Another (next to Woody Allen’s Manhattan) 1979 gem. A film made in the times, when no element, no line of dialogue, no gesture would appear in the frame for no reason. Every single component has a meaning; certain scenes placed at various points in the plot cement the emotional aspect of the film – like the elevator scene, when Meryl Streep walks out on Dustin Hoffman (NB he got the Oscar for this role – quite deservedly) who is so stunned at the fact that he does not even attempt at holding the elevator to prevent her from doing this. Like the morning breakfast scenes illustrating the development in the relationship of father and son – especially the constrasted morning of the first breakfast without the mother and the last breakfast without the mother in their lives.
It is a painful and emotional tale of a breakup between two adults, which would be most probably less complex had there not be a child involved. Their son brings into the equation a whole different set of complications for their careers and emotional development.
Excellent film. Fantastic (as always) Dustin Hoffman…
The classic, considered by some one of the best films of the century.
At the BFI screening, the cinema was packed as during film festivals.
Black&White, with – as always – incredible dialogues and great actors.
Made in 1979, it bears the magic of 1970’s and yet the dialogues are brilliantly universal and could easily be imagined as uttered these days by contemporary snobbish New Yorkers.
Great cinema, accompanied by music by George Gershwin and fantastic shots of Manhattan.
In my personal ‘Catching Up’ section. I actually watched this one for the first time (in full) this afternoon. Got very lucky to be able to see a (seemingly) remastered digital version.
Everybody knows it, there’s juvenile Jody Foster, handsome Robert de Niro, long-haired Harvey Keitel and young Cybill Shepherd.
Plus a universal message, quite disturbing as to how much happens by accident and how thin is the line between a hero and an assassin and how strong the power of the media is. Apart from the classic 1970’s fashion, there’s the music, consciously led cinematography shot from different angles, traditionally following the character’s point of view, the camera eye has a noticeable role to play. Great colour, lighting, the felt filthiness of New York streets and diners. A true masterpiece (but well everybody knew that already!). Martin Scorsese’s cameo appearance not to be missed!
Produced by Joan Jett herself (best known probably for I love Rock’n’Roll: http://bit.ly/WgjCv).
California of 1975, where the teenage Joan Jett learns to play the electric guitar and dreams of setting up an all girl rock band. The Runaways play for a few years and tour the world, to soon fall into pieces.
The story flows well, the teenage roles look convincing and there’s a good amount of music in the background. There’s a bit of depth into all with sick members of family, loyalty, rebellion and power of the press.