Excellent Whole Movies Available on the Internet

Re: Excellent Whole Movies

The Forty-First.
Classic of the Soviet cinema.

(Russian: Сорок первый, translit. Sorok pervyy) is a 1956 Soviet film based on the eponymous novel by Boris Lavrenyev. nominated for the Palme d'Or.[7]

Winner of a special prize at the 1957 Cannes Film Festival, film stands out for it's hunting imagery so brilliantly captured by a genius DP. DP - Sergey Urusevskiy.

plot:
In 1919, during the Russian Civil War, a small force of Red Army soldiers that survived a crushing defeat by the Whites is forced to flee into the Karakum Desert. Among them is female sniper Maria, who has already claimed thirty-eight enemies dead. When the unit ambushes a camel caravan transporting White soldiers, she kills two of them and tries to shoot their officer, who will be her forty-first, but misses. Wiki. (Edited for not spoil).

In its premiere this film attracted 25.1 of spectators in the Soviet union.

www.youtube.com/watch?v=jMmwgEwsPd8
 
Re: Excellent Whole Movies

caballero reyes said:
The Forty-First.
Classic of the Soviet cinema.

(Russian: Сорок первый, translit. Sorok pervyy) is a 1956 Soviet film based on the eponymous novel by Boris Lavrenyev. nominated for the Palme d'Or.[7]

Winner of a special prize at the 1957 Cannes Film Festival, film stands out for it's hunting imagery so brilliantly captured by a genius DP. DP - Sergey Urusevskiy.

plot:
In 1919, during the Russian Civil War, a small force of Red Army soldiers that survived a crushing defeat by the Whites is forced to flee into the Karakum Desert. Among them is female sniper Maria, who has already claimed thirty-eight enemies dead. When the unit ambushes a camel caravan transporting White soldiers, she kills two of them and tries to shoot their officer, who will be her forty-first, but misses. Wiki. (Edited for not spoil).

In its premiere this film attracted 25.1 of spectators in the Soviet union.

www.youtube.com/watch?v=jMmwgEwsPd8

Thanks for the suggestion of this movie. Deeply romantic. A tragic ending but how could it be otherwise in their circumstances? This movie will be one of favorites.

Also I think is illustrates what usually happens when sworn enemies meet face to face. They find that the people on the other side are just like they are. They have hopes, dreams, can love and share. Ideology is an ugly thing that creates illusionary barriers between people.

Mac
 
Re: Excellent Whole Movies

ABOUT FOOD.

BABETTE'S FEAST. 1987 Danish drama film directed by Gabriel Axel.

In 19th century Denmark, two adult sisters live in an isolated village with their father, who is the honored pastor of a small Protestant church that is almost a sect unto itself. Although they each are presented with a real opportunity to leave the village, the sisters choose to stay with their father, to serve to him and their church. After some years, a French woman refugee, Babette, arrives at their door, begs them to take her in, and commits herself to work for them as maid/housekeeper/cook. Sometime after their father dies, the sisters decide to hold a dinner to commemorate the 100th anniversary of his birth. Babette experiences unexpected good fortune and implores the sisters to allow her to take charge of the preparation of the meal. Although they are secretly concerned about what Babette, a Catholic and a foreigner, might do, the sisters allow her to go ahead. Babette then prepares the feast of a lifetime for the members of the tiny church and an important gentleman related to one of them.
- Written by Ed Cannon

https://www.youtube.com/watch?v=zpfIB0dQsok
 
Re: Excellent Whole Movies

caballero reyes said:
ABOUT FOOD.

BABETTE'S FEAST. 1987 Danish drama film directed by Gabriel Axel.

In 19th century Denmark, two adult sisters live in an isolated village with their father, who is the honored pastor of a small Protestant church that is almost a sect unto itself. Although they each are presented with a real opportunity to leave the village, the sisters choose to stay with their father, to serve to him and their church. After some years, a French woman refugee, Babette, arrives at their door, begs them to take her in, and commits herself to work for them as maid/housekeeper/cook. Sometime after their father dies, the sisters decide to hold a dinner to commemorate the 100th anniversary of his birth. Babette experiences unexpected good fortune and implores the sisters to allow her to take charge of the preparation of the meal. Although they are secretly concerned about what Babette, a Catholic and a foreigner, might do, the sisters allow her to go ahead. Babette then prepares the feast of a lifetime for the members of the tiny church and an important gentleman related to one of them.
- Written by Ed Cannon

https://www.youtube.com/watch?v=zpfIB0dQsok

This one is a particular beautiful movie that I wanted to see again. There is in the movie some scenes that made me understand what is Grace and Simplicity. Babette is really a fantastic character, giving the best of her, expecting nothing. The village, the people... thanks to her this feast of friendship and something more... Really cute. This story is based on a short story by Karen Blixen in her book of short stories " Anecdotes of destiny".

Thanks Caballero Reyes!
 
Re: Excellent Whole Movies

The clitoris.

http://www.playgroundmag.net/cultura/animacion-explica-necesitas-saber-clitoris_0_1997800211.html?utm_source=facebook.com&utm_medium=post&utm_campaign=original
 
Re: Excellent Whole Movies

The Scent of Green Papaya (Vietnamese: Mùi đu đủ xanh, French: L'Odeur de la papaye verte) is a 1993 Vietnamese-language film produced in France by Lazennec Production, directed by Vietnamese-French director Tran Anh Hung.

Mui is a girl who comes from her town to Saigon to work as a servant in a middle class house in 1951. So this story goes before the guerrilla war began actions to free Vietnam from French colonialism.
But there is no political message in the film, the first Vietnamese I have memory of, before I would say the message is philosophical or mystical.
Mui does his homework with joy and pleasure. He loves the smell of the green papaya fruit and after scratching the pulp, he opens the fruit in two to admire his seeds. He is oblivious to the mischief that makes him the youngest child in the house, but he can not avoid being in contact with family dramas that happen in the family where he is serving.
Every so often, the husband, who spends his days playing the lute, takes all the money and disappears for a while. The woman must survive as she can with her fabric sale store. The mother-in-law says that it is her fault that she has not been able to support her husband.
Mui likes to observe nature. Frogs on leaves, crickets and even ants in their endless work.
To the filmmaker, the story lends him the desired opportunity to film that incredible house, full of stairs, bars and windows. So he films from the first floor what is seen through a window that is happening in the street. In a very "Fassbinder" style, the camera eye rotates through the environments and around people and builds with colors and sensations, a symphony of love for life.
The dramas, the deaths and the pains happen, as life itself happens and Mui receives from his mistress the promise that will visit his mother in three years.
When he drops a porcelain vase costly and breaks into a thousand pieces, the nurse caresses his head and tells him not to worry, but Mui cries for the pain of loss.
The life goes on and in the last part of the film, we see how Mui, and a young woman formed, happens to work in the house of a pianist, friend of the eldest son of the previous house. Mui is secretly in love with the pianist. He begins to pay attention to it, draws it, and Mui discovers the drawing he has made of it.
The music, beautifully intertwined with the images, brings to the spectator a softness more where to recline the soul. Delightfully sweet and full of peace, "The smell of the green papaya" deserves to be seen without a doubt.

From the blog: Interesting cinema.Interesting films that I see and learn from them.

www.youtube.com/watch?v=YdT3vhV3DyY
 
Re: Excellent Whole Movies

The Asthenic Syndrome (Astenicheskij Sindrom) 1989 directed by Kira Muratova.

from wiki:
The asthenia (from the Greek α [a] -alpha privativo: "lack", and σθένος [sthénos]: "force", "power") 1 is a symptom present in several disorders, characterized by a generalized feeling of fatigue , Fatigue, physical and mental weakness; With the main incidence among people aged 20-50 years, and greater prevalence in women than in men.
"Prolonged asthenia" can lead to the diagnosis of chronic fatigue syndrome.

The film consists of two unrelated stories: one is shot in black-and-white and the other in colour.
In the first story a woman who recently buried her husband is in a constant state of depression (and sometimes even direct aggression) ends up facing people like her, who are on the verge of a nervous breakdown.
The hero of the second story is a school teacher. As a result of personal predicaments and problems at work he has gotten the Asthenic Syndrome – he falls asleep at the most inappropriate times. He is admitted to the hospital for the mentally ill where he gains the understanding that the people around him there are not any crazier than those who live in freedom. After some time he is released and he ends up falling asleep on the subway. The empty wagon takes away the sleeping man into a dark tunnel.

https://www.youtube.com/watch?v=GqKRQbHuUfU
 
Re: Excellent Whole Movies

Masters Of Cinema
Films that you should see.

THREE OF GENIUS DREYER. Carl Theodor Dreyer (Copenhague; 3 de febrero de 1889 – ibídem, 20 de marzo de 1968)

MASTER OF THE HOUSE
https://www.youtube.com/watch?v=YyBExdZhSNs

FROM Criterion Collection.-

Master of the House,an enormous box-office success in its day,is a jewel of the silent cinema.

From Cine Blog.-

The actors, Johannes Meyer, Astrid Holm, Karin Nellemose, Mathilde Nielsen, Johannes Nielsen, Petrine Sonne participate in this remarkable silent film of the Danish master Dreyer (Deus Irae), who always had a special interest in analyzing the dynamics of the relations between both Sexes. In many ways, this film is about a female rebellion and put their nest in order.

Viktor is an unfortunate man who makes his beloved family unhappy. Two children and his wife attend to him the best they can, but without success. On the contrary, Viktor tortures his family, despises his wife and punishes his son facing the wall by dirtying his shoes playing football. Nana, a grandmother gives the idea to the unfortunate Ida, separate and give a good lesson to your husband's monster. Very much in spite of her she hides in her parents' house, she takes the children and Víktor is alone at home, well not alone, with Nana the most important personage.

The unhappy mother's departure reflects the morality play in which this great film undoubtedly stands, showing us the husband's growing awareness of the mistakes made, both by the reaction to the absence of his wife and by the intervention Decisive of Nana and the eldest daughter of marriage. In this second half of the film, Dreyer continues to give dramatic and discursive, symbolic entity to objects, and it is already in 1925 that the study of the infinite possibilities of the human face is one of his main creative interests (and stylistic imprint) , Because the camera is dedicated with joy to study the two actors, the husband and Nana, called to live together and understand each other, to reveal the change of mood and predisposition of one and the other.

Dreyer enshrines a microscopic look at human and family relationships, builds a history of high-voltage intimacy and a heavy, often oppressive, psychological climate. This is from the diaphanous staging, from the naturalist bust that crosses the images from beginning to end:

I have already said that Dreyer invites us - from the foreground of the film - to enter the family home, and his camera It interferes in all orders of the domestic, drawing from the most insignificant details and objects the dense architecture of the family context, social behavior, human. The legacy of the film, immense, lies in the universality of the issues it handles (let's not forget that we are in the field of the lack of communication between spouses and the psychological torture to which one subjects the other, causes and
consequences of something As sadly current as violence in the family), and in the ease and wisdom in its treatment in images,the crystalline transcription of the values ??that Dreyer intends to instill in the viewer.

From wiwki
Viktor Frandsen, embittered by losing his business, is a tyrant at home, constantly criticizes his patient, hard-working wife Ida and their three children. He does not appreciate the effort it takes to maintain a household. While his wife is resigned and browbeaten, his old nanny, nicknamed "Mads" by all, openly defends her. When Ida's mother, Mrs. Kryger, pays a visit, he is very rude to her. Finally, he issues an ultimatum: either Mrs. Kryger and the openly hostile Mads (who regularly helps the family) are gone by the time he returns, or the marriage is over.

Mads orchestrates a plan that will force him to rethink his notions of being the head of a household. With the help of Mrs. Kryger, she persuades a very reluctant Ida to go away for a while and rest, while she sees to Viktor and the children. Then, she institutes a new regime, ordering Viktor to take over many of Ida's duties; Viktor obeys, cowed by his memories of the strict discipline she imposed on him when he was a child in her care. Meanwhile, Ida, no longer distracted by her many duties, feels the full misery of her situation and has a breakdown.


VAMPYR (1932) Carl Theodor Dreyer
https://www.youtube.com/watch?v=pz5aW_IqmMw

fROM WIKI
Vampyr or Vampyr - Der Traum des Allan Grey is a Franco-German film directed by Carl Theodor Dreyer in 1932. Initially shot as a silent film, it was later added the few dialogues it contains, both in German and In French and in English. It is a free adaptation of Sheridan Le Fanu's 1872 novel Carmilla.


Between an aura of horror story, pregnant with supernatural elements, the story of Allan Gray, a young man absorbed in the study of demonology and vampiric traditions, unfolds. His interest in the extravagant ideas of centuries past made him a dreamer and a fancier, lost on the border between the real and the supernatural. One day, wandering aimlessly late into the night, he arrives at an isolated inn near a river, in the village of Courtempierre. Little by little he discovers that strange happenings occur in the town: murders, sudden and inexplicable diseases ... in addition to the presence of strange creatures. Allan is required to help one of the daughters of Bernard, the castle owner. After a blood transfusion to save the young woman, a debilitated Allan begins to undergo hallucinations, seeing to itself being buried alive. Recovered, he discovers that everything is due to the presence in the village of an old vampire witch, who is nailed to a stake in the chest when he sleeps in his grave of the cemetery.



THE PASSION OF JOANN OF ARC"
https://www.youtube.com/watch?v=CxJSGMK9yRE

Roger Ebert
February 16,1997.

You cannot know the history of silent film unless you know the face of Renee Maria Falconetti. In a medium without words, where the filmmakers believed that the camera captured the essence of characters through their faces, to see Falconetti in Dreyer's "The Passion of Joan of Arc” (1928) is to look into eyes that will never leave you.

Falconetti (as she is always called) made only this single movie. "It may be the finest performance ever recorded on film,” wrote Pauline Kael. She was an actress in Paris when she was seen on the stage of a little boulevard theater by Carl Theodor Dreyer (1889-1968), the Dane who was one of the greatest early directors. It was a light comedy, he recalled, but there was something in her face that struck him: "There was a soul behind that facade.” He did screen tests without makeup, and found what he sought, a woman who embodied simplicity, character and suffering.

Dreyer had been given a large budget and a screenplay by his French producers, but he threw out the screenplay and turned instead to the transcripts of Joan's trial. They told the story that has become a legend: of how a simple country maid from Orleans, dressed as a boy, led the French troops in their defeat of the British occupation forces. How she was captured by French loyal to the British and brought before a church court, where her belief that she had been inspired by heavenly visions led to charges of heresy. There were 29 cross-examinations, combined with torture, before Joan was burned at the stake in 1431. Dreyer combined them into one inquisition, in which the judges, their faces twisted with their fear of her courage, loomed over her with shouts and accusations.

If you go to the Danish Film Museum in Copenhagen you can see Dreyer's model for the extraordinary set he built for the film. He wanted it all in one piece (with movable walls for the cameras), and he began with towers at four corners, linked with concrete walls so thick they could support the actors and equipment. Inside the enclosure were chapels, houses and the ecclesiastical court, built according to a weird geometry that put windows and doors out of plumb with one another and created discordant visual harmonies (the film was made at the height of German Expressionism and the French avant-garde movement in art).

It is helpful to see the model in Copenhagen, because you will never see the whole set in the movie. There is not one single establishing shot in all of "The Passion of Joan of Arc,” which is filmed entirely in closeups and medium shots, creating fearful intimacy between Joan and her tormentors. Nor are there easily read visual links between shots. In his brilliant shot-by-shot analysis of the film, David Bordwell of the University of Wisconsinconcludes: "Of the film's over 1,500 cuts, fewer than 30 carry a figure or object over from one shot to another; and fewer than 15 constitute genuine matches on action.”

What does this mean to the viewer? There is a language of shooting and editing that we subconsciously expect at the movies. We assume that if two people are talking, the cuts will make it seem that they are looking at one another. We assume that if a judge is questioning a defendant, the camera placement and editing will make it clear where they stand in relation to one another. If we see three people in a room, we expect to be able to say how they are arranged and which is closest to the camera. Almost all such visual cues are missing from "The Passion of Joan of Arc.”

Instead Dreyer cuts the film into a series of startling images. The prison guards and the ecclesiastics on the court are seen in high contrast, often from a low angle, and although there are often sharp architectural angles behind them, we are not sure exactly what the scale is (are the windows and walls near or far?). Bordwell's book reproduces a shot of three priests, presumably lined up from front to back, but shot in such a way that their heads seem stacked on top of one another. All of the faces of the inquisitors are shot in bright light, without makeup, so that the crevices and flaws of the skin seem to reflect a diseased inner life.

Falconetti, by contrast, is shot in softer grays, rather than blacks and whites. Also without makeup, she seems solemn and consumed by inner conviction. Consider an exchange where a judge asks her whether St. Michael actually spoke to her. Her impassive face seems suggest that whatever happened between Michael and herself was so far beyond the scope of the question that no answer is conceivable.

Why did Dreyer fragment his space, disorient the visual sense and shoot in closeup? I think he wanted to avoid the picturesque temptations of a historical drama. There is no scenery here, aside from walls and arches. Nothing was put in to look pretty. You do not leave discussing the costumes (although they are all authentic). The emphasis on the faces insists that these very people did what they did. Dreyer strips the church court of its ritual and righteousness and betrays its members as fleshy hypocrites in the pay of the British; their narrow eyes and mean mouths assault Joan's sanctity.

That he got it is generally agreed. Perhaps it helps that Falconetti never made another movie (she died in Buenos Aires, Argentina, in 1946). We do not have her face in other roles to compare with her face here, and the movie seems to exist outside time (the French director Jean Cocteau famously said it played like "an historical document from an era in which the cinema didn't exist”).

To modern audiences, raised on films where emotion is conveyed by dialogue and action more than by faces, a film like "The Passion of Joan of Arc” is an unsettling experience--so intimate we fear we will discover more secrets than we desire. Our sympathy is engaged so powerfully with Joan that Dreyer's visual methods--his angles, his cutting, his closeups--don't play like stylistic choices, but like the fragments of Joan's experience. Exhausted, starving, cold, in constant fear, only 19 when she died, she lives in a nightmare where the faces of her tormentors rise up like spectral demons.

Perhaps the secret of Dreyer's success is that he asked himself, "What is this story really about?” And after he answered that question he made a movie about absolutely nothing else.

An excellent essay by Matthew Dessem on "The Passion of Joan of Arc" here:
http://criterioncollection.blogspot.com/2006/11/62-passion-of-joan-of-arc.html
This is part of his undertaking to watch and write about every film in the Criterion Collection.
 
Re: Excellent Whole Movies

Notes on the previous reply.

I think that C.C.'s commentary is not accurate, "Master of the house" is not only a jewel of silent movies but it IS a jewel of Cinema and period.

"The legacy of the film, immense, lies in the universality of the issues it handles", this sentence does justice to the film.

It removes sound to most "modern" movies as if they were silent films and you realize the true value they have.

Sound / Noise manipulator And Programmer especially in the "action" or "super heroes" films, without sound, they lose half the quality and some seem frankly ridiculous, you can do the test.



In the last paragraph of the commentary of Cine Blog, some question marks are wrong,the correct paragraph is._

"I have already said that Dreyer invites us - from the foreground of the film - to enter the family home, and his camera It interferes in all orders of the domestic, drawing from the most insignificant details and objects the dense architecture of the family context, social behavior, human. The legacy of the film, immense, lies in the universality of the issues it handles (let's not forget that we are in the field of the lack of communication between spouses and the psychological torture to which one subjects the other,causes and consequences of something as sadly current as violence in the family), and in the ease and wisdom in its treatment in images,the crystalline transcription of the values that Dreyer intends to instill in the viewer".

Regarding "Vampyr", it has an innovation that consists in the first use of the subjective camera / plane. It is used several times from min.59.26 to 1.02.50.
The subjective camera / plane is as if the camera were in the eyes of the subject that is watching.
 
Re: Excellent Whole Movies

Thanks for this Caballero Reyes. Now I remember the movie Ordet. I remember when I saw it the first time I was really surprise how good it was. I was beginning to see movies coming from North of Europe and Ordet was really something that till now I remember. Specially the images, the expressions of the actors, the point of vue of the camera to make us feel what was inside the characters.
 

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Re: Excellent Whole Movies

You are welcome, Loreta.

About the work you do in that prison, in addition to reading, and ignoring the rules of that prison, I think that projecting films appropriate to the rules of that prison, would be very convenient to increase the culture of the prisoners.

For your opinions written in this forum, we know you know how to choose the type of books and films appropriate to the various circumstances.
 
Re: Excellent Whole Movies

Thanks so much all of you for all your movie tips.

These are movies i very much enjoyed watching:

TRANSAMERICA (2005, Director: Duncan Tucker

Story about a woman in the latest phase of becoming a woman, finds out (s)he fathered a son long before, who is hustling the streets of NYC. She journeys to get him out of there and together they take a road trip across the USA. Beautiful story about a complicated relationship, which gets even more special when the (grand)parents enter the scene.

Trailer: https://www.youtube.com/watch?v=PPbGIErXKpE


TOUR DE FORCE (2014), Director: Christian Zubert

German movie. Story about a man who is suffering from ALS taking a last cycling-tour with his close friends to Belgium where euthanasia is legal. Very moving and beautifully portrays all types of relationships the friends go through.

Trailer: https://www.youtube.com/watch?v=AjtGCad0PQ

THE VISITOR (2007), Director: Tom McCarthy

From:IMDB
In Connecticut, lonely widowed Professor Walter Vale has a boring life. He teaches only one class at the local college and is trying to learn how to play the piano, despite not having the necessary musical talent. Walter is assigned to attend a conference about Global Policy and Development at New York University, where he is to give a lecture about a paper on which he is co-author. When he arrives at his apartment in New York, he finds Tarek Khalil, a Syrian musician, and Zainab, a Senegalese street vendor, living there. He sympathizes with the situation of the illegal immigrants and invites the couple to stay with him. Tarek invites him to go to his gig at Jules Live Jazz. Walter is fascinated with his African drum and Tarek offers to teach Walter to play the drum. However, after an incident in the subway, Tarek is arrested by the police and sent to a detention center for illegal immigrants. Walter has just hired a lawyer to defend Tarek when, out of the blue, Tarek's mother Mouna ... Written by Claudio Carvalho, Rio de Janeiro, Brazil

Trailer: https://www.youtube.com/watch?v=KY0FEt3mBog
 
Re: Excellent Whole Movies

Is this thread for recommendations of whole movies, or recommendations of wholesome movies?
 
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