and Russell coming to conflict over Shiela E.'s affections and Run abandoning Krush Groove in the process. (In real life Run DMC signed to another label early on as well and have been stuck with a career ending bum deal ever since.)

There are plenty of sub-plots, some excellent (the Fat Boys provide great comic relief, particularly in the endlessly silly "All You Can Eat" musical sequence) and some a little under-developed (Russell gets into a slick fur dealer for some cash, but not much comes of it.) The movie as a whole has a really innocent feeling with all of the young cast members exuding charm and charisma.

Run, Shiela E., and Rubin in particular have the fresh-faced honesty that professional actors might not have brought to the roles. Some of the acting may be a bit creaky by technical standards but there is an energy to the film that can't be faked. For his part, Underwood anchors the film with a sly performance but doesn't stick out as the sole pro. He plays the fast-talking Russell well enough that viewers can be forgiven for thinking he, like his co-stars, is just playing himself.

One of the best things about Krush Groove is spotting the small roles by rappers who have hit it big since. The list is short, but memorable. LL Cool J performs a snippet of his break-out hit "I Can't Live Without My Radio" in a dynamite scene. He tears the screen up with his wiry, youthful energy.

Similarly, the Beasties appear briefly doing their raucous "She's On It" in what seems like a drunken haze. Neither act had broken big at the time of the film but it's interesting to note that, unlike Run DMC, the Fat Boys or Kurtis Blow, it was these as-yet-unproven acts that really have had the most lasting careers.

As for the real Russell Simmons, he turns up in a small role as well. The gang's all here. And the tunes are too. The film includes some great songs, like Run DMC's "The King of Rock," Blow's "If I Ruled the World," the Fat Boys' "Don't You Dog Me," and Sheila E's strange "Holly Rock." (In fact, all of Shelia E's songs bear the unmistakable stamp - and background vocals - of a certain diminutive paisley-clothed performer from Minneapolis.) It also features a live version of "It's Like That" from Run DMC that just lights the screen up.

Although the film may look somewhat dated now, it is nevertheless a classic which helped to further spawn the burgeoning rap and hip-hop phenomenon that ultimately became the dominant musical force it remains today.

#KrushGroove #DefJam
#SheilaE #RunDMC #KurtisBlow
#80sMovies #Movies #DramaFilm
#Drama #ComedyDrama
#Musical #MusicalFilm
#Onthisday #MovieReview

On this day:
At 9th December of 1983, the movie "Scarface" debuted in US theaters. "Scarface" is an American crime drama film directed by Brian De Palma and written by Oliver Stone, a remake of the 1932 film of the same name. The film tells the story of Cuban refugee Tony Montana (Al Pacino) who arrives in 1980s Miami with nothing and rises to become a powerful drug kingpin. The cast also features Mary Elizabeth Mastrantonio, Steven Bauer, and Michelle Pfeiffer. In the years that followed, the film has received reappraisal from critics, considered by some to be the best mob film ever made. Screenwriters and directors such as Martin Scorsese have praised the film, which has been referenced extensively in rap music, comic books, and video games.

When "Scarface" was first released in 1983, cinemas weren't as packed as stakeholders would have hoped. Not to say it was a flop, but it wasn't what many would call a financial success. Coupled with the excessively criticized violence, and the talk of large edits and censorship, this film underwent a gargantuan amount of changes during post-production.

"Scarface" is the story of a Cuban immigrant who arrives in the US through a boat sent by Fidel Castro himself to purposely send all of his criminals to American soil. His name is Tony Montana (Al Pacino). Upon Tony's arrival in America, he is already spotted as a potential threat and is interrogated by customs agents who find out a little bit of his history and decide to send him to a special camp where all Cuban undesirables are sent.

Some time later, opportunity knocks in the form of murdering a Cuban general, sent to prison by Fidel himself, who tortured and killed govt. officials back in Cuba and now one of those official's brother, who is a powerful man in Miami, wants him dead. Tony, his best friend Manolo (Steven Bauer), and a few other friends carry out this task and earn themselves a Green Card. But this is only the beginning...

This powerful man, turns out to be Frank Lopez (Robert Loggia) a wealthy Miami drug lord whom Tony ends up working for. Frank Lopez's right hand man is Omar Suarez (F. Murray Abraham) a guy who does not like Tony Montana's determination and attitude and calls him derogatory names like "peasant" and "dish washer" but Tony is not exactly crazy about him either.

We also meet Tony's sister Gina (Mary Elizabeth Manstrantonio) a beautiful 19-year old for whom Manolo falls for, but Tony does not want Manolo anywhere near his sister, because is the only pure untouched thing in his life and does not want her to be corrupted by his world, but eventually this does happen.

Later on, Tony falls head over heels for Frank's sexy, young wife Elvira Hancock (Michelle Pfeiffer) who despite her beauty and wealth, is always miserable and does nothing but snort coke all day and never cracks a single smile.

Tony starts making the moves on Elvira, until later on in the movie, snatches her away from Frank, but not before removing Frank from the map, but that comes later. During one of Tony's business trips we meet yet another character, The ruthless and even more powerful drug kingpin, Alejandro Sosa (Paul Shenar) a Bolivian landowner who has a drug empire that stretches all across South America.

Tony does his best, at first to impress this new acquaintance, and when Sosa questions him about his loyalty, Tony is quick to assure Sosa that he is also someone not to be messed with and is a man of his word.

When Tony reaches the top he is now more powerful than his boss, Frank, ever was. Manolo, Tony's right hand man begins to take care of Tony's finances, but, in Tony's words, Manolo cares more about women than business and therefore, does not trust him completely when it comes to money. During the almost three hours of the movie we get to see Tony's rise and then, after a hot-tempered decision, his imminent fall.

"Scarface" is a story of not only an underdog who works his way up until he reaches the "American dream", but of the consequences of living in the fast lane. Like one of the songs from the movie soundtrack talks about "Push it to the Limit" which, thanks to this movie, is now a classic.

Director Brian De Palma delivers one of the better gangster films of all time in this outing. De Palma is well know for other hit films like "Carrie", "The Untouchables", "Carlito's Way", and "Mission: Impossible". His vision he makes for the screen is in fact legendary. There are some scenes with brutal violence, but De Palma never really takes it over the top into what we would now call a gore fest. He makes you feel the pain that is about to come.

An unforgettable film that left a permanent mark on the crime movie genre, "Scarface" has lost none of it's power 33 years after it first came out.

#Scarface #BrianDePalma
#AlPacino #80sMovies #Movies
#CrimeFilm #CrimeDrama #MobsterFilm
#Onthisday #MovieReview

On this day:
At 9th December of 1983, the movie "Christine" premiered in US theaters. "Christine" is an American horror film directed by John Carpenter and starring Keith Gordon, John Stockwell, Alexandra Paul, and Harry Dean Stanton. The film also features supporting performances from Roberts Blossom and Kelly Preston. Written by Bill Phillips and based on the novel of the same name by Stephen King, the plot follows a sentient and violent vintage Plymouth Fury named Christine, and its effects on the car's new teenage owner. Upon its release, the film has grossed $21 million at the US box office. Despite a lukewarm reception among critics, the film has become a cult classic.

John Carpenter's "Christine" is an effective, well-made and underrated Horror Classic and was the first and only collaboration between John Carpenter and Stephen King. A great mixture of excellent direction, great characters, atmosphere and a wonderful Rock N'Roll soundtrack, "Christine" is Carpenter and King at their best, one of the best Stephen King adaptations and one of the best Horror films of the 80s.

Based on Stephen King's novel of the same name, "Christine" tells the story of a nerdy teen named Arnie Cunningham (Keith Gordon) who discovers a 1957 Red Plymouth named Christine and falls in love. Although wreaked and damaged, Arnie decides to by it and rebuild it.

While Arnie rebuilds it, Arnie's best friend notices changes in Arnie's behavior and discovers that Christine is a car with a life of her own and will kill anyone that gets in the way of her and Arnie's relationship. Now, it's up to Dennis and Arnie's girlfriend Leigh (Alexandra Paul) to stop Christine and save Arnie before it's too late.

"Christine" is an excellent Horror film because this film takes the concept of haunted car and makes it truly creepy and the film works because of the story, characters, suspense and atmosphere. While some people wouldn't find the idea of a haunted car scary, Carpenter takes Stephen King's story and makes it frightening and believable where you feel like something in Christine can happen in the real world and that you're not safe or secure, where you feel like any character isn't safe from Christine's wrath, rage or fury.

John Carpenter uses the Christine car to give the movie a sense of dread and fear every time she shows up, because you never know what Christine's going to do in certain situations and that's one of the things that adds to the terror, you are distracted by Christine's beauty as a car, yet we forget that she is pure evil. The presence and fear by Christine is felt throughout the film and not one character in the film can escape from Christine's brutality and vengeance.

Horror fans maybe a little disappointed with the lack of blood and gore that's not shown in the film, but the film doesn't need it or require it because Christine like Carpenter's earlier classic “Halloween” relies on terror and suspense and Christine isn't dark, gloomy or gory like Carpenter's brilliant “The Thing” where everyone and everything is doomed at the end. The ending of the film is great because it ends on a cliffhanger and will make viewers ask a lot of questions and wonder what will happen.

The whole cast does a great job. Keith Gordon gives the best performance of his acting career as Arnie. Gordon is frightening and believable as Arnie and his transformation from awkward nerd to psycho is excellent and scary. John Stockwell is wonderful as Dennis, Arnie football jock best friend with Stockwell bringing depth to the role and has a good chemistry with Gordon. It's interesting that both Gordon and Stockwell both became film directors later on.

Alexandra Paul does a great job as Leigh, the new girl in school who becomes Arnie's girl friend and hates Christine. Robert Prosky gives a fantastic performance as Will Darnell, an auto shop owner that Arnie works for. Harry Dean Stanton does a wonderful job as cop Detective Rudolph Junkins who's investigating Arnie and murders associated with Christine.

Roberts Blossom is great and creepy as George LeBay the man who sells Christine to Arnie. Christine Belford (Regina Cunningham) and William Ostrander (Buddy Repperton) give good performances as well. Also look out for an early appearance by Kelly Preston (Roseanne).

John Carpenter's direction in the film is excellent, with Carpenter always moving the camera and giving the film an energy and pace and giving the film a sense of terror and dread when Christine shows up.

The film has a great Rock N'Roll soundtrack with songs like "Bad To The Bone" (George Thorogood and The Destoyers), "Beast Of Burden" (The Rolling Stones), "Bony Moronie" (Larry Williams), "Come On,Let's Go" (Ritchie Valens)," Keep Knockin'" (Little Richard), "Rock And Roll Is Here To Stay" (Danny & The Juniors), "Not Fade Away" (Buddy Holly and Tanya Tucker), and many more.

In final word, if you love John Carpenter, Stephen King, Horror films or movies about cars, you will love "Christine", an underrated Horror classic that is among John Carpenter and Stephen King's best. Highly recommended.

#Christine #JohnCarpenter
#80sMovies #Movies
#Horror #HorrorFilm
#Thriller #MysteryFilm
#Onthisday #MovieReview

Superhero movies that might have been.

#superheroes #movies #superheromovies #xmen #wolverine #sylvesterstallone #stallone #slystallone