#la roue movie

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New York Film Festival 2023:

La Roue (Abel Gance), 1923

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MOVIE QUOTE OF THE DAY:

“Don’t look at me! You have poison in your eyes!”

Title card for Severin-Mars in La Roue

#LaRoue #Gance #AbelGance #SeverinMars #moviequotes

#MovieQuoteOfTheDay

[byneddiedingo]

Ivy Close and Séverin-Mars in La Roue (Abel Gance, 1923)

Cast: Séverin-Mars, Ivy Close, Gabriel de Gravone, Pierre Magnier, Georges Térof, Gil Clary, Max Maxudian. Screenplay: Abel Gance. Cinematography: Gaston Brun, Mac Bujard, Léonce-Henri Burel, Maurice Duverger. Art direction: Robert Boudrioz. Film editing: Marguerite Beaujé, Abel Gance. Music: Arthur Honegger.

The plot is operatic, the technique is novelistic, and the aim is tragic. Abel Gance's La Roue (aka The Wheel) never satisfies on any of those counts, but it's not without a lot of effort on his part as well as his actors and technicians. At its premiere, it ran for somewhere between seven-and-a-half and nine hours (depending on which source you trust), spread over three days, and was a success, earning praise from Jean Cocteau among others. Gance then produced a cut that ran for two and a half hours, which was the version most people saw for many years until film historians set about to reproduce the original. That restoration is the one I sat through for sevenish hours spread over four nights on the Criterion Channel. I have seen seven-hour movies (and some that seemed like it) before, most notably Bela Tarr's Sátántangó (1994). The urge I usually have afterward is to try to justify the expenditure of time, typically by categorizing it as an "immersive experience." That approach works with films like Tarr's, which has a grounded reality to it that provides a look into a human existence other than my own, which is the aim of all narrative art. It's less easily justified when the film is as preposterous as Gance's is in many ways. I said it was operatic in its plotting, and here it's useful to think of the melodramatic excesses of works like Verdi's Il Trovatore, based on a florid Spanish play that involves foundlings, mistaken identities, and people torn between passion and duty. La Roue has a foundling, survivor of a train wreck, rescued by a railroad engineer who raises her along with his own son, allowing both of them to believe they are siblings, which works until she blossoms into a young woman and first the father and then the son realize they're in love with her. The treatment of this story evokes, as others have noted, the novels of Victor Hugo and Émile Zola, but it also reminds me of Thomas Hardy's works, in which fate (which Hardy calls "hap," or the blind workings of chance) forestalls any efforts by the protagonists to chart their own course. And since the story involves a kind of incestuous passion, the legend of Oedipus comes to mind, and sure enough Gance quotes Sophocles in one of the intertitles. But of course it's a movie, and that necessitates a good deal of spectacle, starting with the train wreck that sets the plot in motion. La Roue is never dull, and it's sometimes emotionally affecting, but it's not an opera (although Arthur Honegger's score suggests its potential in that regard) and it's not a novel or a tragedy. It's a movie, and one with a great deal to watch if you're willing to commit seven hours to it, but I think you have to be devoted to learning about the craft of movie-making to profit much from it.   

[andersonykno36]

Je dois remercier le yoga si jamais je gagne un

Je dois remercier le yoga si jamais je Click here gagne un

Je dois remercier le yoga si jamais je gagne un Grammy Leçons de chant mises à part, une autre selected qui aide à chanter ou à parler en community sera une feeling de relâchement et de souplesse dans la gorge. Alors que certains peuvent compter sur du thé chaud, du citron et du miel pour y parvenir, il existe en fait des poses de yoga qui aident à détendre les cordes vocales et, avec la pratique, augmentent réellement la flexibilité des muscles dans ces zones. Maintenant , à partir de recherches personnelles, un livre spécifique intitulé Singing for The celebrities de Seth Riggs-(le mentor vocal du who-is-who de l'industrie musicale)-précise que s'étirer pour échauffer non seulement les cordes vocales mais tout le corps avant faire des échauffements vocaux est très utile. Cela dit, j'ai spécifiquement intégré les poses que je connais par sensation pour desserrer la région cervicale qui contient bien sûr la gorge. (En primary, certaines de ces poses détendent d'autres get-togethers du corps qui sont utiles pour mes mouvements James Brown-Michael Jackson-Prince-esque) Maintenant, je vais vous montrer mes choix et expliquer chacun brièvement . 1. Les salutations au soleil.

Il s'agit davantage d'une combinaison de poses que d'une pose unique. Sa facilité et sa polyvalence sont pratiques pour réchauffer tout le corps et augmenter le flux sanguin. De furthermore, avec la respiration profonde associée (et l'effet correctif qu'elle a sur la respiration en général), ce collage special de mouvements en effet très simples sera utile pour s'échauffer à peu près pour faire n'importe quoi. 2. La pose de la roue : Il s'agit d'une pose de flexion vers l'arrière qui, grâce à son exécution, étire énormément tout le corps. Lorsqu'il est correctement exéSlashé, la tête sera renversée, ce qui étire par Negativeséquent la gorge et augmente le flux sanguin vers la tête. Quand, je fais des numéros à mi-tempo, j'adore exécuter la pose de la roue pour faire monter l'adrénaline et j'ajoute également les torsions de la colonne vertébrale (sa contre-pose pour ainsi dire) pour un étirement encore additionally équilibré qu'il peut offrir . 3. La pose du lion : Pensez à Terrifying Movie 1 ici pendant une minute, souvenez-vous quand Marlon Wayans crie whazup et tire la langue ? Eh bien, cette pose a un thought similaire dans l'exécution. De in addition, j'ai effectivement lu que compte tenu de son nom, c'est souvent une pose recommandée pour vaincre la timidité, comme certains textes yogiques le prétendent en exécutant une pose, vous reprenez la caractéristique de l'objet ou de la créature dont elle porte le nom. Puisqu'il s'agit de la pose du lion, on pense que l'audace et la confiance sont increaseées. Pour l'instantaneous, tenons-nous en à l'enormous étirement de la gorge qu'il offre. 4. La séquence d'épaule : Eh bien, cette séquence comprend une pose connue dans le yoga sous le nom de Savagasana (ce qui signifie qu'elle affecte toutes les functions du corps). Il s'agit d'une straightforward pose d'inversion et lorsqu'elle est exéMinimizeée avec ses contre-poses : le pont et les poses de poisson, elles détendent advertisementéquatement tout le corps. Si ma overall performance ou ma session se déroule dans les premières get-togethers de la journée, je peux simplement exécuter cette séquence seule (avec les salutations au soleil mentionnées précédemment) et ça va.

[qu-film-history-to-1968]

Week 3 Resubmission Brody Feigin: Space Odyssey

Quote: "This description of close-ups, mechanical fragments and accelerated rhythms could apply just as easily to Ballet mécanique as to La Roue, and so it is perhaps natural to assume that Léger’s aim in his own film is to ‘crush’ and ‘eliminate’ the human subject, as Gance quite literally did in the montage-style sequences of La Roue that represent a fatal train crash (as opposed to the vast majority of the film, which employs a rather sentimental, conventional plot in which the human ‘stars’ remain at the fore)." 

Movie clip: https://www.youtube.com/watch?v=Wy4EfdnMZ5g

Explanation: A good comparison to the quote and the scene is showing the struggle between humanity and technology. The quote suggests removing human intention and the movie scene is showing the struggle of human intention. They both demonstrate the power struggle and blurred lines of control between humans and AI.

[moviestvsposts]

Regarder La roue du temps (The Wheel of Time) (2023) film Complet Streaming VF Vostfr 4K

[inapat16]

The paintings in Kurosawa’s Dreams : paintings in the cinema part 4/4

It was inevitable to write about this movie when we consider the relationship between paintings and cinema. In Dreams, Akira Kurosawa plays and experiments with several cinematographic methods and special effects that make this movie a true masterpiece. In fact, George Lucas and Steven Spielberg were collaborators for the movie since it’s a co-production from the United States and Japan. In this film the director stages eight different dreams that are all tied together by themes of environment, nature, childhood and spirituality[1].

In the third dream called “Crows”, Kurosawa tell us a story about a man who seems to be an art student or an aspiring artist who gets transported to the paintings of Vincent Van Gogh as if it was in a dream. Here, thanks to George Lucas assistance, the paintings become the stage of the character where he tries to find Van Gogh. In this sequence, this man goes through numerous paintings of Van Gogh that, thanks to the work and effort of Kurosawa and his team, are replicated with an unbelievable authenticity.

As Kurosawa once dreamt about being a painter, this sequence is a direct reference to his past and his old dreams. Kurosawa abandoned his dream about becoming a painter to become a filmmaker. Nevertheless, Kurosawa maintained his artistic skills and for this movie, as for many others, he hand-painted the storyboard.

Hand-painted storyboard by Akira Kurosawa

In this sequence, the character that embodies Kurosawa meets Vincent Van Gogh in one of his paintings. Van Gogh was a very important figure for Kurosawa and this vignette is a clear homage to Van Gogh’s paintings. In “Crows” Kurosawa took very seriously the colours of Van Gogh’s artwork and he recaptured them as vivid as they are on canvas. This attempt of making living paintings by replicating some of the most famous paintings of Van Gogh is very successful as the scenes caught immediately your attention by their undeniable beauty.  

Hand-painted storyboard by Akira Kurosawa

Nogami was in charge of the production of the film and ensured that the replicas were as close to the real paintings as possible. He says that to replicate the painting of “Langlois Bridge at Arles” they dyed the river with blue painting to obtain the same shade as the one in Van Gogh’s painting[2]. This is how much Kurosawa was determined in reproducing with an undeniable accuracy the work one of his favourite painter. He even asked Martin Scorsese to play Van Gogh, Scorsese being one of the most iconic filmmakers in the United States at the time. If as it wasn’t enough, with the stunning living paintings and Scorsese, Kurosawa adds to this sequence the “Raindrop” prelude of Chopin, one of Chopin’s most famous work. “Crows” is in this way a commemoration of Van Gogh’s, Chopin’s, Scorsese’s and Glance’s work. This last one is referenced through a metaphor of Van Gogh’s work as a locomotive, as a reference to Glance’s movie “La Roue”.

Laura Cárdenas.

[1] Lee Thomas-Mason, “Akira Kurosawa's spectacular hand-painted storyboards” in Far Out Magaizne, 14th Oct 2021 : https://faroutmagazine.co.uk/akira-kurosawa-hand-painted-storyboards/

[2] Simon Jenner, “A Sabukaru Introduction To Akira Kurosawa’s 'Dreams'”, Sabukaru, ��: https://sabukaru.online/articles/the-prescience-of-memory-in-akira-kurosawas-dreams

[crazybearstreamingvf]

Crazy Bear Streaming Film VF Complet Gratuit

Crazy Bear Regarder Film - https://crazy-bear-vf.blogspot.com/

L'intrigue de la comédie noire "Cocaine Bear" est basée sur les événements réels de 1985, lorsque l'avion de trafiquants de drogue s'est écrasé dans les forêts de Géorgie. La cocaïne s'est retrouvée dans les pattes d'un ours noir et a rendu le prédateur fou. Sous l'influence de la drogue, une énorme bête terrorise les policiers, les criminels, les touristes et les adolescents qui n'ont pas la chance de se trouver à proximité.

Avec un film comme celui-ci, le ton est tout. Elizabeth Banks, l'actrice devenue réalisatrice dont la production précédente comprend Pitch Perfect 2 et Charlie's Angels, en cherchant à élargir sa gamme au-delà des images centrées sur les femmes, l'obtient. Le public rit avec le film plutôt qu'avec lui. La violence est nécessairement exagérée, le sang coule librement et il y a juste assez de matériel sanglant (y compris des membres amputés, une tête décapitée et un éventré) pour planter Cocaine Bear fermement dans le territoire classé R et le maintenir là. Quant à l'aspect drogue… même si on ne peut pas dire que le film glorifie la cocaïne, il s'amuse un peu à assimiler ses pouvoirs réparateurs à ceux des épinards pour Popeye.

Bien qu'il y ait des étirements pendant Cocaine Bear lorsque les drapeaux d'élan en roue libre (le plus souvent lorsque ni Bear ni Margo Martindale ne sont à l'écran), il existe plusieurs décors fantastiques. L'un se concentre sur la croyance erronée selon laquelle grimper à un arbre pourrait être un bon moyen d'échapper à l'ours. Un autre implique une tentative de sauvetage par une paire d'EMT qui se transforme en une poursuite à grande vitesse. Un troisième explore ce qui se passe lorsque l'ours s'effondre inconscient sur quelqu'un.

Il y a un nombre élevé de corps, ce que l'on attend d'un film de ce genre. Étant donné qu'aucun des personnages n'est développé au-delà du point où le spectateur les considère comme plus que de la future nourriture pour ours, les larmes ne sont pas à venir. La chose la plus surprenante est peut-être que tout le monde survit. Cocaine Bear ne présente aucune star de la liste A, mais il a plusieurs noms reconnaissables – Kerri Russell, Margo Martindale, feu Ray Liotta, Alden Ehrenreich et O’Shea Jackson Jr. – dans des rôles ingrats. Bien que Martindale réussisse à voler quelques scènes, le film appartient à la créature du titre, qui a été créée principalement par des ordinateurs. La réaction individuelle variera. Ceux qui ont un sens de l'humour suffisamment déformé riront tout au long de la procédure. D'autres peuvent rire de temps en temps et être généralement satisfaits de ce que Cocaine Bear a à offrir pendant sa durée de fonctionnement svelte. D'autres encore seront confus par le film, le voyant comme un raté et n'adhérant pas entièrement à ce qu'il essaie de faire. Le titre est la clé. Quiconque assiste à un film intitulé Cocaine Bear avec de grandes attentes va être déçu. C'est un cas où il y a du vrai dans la publicité. Cocaine Bear est imparfait. Selon les normes cinématographiques traditionnelles, ce n'est probablement pas très bon. Mais c'est amusant et ne décevra pas beaucoup de ceux qui sont titillés par le titre.

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[lairreparablefugadeltiempo]

La roue (Abel Gance, 1922)

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My Movie Reviews of the Day:

• Our Hospitality (1923)

Directed By: John G. Blystone & Buster Keaton

Plot Summary: on a trip back to his childhood home, a man falls in love with a woman he meets on the train. However, that woman comes from a family who has vowed to kill every member of his family.

Where to Watch: YouTube

This film is one of Buster Keaton's best. It is an absolute masterpiece. The way he can command a screen without uttering one single word is completely unmatched. This film absolutely masters being both a comedy and a drama. The central plot is very dramatic, being very reminiscent of 'Romeo & Juliet' (except with a much happier ending); a man and a woman from to feuding families fall in love. They manage to perfectly offset this drama with the use of ironic comedy; Buster Keaton's character becomes a guest in the house of thr family who is trying to kill him. I was laughing my butt off yet still hanging on the edge of my seat during the chase scenes. Everyone should watch this film.

•La roue [translates to 'The Wheel'] (1923)

Directed By: Abel Gance

Plot Summary: a railway engineer adopts a young girl who was orphaned by a train crash. As she gets older, he battles with whether to tell her about her true parentage.

Where to Watch: an app called Kanopy. It is free to use. All you have to do is enter in your library card.

This film is not for the faint of heart, mostly due to the fact that it is sad, on top of sad, on top of even more sad. The movie starts off sad, and ends even more sad. However, this truly is a beautiful film. There are actually a lot of ties to Greek mythology in this film. The main character, Sisif, is derived from Sisyphus, who was punished to endlessly push a rock uphill by the gods. Similarly, Sisif's life seems to be an endless tragedy. There are also ties to Oedipus, as Sisif harbors incestuous desires towards his adoptive daughter. You can't help but admire Sisif's resilience throughout this almost five hour long film. He eventually marries his daughter off to a wealthy businessman, as it is the only way he can keep his desires at bay. While it pains him a great deal to send her away, he finds some form of solace in his work, as he is truly passionate about being a train engineer. Then, ab accident at work blinds him, and while it is completely devastating for him, it leads to his reunion with his daughter. In conclusion, while it may seem like asking someone to dedicate five hours of their life to a French silent film from the 1920s is a lot, I really suggest you give this film a try.

•Der Letzte Mann [translates to 'The Last Laugh'] (1924)

Directed By: F.W. Murnau

Plot Summary: an aging doorman faces the scorn of his neighbors, friends, and society after being fired from his job at a luxurious hotel.

Where to Watch: YouTube

I believe this film is an absolute must-watch because the ideas presented in this film can be easily translated to modern day, those ideas being the self-imposed importance on society and status. This film follows an older man who works as a doorman at a prestigious hotel, a job he is very proud to have. He wears his uniform with pride, that uniform becoming an extension of his own identity. He is not himself without it. However, after his age starts to interfere with his work, he his demoted to a lowly bathroom attendant. This absolutely devastates him. He went from a position where guests and friends looked up to him to being someone who is essentially invisible. No one usually takes a second glance at the man who hands you a hand-towel in the bathroom. The most devastating part of this whole ordeal is his uniform being taken away from him. His boss literally rips the jacket of his uniform off of him, thus also ripping his own sense of identity with it. After all, who is he without that uniform? After he is demoted, he is now at the bottom of the food chain, and everyone around him treats him as such. They laugh at him behind his back and give him no respect. These themes are absolutely still seen today. There are certain professions that are more highly regarded than others. Doctors, lawyers, CEOs, are people who are very often looked up to. They are treated with the utmost respect. People take one look at their uniform and they think, "Wow, they really did something with their life". Then, on the flip side of the coin, there are professions that are looked down upon. Mechanics, cashiers, house cleaners, are often treated with very little respect. People take one look at their uniforms and think, "Wow, they really must have slacked off. They could've been a doctor and yet they settled for being a cashier". In conclusion, watch this film.

[picturessnatcher]

La roue (Abel Gance, 1922)

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La Roue, Abel Gance (1923)

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MOVIE QUOTE OF THE DAY:

“This must be Hell. I can’t even die.”

Title card for Severin-Mars in La Roue

#LaRoue #AbelGance #Gance #SeverinMars #Moviequotes #MovieQuoteOfTheDay

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791 to go

Now, Voyager (1942, dir. Irving Rapper): God, I love a good mother-daughter melodrama, especially with a serving of doomed romance. Bette Davis is an all time great actress and this is an all time great makeover movie.

Footlight Parade (1933, dir. Lloyd Bacon): Obviously the best parts are the Busby Berkeley numbers at the end, especially By a Waterfall, but James Cagney is also electrifying to watch throughout.

Tampopo (1985, dir. Juzo Itami): Another new favorite discovered! I kept thinking about this movie for days after, it’s both incredibly silly and sincere and it balances its themes and tones perfectly! Also inspired me to try making ramen for the first time in my life and it turned out pretty good if I do say so myself!

The Great White Silence (1924, dir. Herbert Ponting): Incredible, haunting footage. I didn’t know how this expedition turned out so I was at the edge of my seat during the latter half. 

La Roue (1923, dir. Abel Gance): Did this need to be seven hours? There's some impressive cinematography and especially editing but I found the basic concept of the plot too disturbing to be compelling.

Caro Diario (1993, dir. Nanni Moretti): A quietly touching film. Made me wanna go to Italy real bad.

The Gleaners and I (2000, dir. Agnés Varda): Loved, loved, loved it but this is Varda so I expected nothing less. Her approach to documentary filmmaking was unrivalled.

Dr. Mabuse, the Gambler (1922, dir. Fritz Lang): Kind of reminded me of Les Vampires, though there's no one here as charming as Irma Vep. The cinematography was miles better though.

The Smiling Madame Beudet (1923, dir. Germaine Dulac): One of the earliest (if not the earliest?) entries directed by a woman. Emotionally devestating, if a little hard to follow at times due to unconventional narrative editing.

Up next: I've got The Man Who Fell to Earth and Last Year in Marienbad lined up. I've also been meaning to watch Lady Bird forever so maybe I'll finally get around to that.

[rachelmygod]

La roue-The wheel (Abel Gance, 1923)