... waiting for the 9PM viewing sked with my friend Paul at Coffee Bean and Tea Leaf...
We have just made a masterpiece?
Ciao! ****
UPDATE as of Jan. 20, '10, an hour and a few minutes ago after Avatar (Cameron, 2009) --- A 100% fresh for me but I have encountered some problems on form (its themes and 'stereotypes') and style (3D filmmaking). I will talk about it maybe this week...
Everybody drools over Blake Edward's Breakfast at Tiffany's (1961) because everybody loves it. I am everybody. And with a sheer amount of joy, after 20 years of existence, i would say that i have never seen such an opening as Holly Golightly (Audrey Hepburn) walking out of a cab...
in long shot...
then a low-angle shot...
and booom! There is Audrey Hepburn's name screaming in the frame... and she walks like a doll towards that window because her dress is too tight...
and boom again! "in BREAKFAST AT TIFFANY's" flashed all over the screen... and she literally had breakfast, with coffee and some bun, at Tiffany's...
I thought the movie would end there but no...
And she continued eating her breakfast and...
yes, it was based on the novel by TRUMAN CAPOTE...
Yes, it's Truman Capote and Marilyn dancing...
No wonder why Paul Varjak, played by George Peppard, get so naked here because everyone knows how Capote likes the idea... (no offense)
and Audrey Hepburn sings 'Moon River' and the film won Oscar Award for Best Song
Everybody should not forget Mr. Yunioshi in his promising performance...
Before I plunge again into La Grande Illusion (1937), i have to acknowledge this movie that save it all. So what more can i say? Well, Breakfast is absolutely gorgeous and chic, typical mainstream film from Hollywood in the 1960s. I have always love Breakfast for being so stylish in everything, and i have never seen Manhattan so bright and shinny. Oh how i love New York!
I do love New York.
And when this final scene came, i totally fell of my chair...
Introducing the TOUGH GUY --- the nameless, poor cat!
"Holly: STOP THE CAB. WHAT DO YOU THINK? THIS OUGHT TO BE THE RIGHT PLACE FOR A TOUGH GUY LIKE YOU-- GARBAGE CANS, RATS GALORE.
"PAUL: DRIVER... PULL OVER HERE. YOU KNOW WHAT'S WRONG WITH YOU, MISS WHOEVER-YOU-ARE? YOU'RE CHICKEN. YOU GOT NO GUTS. YOU'RE AFRAID TO SAY, "O.K., LIFE'S A FACT." PEOPLE DO FALL IN LOVE. PEOPLE DO BELONG TO EACH OTHER, BECAUSE THAT'S THE ONLY CHANCE ANYBODY'S GOT FOR REAL HAPPINESS. YOU CALL YOURSELF A FREE SPIRIT, A WILD THING. YOU'RE TERRIFIED SOMEBODY'S GOING TO STICK YOU IN A CAGE. WELL, BABY, YOU'RE ALREADY IN THAT CAGE. YOU BUILT IT YOURSELF. AND IT'S NOT BOUNDED BY TULIP, TEXAS, OR SOMALILAND. IT'S WHEREVER YOU GO. BECAUSE NO MATTER WHERE YOU RUN, YOU JUST END UP RUNNING INTO YOURSELF.
HERE. I'VE BEEN CARRYING THIS THING AROUND FOR MONTHS. I DON'T WANT IT ANYMORE."
with a particular focus on avant-garde filmmaking...
British Cinema is born
I often associate myself to a particular archetypal rebel of modernity after refusing over ten to fifteen invitations from friends and classmates on the premiere of Harry Potter and the Half-Blood Prince due sometime this week (or is it this coming Saturday). Instead, i found myself obsessed with early 1900s films. My fascination with avant-garde filmmaking (here and here) achieved orgasm after watching another Vertov, his masterpiece, Man with a Movie Camera (1929).
We have just made a masterpiece?
