#Phillipe Noiret

[lonelydragon62]

POT Appreciation Week

Day 4: Murphy 's War (1971)

[clubsmarties]

❝ you’re not going to make me carve this pumpkin all by myself, are you? ❞ - nettie/isaac :)

"Sure am," Nettie called out from her spot across the room as she put away some clothes. Her nerves had prevented her from being around him too long. She knew as a secret keeper, she was not great. The moment he'd see her features he'd know something was up and she'd have no choice but to spill. She wanted it to be done in a specific way but still had come up empty every time she opened her mouth to speak.

Being a safe distance away worked out better. Going back to Issac she smirked. "Besides, I don't think you want me anywhere near you right now. The way you're handling that carving knife is doing something to me. Also, did you change your cologne?" Strange question to bring up she knew but if she gave him hints maybe he'd realize what she was trying to tell him. Had been trying to tell him for weeks now.

He knew that she wasn't one to comment on colognes. Issac smelled nice and she did tell him that every now and again but this time she was trying to make it obvious. "It's not your normal one. What are you going to carve out as the face? Scary or funny or general? Oh! What about a pirate ghost. Boooargh!" Fast talking Nettie was a thing. It usually didn't come out, only when she was nervous. "Do you want dessert? Should be done by now. I made ghost cookies!"

[clubsmarties]

@overnightheartbeats

[alexlacquemanne]

Février MMXXIII

Films

Danger : Diabolik ! (Diabolik) (1968) de Mario Bava avec John Phillip Law, Marisa Mell, Michel Piccoli, Claudio Gora, Terry-Thomas et Adolfo Celi

L'Horloger de Saint-Paul (1974) de Bertrand Tavernier avec Philippe Noiret, Jean Rochefort, Jacques Denis, Yves Afonso, Julien Bertheau et Jacques Hilling

Les Grandes Familles (1958) de Denys de La Patellière avec Jean Gabin, Jean Desailly, Pierre Brasseur, Bernard Blier, Françoise Christophe, Annie Ducaux et Louis Seigner

Les Ambitieux (The Carpetbaggers) (1964) de Edward Dmytryk avec George Peppard, Carroll Baker, Alan Ladd, Bob Cummings, Martha Hyer et Elizabeth Ashley

Bathing Beauty (1944) de George Sidney avec Red Skelton, Esther Williams, Basil Rathbone, Bill Goodwin, Jean Porter, Nana Bryant, Carlos Ramírez et Ethel Smith

Que les gros salaires lèvent le doigt ! (1982) de Denys Granier-Deferre avec Jean Poiret, Michel Piccoli, Daniel Auteuil, François Perrot, Tchéky Karyo, Nadia Barentin, François Lalande, Florence Pernel, Jeanne Lallemand et Marie Laforet

Pain, Amour et Fantaisie (Pane, amore e fantasia) (1953) de Luigi Comencini avec Vittorio De Sica, Gina Lollobrigida, Marisa Merlini, Virgilio Riento, Tina Pica et Maria-Pia Casilio

Les Ripoux (1984) de Claude Zidi avec Philippe Noiret, Thierry Lhermitte, Régine, Grace de Capitani, Julien Guiomar, Albert Simono et Claude Brosset

Scoop (2006) de Woody Allen avec Scarlett Johansson, Hugh Jackman, Woody Allen, Ian McShane, Romola Garai et Julian Glover

Sous le signe de Monte-Cristo (1968) d'André Hunebelle avec Paul Barge, Claude Jade, Anny Duperey, Pierre Brasseur, Michel Auclair, Raymond Pellegrin et Paul Le Person

Une femme sous influence (A Woman Under the Influence) (1974) de John Cassavetes avec Gena Rowlands, Peter falk, Fred Draper, Lady Rowlands, Katherine Cassavetes, Matthew Laborteaux et Matthew Cassel

L'Enquête corse (2004) d'Alain Berberian avec Christian Clavier, Jean Reno, Caterina Murino, Didier Flamand, Juliette Poissonnier, Pierre Salasca, Éric Fraticelli et Alain Maratrat

Didier (1997) d'Alain Chabat avec Jean-Pierre Bacri, Alain Chabat, Isabelle Gélinas, Lionel Abelanski, Michel Bompoil, Jean-Marie Frin, Zinedine Soualem et Elliot

Les Aventuriers de l'arche perdue (Raiders of the Lost Ark) (1981) de Steven Spielberg avec Harrison Ford, Karen Allen, Paul Freeman, Ronald Lacey, John Rhys-Davies, Denholm Elliott, Alfred Molina et Wolf Kahler

M. Hobbs prend des vacances (Mr. Hobbs Takes a Vacation) (1962) de Henry Koster avec James Stewart, Maureen O'Hara, Fabian, John Saxon, Marie Wilson et Reginald Gardiner

Mr. & Mrs. Smith (1941) d'Alfred Hitchcock avec Carole Lombard, Robert Montgomery, Gene Raymond, Jack Carson, Philip Merivale et Lucile Watson

Ulysse (Ulisse) (1954) de Mario Camerinia avec Kirk Douglas, Silvana Mangano, Anthony Quinn, Rossana Podestà, Jacques Dumesnil, Sylvie et Daniel Ivernel

Séries

Inspecteur Barnaby Saison 4, 5

Le Jardin de la mort - L'ange destructeur - Vendetta - Qui a tué Cock Robin ? - Sombre automne - Le Fruit du péché - Un village très coté - Le Ver dans le fruit - Les Sonneries de la mort - Meurtre dans un collège anglais

L'agence tous risques Saison 1, 2

Détournement - Le candidat - Un si jolie petite ville - Immigration clandestine - Poussière de diamants - Otages à l'orphelinat - Les mustangs : première partie - Les mustangs : deuxième partie - Histoire d'eau - Pression amicale - Le pain quotidien - La pêche miraculeuse - Agitateurs - Acier - La guerre des taxis - Le Scorpion du désert - Tirez sur le Cheik - Eclipse - Les marchands de poison - Dites-le avec du plomb - La vache maltaise - Pas si facile que ça

Affaires sensibles

10 mai 1981 : l’arrivée de la gauche au pouvoir - Ali contre Foreman : choc des titans à Kinshasa - Le 6 février 1973. L'incendie du collège Pailleron - Sharon Tate : l’Ange et le Démon - Voici l’histoire de Hurricane - Harlem, 21 février 1965 : Malcolm X est mort

Friends Saison 5, 6

Celui qui embrassait - Celui qui a des triplés - Celui qui accepte l'inacceptable - Celui qui rate son week-end - Celui qui a du mal à se taire - Celui qui emménage - Celui qui avait des souvenirs difficiles à avaler - Celui qui s'était fait piquer son sandwich - Celui qui avait une sœur un peu spéciale - Celui qui prenait de bonnes résolutions - Celui qui riait différemment - Celui qui avait un sac - Celui qui découvre tout - Celui qui prenait des coups - Celui qui enviait ses amis - Celui qui ne savait pas se repérer - Celui qui se sacrifiait - Celui qui ne savait pas flirter - Celui qui sauvait des vies - Celui qui jouait à la balle - Celui qui devait casser la baraque - Celui qui était à Las Vegas : 1re partie - Celui qui était à Las Vegas : 2e partie - Ceux qui revenaient de Las Vegas - Celui qui console Rachel - Celui qui était de mauvaise foi - Celui qui perdait sa belle assurance - Celui qui avait une belle bagnole - Ceux qui passaient leur dernière nuit

Coffre à Catch

#101 : Une belle petite pause dans un torrent de merde ! - #102 : Hornswoggle, Evan Bourne : le renouveau à la ECW ! - #103 : WWE Draft : la fin du Mercato d'été à la ECW ! - #104 : CM Punk et Mark Henry champions du monde !

Top Gear Saison 18, 17, 19

Spécial Journée Circuit - Made in China - Une course comme sur un green - La Vallée de la Mort - Une Lamborghini à la mer - Les pires voitures de l'histoire - Spécial Afrique : Première partie - Spécial Afrique : Deuxième partie - 1500 km à fond de 5ème

Spectacles

Un Chalet à Gstaad (2021) de Josiane Balasko avec Josiane Balasko, Armelle, Philippe Uchan, Stéphan Wojtowicz, Justine Le Pottier et George Aguilar

Livres

Friends, mes amours et cette chose terrible de Matthew Perry

Undertaker : Rise Of The Deadman de Rodrigo Lorenzo, Edu Menna, Serg Acuna et Chad Dundas

La renaissance des héros Marvel, Tome 7 : Phénix de Greg Pak, Greg Land et Kirkham

Catch : L'âge d'or, 1920-1975, l'épopée du catch français et les "Michel-Ange" du ring de Christian-Louis Eclimont

[notesonfilm1]

A young couple played Phillipe Noiret and Sylvia Monfort arrive from Paris to mend their relationship. He’s a native of the Pointe Courte, the `place where fishermen like and work in Sète, in the South of France, where the film is set. He´s arrived first and has gone to the train station for the past five days in the hope that she´ll arrived so he can show her where he´s from.  She’s a Parisian and has come to break up with him after four years of marriage.

La Pointe Courte is his home and he hopes that by getting to know it she´ll come to understand him better. And the film is as much about the place and its people as it is about the couple. We see they’re fishermen, at odds with the authorities about fishing in a lagoon, getting around the rules and paying the price for it when they get caught. We get to see a whole way of life, eating, working, mending, the men’s jousts and the women’s work too. Varda has an eye for the details of hanging up the washing, mending the socks.

The place is beautiful but harsh too, the work is hard, the room families live in are mean and cramped; a child dies, one sees a dead cat buffeted by the waves, near the end a child pleads with its parents to not drown all the cats and at least leave one alive. Varda has an eye for that which is beautiful, striking, notable. One can see this film as a silent film and still enjoy it. Alain Resnais did the editing and he overlaps dialogue with images, poetic ones, that powerfully evoke place and a way of life.

The central couple are filmed as if in a Bergman film (though this is before Bergman made these types of shots famous in films like Persona), their faces forming ninety degree angles, his looking at her, she looking at the horizon; everything overly ‘arty’ as they endlessly discuss their relationship, each other, the differences between how they love their love or the other, insisting that it’s not the same thing.

Their love story is counterpoised with that of a young couple whose relationship is first forbidden by the girl’s father and finally permitted to be, partly because of his skill at jousting, by the girl’s cantankerous father. Phillippe Noiret is very young and in some shots almost handsome as the young native of the town who’s escaped this life he loves and moved to Paris. A film that is beautiful to see and beautiful to hear, with light regional songs edited to the gentle rhythms of a way of life. There’s a pragmatic kindness in evoking the every day and making it significant, in the making of  poetry out of poor people´s quotidian life. It´s a lovely film.

José Arroyo

La Pointe Courte (Agnès Varda, France, 1955) A young couple played Phillipe Noiret and Sylvia Monfort arrive from Paris to mend their relationship. He’s a native of the Pointe Courte, the `place where fishermen like and work in Sète, in the South of France, where the film is set.

[mrdirtybear]

Phillipe Noiret as photographed by Robert Doisneau (1912-94). I saw Phillipe Noiret at the movies in the film ‘Masques′, here is his obituary.  

[clubsmarties]

"Mhmm," she nodded with her nose nuzzling his. "I'm spicing it up so you don't get bored. Have to keep you on your toes." To be fair to Issac she knew he wouldn't get bored of her but there was always that pesky little nagging feeling in the back of her mind that told her one wrong move and she'd be tossed aside. The residual left off from Jazz that she still couldn't shake off. The things about needing excitement and being stimulated in all areas especially sex were always there. "I really do," she said being pulled from her inner thoughts. "I don't bake hard recipes for just anyone." Nettie rolled her eyes and laughed. "I can give him a very tiny piece and let you have the biggest piece to save for another day."

She pretended to think about it and hummed. "Maybe love me forever?" That seemed like a pretty good compromise. "I also could never keep you apart from your soulmate. I know better but cabin is our little secret for now." It was their own little bubble that had them away from the world for a bit. As much as she enjoyed chaos, she loved the peace and quiet.

"I don't think anyone could blame you. He is your brother first and foremost. I think anyone regardless of it being Laurel or not would have elicited that same reaction from you. But you guys have this bond that can't be broken by anything or anyone."

"I'm so holding you to that." she murmured as her eyes gently closed with his tender caresses. "Not to boost your ego but damn you're addicting." she laughed against his lips and shook her head. "You're a dork but I love you too." And wrapped her arms around him pulling him closer making her back touch the cushion. "Liar. I told you I'd come back just was gonna take time."

Truthfully if Isaac planned on continuing she knew they'd have to move. Pulling herself away for a second she stared into his eyes and breathed heavily. "Carry me upstairs? I'm gonna need you to ravage me where my back won't get sore."

"You are always finding new ways to surprise me," he mused, catching a brief glimpse of her leg bouncing. Excited, huh? So was he. It had been some time since he's tried his mother's apple pie, and knowing that Nettie took the time to make it all on her own? Well, Isaac knew it was going to be his favorite slice of pie. "Homemade? Wow, you really love me," he half-joked. Isaac had learned that there was one constant he could count on, and that was this woman's love for him. She loved him in a way he couldn't quite comprehend yet, but he knew enough to know he could never lose it. "If I tell you the roof story is true, will it secure him a Tupperware? Because I'm not in a huge sharing mood, so I'm inclined to say he lied about the whole thing."

Isaac's smile only widened with her words. "Taking my heart, and now my lucky title too. Whatever will I do with you?" A soft breath emitted from his lips as he felt her fingertips against his skin. It was a comforting touch, one he often sought from her. "You are right about that. We'd miss them pretty soon, and the list of people I share him with grows. Sharing him with a little girl, who'd have thought? But, I was here first." Leave it to Isaac to get into a discussion with a baby over who knew him first. "I agree. We'll keep the cabin thing, just to ourselves. They will live without us for a while."

He listened to her talk about the people that walked into the bar. The way she described reading people. To some extent, Isaac understood. Reading people was part of his job, but it wasn't the same way she did it. She read people in such a gentle and caring way, while he was just looking for the next eye twitch or tell, that gave away what they were hiding. Her gentle nature was admirable, something he was constantly in awe about. "I agree with the gift. You have a way of reading people. Took you less than ten minutes to read me. Hm, you got that too? I didn't even catch on to that myself, until way later." He laughed at the thought, shaking his head briefly. "I was really angry at the situation, at her, and honestly for a sec - at him for doing that. But, scared yes. I think I could see it, but refused to acknowledge that those two had something going on. Acknowledging it felt like, yeah like she was taking him. I'm protective of those I love, and you're top of my list."

Eager to meet her lips, Isaac leaned in and closed the minimal space between them. The warmth of her breath revitalized him, unable to help the smile that formed against her lips. "Good. I want you to be sure of us, no matter what. I owe you so much, and I will work hard to be worthy of that shimmer in your eyes. Hm, you do? Well, in that case, I love you. I love you. I could say this all night, really. On a loop."

"I'm just glad you came back home to me. Waiting didn't hurt." Carefully, he turned over on the sofa, leaning over her now as their lips met once more. Isaac could feel the deep emotions in this kiss. Other kisses had been laced with grief, desperation, sadness, and heartbreak. But this one, it was different. It was renewed hope. "You should get used to this," he mumbled as his lips trailed down her jaw and to her neck, his fingertips brushing her hair aside. "This is just the start of many nights."

[blogcine-blog1]

“La Grande Bouffe”

[myfavoritepeterotoole]

At the Premiere of Murphy's War

Description: January 14th, 1971 Princess Alexandra attends film premiere

Actor Peter O'Toole greets H. R. H. Princess Alexandra on her arrival at the Odeon Theatre, Leicester Square, London, last night, to attend the charity showing of "Murphy's War" which stars Peter O'Toole. On O'Toole's left is his wife, actress Sian Phillips. The premiere was held in aid of the Royal Commonwealth Society for the Blind.

Murphy’s War (1971) directed by Peter Yates

Peter O'Toole as Murphy

Philippe Noiret as Brezan

Sian Phillips as Dr. Hayden

Horst Janson as Lauchs

[patart-illustrations-stuff]

  “ Progress always comes late.”    

“Il progresso! Sempre tardi arriva.”

Nuovo Cinema Paradiso

  Philippe Noiret , 1 October 1930 – 23 November 2006

[cosmic-navel-gazin]

@dongtopus​ Oh boy oh boy, fasten your seat belt sir!

I’ll just go with the second question first and say: YES! This happens to me all the time! I distinctly remember this one time many years ago that really irked me. I was watching Barry Lyndon and this guy played by Patrick Magee suddenly appears:

Basically the only difference was the placement of the beauty spots. I shook my fist at Kubrick, I was in awe at first but then so pissed for a while that he beat me to it lmao.

Back to the first question, here’s the the first neat faces that popped into my head:

Max von Sydow

Basil Rathbone, I want his smug bastard energy

Speaking of bastard energy, Siân Phillips and Glenn Close

Our man Ian Mckellen

Gael García Bernal put a spell on me and I’ve never been the same since

Javier Bardem (that profile one!)

Jeremy Brett

These three...Omar Sy, Olivia Colman and Toni Servillo... their faces in general, but the million dollar smile just, arghh I want to capture that

“poor lil meow meows” category: Zbigniew Zamachowski  and Anatoliy Solonitsyn

Juliette Binoche

Charles Dance

Roger Hammond, Geoffrey Palmer, Cyril Shaps in   The Madness of King George (1994)

John Hurt and Richard Harris, the last two are of them in The Field (1990)

Philippe noiret and Massimo Troisi, love their contrast in Il Postino (1994) on the last pic

Willem Dafoe

Jonathan Pryce

Rachel Weisz

Peter O’Toole

Peter Vaughan

Daniel Day-Lewis

Rui Rezende, here playing a romantic well-read werewolf in a renown brazilian soap opera: 

The Name of the Rose (1986), the monks there is the gift that keeps on giving for me. I have nothing but love for all the diffferent and excentric looking characters  be it well known actors or lesser known,only appear for a couple of shots figures in the background

Ivan the Terrible (1944) is also a gold mine for tons great and distinct looking faces

I love this fella over here he looks like a small bird of prey

Bonus: Kapellmeister Bonno from Amadeus (1984) played by Patrick Hines. He has the best facial expressions and reactions, every time... I can't take my eyes off him

[claudiosuenaga]

Os 45 anos de Contatos Imediatos do 3º Grau

Por Cláudio Tsuyoshi Suenaga

Steven Spielberg (1946-) começou a se interessar pelos OVNIs desde cedo. Em 1964, aos 18 anos, tendo por equipamento uma câmera Kodak de 8 mm e no elenco seus amigos de Phoenix, Arizona, rodou Firelight, um filme de duas horas e meia de duração baseado em relatos de avistamentos de UFOs.

Treze anos depois, em 1977, munido de um aparato técnico invejável proporcionado pelo mega-sucesso do suspense Jaws [Tubarão (1975)], Spielberg retomou o gênero e promoveu a chegada à Terra, com toda pompa, de um gigantesco disco voador em Close Encounters of the Third Kind (Contatos Imediatos do Terceiro Grau). Quebrando a tradição hollywoodiana de tratar os OVNIs como uma parábola da Guerra Fria,[1] Spielberg libertou a ficção científica dos vínculos políticos e ideológicos e recuperou a sua essência mítica e religiosa.

A índole dos seres em Contatos extrapola a humana, equiparando-se a de anjos salvadores. Em uma das cenas há uma clara referência ao filme The Ten Commandments (Os Dez Mandamentos), dirigido em 1956 por Cecil Blount DeMille (1881-1959). Os filhos do “escolhido” Roy Neary (Richard Dreyfuss), um entediado funcionário de uma empresa de luz e força do subúrbio de uma cidade de Indiana, em vez de irem dormir manifestam o desejo de assistir o épico de quase quatro horas na tevê.

O episódio de Moisés está ligado à visão obsessiva a vários personagens que desenham ou modelam uma montanha, conforme suas inclinações, de maneira quase psicográfica. Na narrativa bíblica, Moisés vai buscar a tábua dos mandamentos no Monte Sinai; em Contatos, os cientistas vão à Devil’s Tower (Torre do Diabo), em Wyoming, receber e decodificar mensagens em forma de luzes e sons musicais.

A referência mais marcante de Contatos é justamente a música, em escala diatônica de cinco notas: “ré-mi-dó-dó-sol”.[2] Essa melodia é ouvida no Ocidente e no Oriente, no México – quando um índio mexicano declara que “el sol cantó para mí!” –, nos Estados Unidos e na Índia, configurando um sintomático fenômeno religioso de massa.[3]

Apoiado em casos verídicos e na consultoria do astrofísico e ufólogo Josef Allen Hynek (1910-1986), que faz uma ponta como um cientista que assiste ao desembarque dos alienígenas enquanto fuma cachimbo, Contatos Imediatos é o único filme inteiramente concebido e escrito por Spielberg, ou seja, ele foi o único autor tanto da história original como do roteiro.[4]

O astrofísico Josef Allen Hynek (1910-1986), consultor da USAF para o assunto dos OVNIs e estabelecedor da classificação dos Contatos Imediatos com os OVNIs e seus tripulantes em graus, faz sua ponta no filme.

Spielberg pensou no cineasta francês François Truffaut (1932-1984) para o papel do cientista e ufólogo Claude Lacombe, inspirado na figura do astrofísico e ufólogo Jacques Vallée. Temendo que Truffaut recusasse o papel, chegou a oferecê-lo a Lino Ventura, Yves Montand, Gérard Depardieu, Phillipe Noiret e Michel Piccoli. Mas, uma semana depois de receber o roteiro, Truffaut ligou à produtora do filme, Julia Phillips, perguntando quando começavam as filmagens. Alguns anos depois, Truffaut avaliou que “o sucesso de Contatos Imediatos deve-se ao talento muito especial de Spielberg de dar plausibilidade ao extraordinário. Se vocês analisarem Contatos Imediatos do Terceiro Grau, verão que Spielberg tomou o cuidado de rodar todas as cenas da vida cotidiana dando-lhes um aspecto um pouco fantástico, ao passo que, no outro prato da balança, dava o máximo de cotidianidade às cenas fantásticas.”[5]

Spielberg concretizou seus sonhos de infância por meio dos efeitos especiais de Douglas Trumbull (1942-2022), de 2001: A Space Odyssey (1968), Silent Running (1972), Star Trek: The Motion Picture (1979) e Blade Runner (1982). A gigantesca nave-mãe, com seu design de árvore de natal ou candelabro invertido, passa uma impressão de leveza. A orquestra cita When you Wish Upon a Star, a canção do Grilo Falante em Pinocchio [Pinóquio (1940)], de Walt Disney (1901-1966). As naves voam feito as fadas de Sleeping Beauty [A Bela Adormecida (1959)], e da mesma maneira fascinam e atraem tanto o adulto Roy Neary, quanto o garoto Barry Guiler (Cary Guffey).

Em sua primeira obra oficial sobre extraterrestres, Spielberg foi buscar os alienígenas não em outros planetas, mas na Terra do Nunca. O Peter Pan em questão, o homem que encontra um jeito de não crescer, é Neary, que leva uma vida chata. Seus filhos bancam os pequenos adultos e sua mulher não se interessa por fantasias infantis. Até que, numa bela noite, seres brincalhões provocam um blecaute e interceptam o caminhão de Neary.

Ele passa a dividir com outras testemunhas a obsessão por uma peculiar formação geológica. Convergindo para o mesmo ponto está o professor Lacombe, que investiga uma série de pistas deixadas pelos visitantes do espaço, dispostos a manter contato direto e intercambiar conhecimentos com os habitantes da Terra.

Os alienígenas que aparecem no final do filme estão no caminho evolutivo entre o feto que fecha 2001 e o monstrinho de ET. Para Arthur C. Clarke (1917-2008), o encontro do homem com uma inteligência superior significa o fim da infância para a humanidade. Para Spielberg, a infância recomeça na porta de um disco voador.[6]

Contatos Imediatos teve uma das maiores bilheterias da história até então, e só não foi a maior bilheteria de 1977 porque, naquele ano, um colega e amigo de Spielberg, George Lucas (1944-), revolucionaria a maneira de como os filmes eram pensados e produzidos com Star Wars: Episode IV – A New Hope (Guerra nas Estrelas: Episódio IV – Uma Nova Esperança), o primeiro da primeira trilogia em ordem cronológica inversa.

Instigado com a inata propensão das testemunhas em pinçarem elementos da ficção e as incorporarem aos relatos, o psicólogo social argentino Roberto Enrique Banchs empreendeu um estudo rigoroso e categórico dos efeitos na população de filmes nitidamente sugestionáveis. Mediante gráficos e quadros estatísticos, demonstrou cabalmente que as ondas de OVNIs irrompiam, incrementavam-se e decresciam muitas vezes acompanhando a época de lançamento, exibição e saída de cartaz.

“É notório observar que sua projeção coincide com os meses de maior incidência de informes, os quais se reduzem sensivelmente quando o filme deixa de ocupar as telas das salas cinematográficas”, escreveu ele em seu livro Fenómenos Aéreos Inusuales: Un Enfoque Biopsicosocial. O comentário se refere a justamente a Contatos Imediatos do Terceiro Grau, exibido na Argentina em 1978, ano em que esse país se viu às voltas com uma gigantesca onda de discos voadores.

Banchs afirmou que “A relação de causalidade estabelecida entre ambos – filmes-onda – não pode passar despercebida no momento de analisar o papel desempenhado pelo gênero ficção científica na atividade ufológica. Assim sendo, o presente estudo confirma a hipótese de que o fenômeno não se manifesta em ciclos ou ondas devido a sua natureza intrínseca, e sim a fatores alheios, denotando um estado de emoção latente que aguarda não mais do que uma oportunidade para manifestar-se.”[9]

Notas

[1] Para mais detalhes sobre esse gênero de filmes, ver a segunda edição de meu livro Contatados: Embaixadores das Estrelas, Arautos de uma Nova Era ou a Quinta Coluna do Governo Mundial?

[2] Curiosamente, Contatos Imediatos foi o primeiro filme exibido pela extinta Rede Manchete de televisão – do jornalista e empresário ucraniano naturalizado brasileiro Adolpho Bloch (1908-1995) –, apenas três horas após sua inauguração, em 5 de junho de 1983. Por muitos anos a saudosa emissora (que permaneceu no ar até o dia 10 de maio de 1999) usou a trilha sonora do filme nas suas vinhetas, tornando-a uma de suas marcas registradas.

[3] Colangelo, Adriano. “Contatos Imediatos do Terceiro Grau: sons e cores na simbologia esotérica de um filme”, in O melhor de Planeta: Ufologia II, São Paulo, nº 100-A, s.d., p.31-33.

[4] Spielberg, Steven. Contatos Imediatos do Terceiro Grau, 3ª ed., Rio de Janeiro, Record, s.d.

[5] Texto escrito para o prefácio da edição francesa do livro L’Aventure Spielberg, de Tony Crawley, em 1984 (Paris, Ed. Pygmalion/Gerard Watelet).

[6] Smirkoff, Marcos. “Contatos Imediatos chega em versão remontada”, in Folha de S. Paulo, 4-1-1990, ilustrada, p.5, c.E.

[7] Araújo, Inácio. “Guerra…  sintetiza Hollywood”, in Folha de S. Paulo, 17-2-1997, ilustrada, p.7, c.4.

[8] Campbell, Joseph & Moyers, Bill. O Poder do Mito, São Paulo, Palas Athena, 1990, p.VIII-IX, 19.

[9] Banchs, Roberto Enrique. Fenómenos Aéreos Inusuales: Un Enfoque Biopsicosocial, Buenos Aires, LEUKA, 1994, p.83.

[clubsmarties]

Happy birthday, @unapxlogeticme ( Emerson)

If I don't have a theme then you know my gifts are going to shit. Not like I don't tell you enough how awesome you are but don't want you getting a big head. So without further ado. Here are this year's presents. You're a nerd so when I saw these had to get you them. Make them last this time. Then I found these really awesome myth books and thought you'd actually get a kick out of them when you're not doing your sets. The fender shirt because even if you don't think so, I know someday I'll be seeing your name up in bright lights and then I'd say yeah, he totally rocked out at my bar before he made it big.

Now! Onto your actual gift. Surprise. Get your hiking boots ready we are gonna go on an adventure.

[saturdaynightmovie]

Massimo Troisi and Phillipe Noiret in

IL Postino (The Postman) (1994) Director: Michael Radford

[jesrylander]

CINEMA PARADISO, 14 YEARS LATER

In 2002, Miramax Studio released a 168-minute DVD with the Director's cut of Cinema Paradiso. Those who enjoyed the international version of 1989, after seeing this remastered film with 13 more minutes, could feel that they were watching a different movie. And in a way, it is.

by Jesse Rylander (Jesse Hernández Luzardo)

In 1988, the Italian director Giuseppe Tornatore presented his first film in 35mm titled Nuovo Cinema Paradiso in Italy. The Italian audiences did not receive warmly the 155-minute feature film. However, a short time later, the movie with 32 minutes less was presented to the world as Cinema Paradiso. 

The new version quickly became a hit that robbed the hearts of international audiences to the point of being considered a jewel of world cinematography, even before obtaining the Oscar and the Golden Globe as the best foreign film of 1989.

Cinema Paradiso is the story of Salvatore (Totò), a famous and respected film director who returns to his hometown, Giancaldo, Sicily, after many years. Totò would attend the funeral of his great-old friend Alfredo, who worked as a projectionist at Giancaldo’s only cinema, the Nuovo Cinema Paradiso. 

During his forced stay, Totò recalls anecdotes from his younger life. Through Totò’s eyes, we learn how Alfredo taught him the job of a projectionist, bequeathed his passion for cinema, and instilled lifelong lessons such as: “Life isn’t like in the movies. Life is much harder.”

Also, we meet Totò’s first love,  Elena, and various characters who, in one way or another, touched his existence before leaving Giancaldo.

The Director’s Cut DVD Release

In 2002, Miramax Studio released a 168-minute DVD with the Director’s cut of Cinema Paradiso. Those who enjoyed the international version of 1989, after seeing this remastered film with 13 more minutes, could feel that they were watching a different movie. And in a way, it is.

Although in the extended version there are new scenes, the narrative syntax does not change. But the praxis is entirely different. For example, the Director’s cut reveals questions that its predecessor left unanswered, like what happened with the love story of Totò’ and Elena. 

Still, both versions keep the essence of Cinema Paradiso: a beautifully painted sentimental picture of post-war Italy and, at the same time, a dazzling ode to the seventh art, especially to Hollywood’s golden age. 

Cinema Paradiso has another merit to be praised for: the characters’ feelings. They emerge in the story in a credible way that perfectly penetrates the viewer’s mind, achieving an immediate connection and empathy. 

It is necessary to highlight also the brilliant performance of the late French actor Phillipe Noiret as Alfredo and the well-crafted soundtrack by Ennio and Andrea Morricone.

In Cinema Paradiso, Giuseppe Tornatore frequently uses well-defined metaphors that bring us on a deep journey into human emotions, true love, and enduring friendship, making it a cinematic experience that is hard to forget.

[alexlacquemanne]

Septembre MMXXI

Films

Le Professionnel (1981) de Georges Lautner avec Jean-Paul Belmondo, Jean Desailly, Robert Hossein, Cyrielle Clair, Marie-Christine Descouard et Élisabeth Margoni

Tintin et le Temple du Soleil (1969) de Raymond Leblanc avec Philippe Ogouz, Claude Bertrand, Alfred Pasquali, Guy Piérauld, Paul Rieger et Lucie Dolène

Tendre Voyou (1966) de Jean Becker avec Jean-Paul Belmondo, Jean-Pierre Marielle, Philippe Noiret, Geneviève Page et Mylène Demongeot

La Classe américaine (1993) de Michel Hazanavicius et Dominique Mézerette avec John Wayne, Dustin Hoffman, Robert Redford et Paul Newman

L'Animal (1977) de Claude Zidi avec Jean-Paul Belmondo, Raquel Welch, Julien Guiomar, Charles Gérard et Aldo Maccione

Délicieux (2021) de Éric Besnard avec Grégory Gadebois, Isabelle Carré, Benjamin Lavernhe, Guillaume de Tonquédec, Lorenzo Lefèbvre et Christian Bouillette

Dune (2021) de Denis Villeneuve avec Timothée Chalamet, Rebecca Ferguson, Oscar Isaac, Josh Brolin et Zendaya

Kaamelott : Premier Volet (2021) d'Alexandre Astier avec Alexandre Astier, Franck Pitiot, Thomas Cousseau, Jean-Christophe Hembert et Anne Girouard

Invasion Los Angeles (They Live) (1988) de John Carpenter avec Roddy Piper, Keith David, Meg Foster, George Buck Flower et Peter Jason

Barbarella (1968) de Roger Vadim avec Jane Fonda, John Phillip Law, Anita Pallenberg, Milo O'Shea et Marcel Marceau

Séries

Psych Saison 4, 5

Y a-t-il quelqu'un pour sauver Shawn ? - En avant soldat ! - Sensations trop fortes - Rendez-vous dans sept ans - À vos masques… - Le Groupe de Réflexion - Dans le ventre de la bête - Mr Yin présente… - La Guerre débridée - La Botte secrète - Soucoupes flippantes - La classe qui tue - À toute vitesse - Un duo vintage - Mer agitée - Alter ego - Partir un jour… - En cabane au Canada - Mort de frousse - C'est pas du gâteau ! - Premiers de la classe - Grosse Bêtise - Espèce menacée - Yin, Suite et Fin

Brokenwood Saison 7

Un bon coup de fourche - Sous le feu des projecteurs - A la vôtre, madame Robinson

Columbo Saison 10, 15, 8

Jeux d’ombres - La griffe du crime - Fantasmes

Commissaire Dupin

La croix d'Emma

WWE's Most Wanted Treasures

Mick Foley - The Undertaker & Kane - Jerry “The King” Lawler & Andy Kaufman

Le Coffre à Catch

#41 : Bobby Lashley entre dans l'Histoire…ou pas ! - #13 : Le soir où Triple H et HBK ne font réagir PERSONNE ! - #14 : Triple H & HBK SE FONT RESPECTER !! - #15 : Émotions au Madison Square Garden de New York ! - #42 : Papy rend les 40 000 !!!! - #43 : Vince McMahon EST CHAUVE + Le Meilleur Match ECW ! - #44 : La Trahison de CM Punk !

The Crown Saison 3

Olding - Margaretologie - Aberfan - Bubbikins - Coup d'État - Tywysog Cymru

Signé Cat's Eyes Saison 2

Jeux dangereux - Mystère chimique - Cadeau du père

Nestor Burma Saison 5

Burma se brûle les ailes

Top Gear Saison 20, 21

Mission camping car ! - Abu Dhabi, du sable dans le carbu ! - L'Espagne en toute simplicité

Kaamelott Livre III

Le trouble - Les suppléants - Le petit poucet - L'ivresse II

Théâtre

Ah ! La police de papa ! (1975) de Raymond Castans avec Marthe Mercadier, Henri Tisot, Teddy Bilis, Jacques Sereys et André Fetet

La Bonne Anna (1991) de Marc Camoletti avec Marthe Mercadier, Henri Guybet, Yolande Folliot, Kathy Kriegel et Patrick Guillemin

Panique au Plazza (1996) de Ray Cooney avec Christian Clavier, Gérard Lartigau, Élisa Servier, Angelo Bardi, Christian Pereira, Frédéric Berthelot et Consuelo de Haviland

Livres

Je laisserai le lit défait de Léa Celle qui aimait

Lucky Luke Tome 38 : Ma Dalton de René Goscinny et Morris

Lucky Luke Tome 41 : L'Héritage de Rantanplan de René Goscinny et Morris

Lucky Luke Tome 45 : L'empereur Smith de René Goscinny et Morris

Pop-Crime de John Garforth

Astérix Tome 25 : Le Grand Fossé de Albert Uderzo

Alix Tome 10 : Iorix le grand de Jacques Martin