Tråden om krigsfilm eller: Hvordan jeg lærte at hade Dunkirk

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yossarian
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Re: Tråden om krigsfilm eller: Hvordan jeg lærte at hade Dun

#31 Post by yossarian » 06.08.2017 22:18:45

Cross of Iron er en af de mest mandige film nogensinde, og fortjener at blive namedropped alene af den grund. Peckinpah, mand!

Patton kan vel med en vis ret hævdes at være en krigsfilm? Det er vist den bedste "episke" WW2-film (i stil med Broen ved Arnhem, The Longest Day osv.) jeg kan komme i tanke om, men det siger jo heller ikke så meget.

edit: Peckinpahs wiki-billede:
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Re: Tråden om krigsfilm eller: Hvordan jeg lærte at hade Dun

#32 Post by jegharfangetmigenmyg » 07.08.2017 08:08:55

@Maryjane: Jeg har ikke sest Jacob's Ladder, så det vil jeg ikke gøre mig klog på.

@yossarian: Cross of Iron har været oppe at vende. Den er god, men jeg synes ikke, at det er en af verdens bedste krigsfilm... Patton er også god, men også maaaajet lang. Lidt ligesom The Longest Day, Broen over Arnhem og alt af David Lean. Det er jo sådan nogle julefilm, man ser med familien, når man ikke rigtig skal koncentrere sig om filmene, men bare æde og æde og æde i tre timer i streg.
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Re: Tråden om krigsfilm eller: Hvordan jeg lærte at hade Dun

#33 Post by jegharfangetmigenmyg » 11.08.2017 15:27:36

Filmprofessor David Bordwell beg to differ mht. Dunkirk. Nøj, hvor der gokkes: http://www.davidbordwell.net/blog/2017/ ... ent-movie/

Men mange af hans ting var godt nok også trælse at læse på filmvidenskab.
Rolling Stone wrote:Modern Trivia: Michael Jackson claims he wrote many of his hits in a tree.

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Re: Tråden om krigsfilm eller: Hvordan jeg lærte at hade Dun

#34 Post by rikke p » 18.08.2017 21:18:22

Forlovet med verdens dejligste fyr! Life IS beautiful.

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Re: Tråden om krigsfilm eller: Hvordan jeg lærte at hade Dun

#35 Post by Kong Louie » 19.08.2017 21:41:55

Krigsfilm er en fed genre. Jeg har lige været inde og se netop Dunkirk; herlig underholdning. Min personlige krigsfilmsfavorit? Ørneborgen.
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Re: Tråden om krigsfilm eller: Hvordan jeg lærte at hade Dun

#36 Post by Kong Louie » 19.08.2017 22:38:55

Three Kings er også fantastisk.
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Marcus
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Re: Tråden om krigsfilm eller: Hvordan jeg lærte at hade Dun

#37 Post by Marcus » 23.08.2017 15:15:08

Ørneborgen og Navarones kanoner, så er man meget godt kørende. Regner ikke med at Top Gun tæller med.

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Re: Tråden om krigsfilm eller: Hvordan jeg lærte at hade Dun

#38 Post by La Mouche » 12.09.2017 11:41:25

restaureringen af Klimov's "Come and See" er åbenbart god, den vandt førsteprisen for bedste restaurering i Venedig.

http://www.blu-ray.com/news/?id=22056

Blu-rays coming up!... sandsynligvis.
Mosfilm's brand new restoration of Elem Klimov's war drama Come and See (1985) has won the Best Restored Film Award at Venice Classics. The restoration was overseen by Karen Shakhnazarov.

Currently, no preliminary plans have been made public for an upcoming North American Blu-ray release of the new restoration.

Synopsis: A crowning achievement of 1980's Soviet cinema, Elem Klimov's Come and See is perhaps the ultimate WWII film. This savage and lyrical fever dream of death, rage and terror experienced through young eyes is a virtual primer for the subsequent, similarly psychedelic intensity of Terrence Malick's The Thin Red Line and Spielberg's Saving Private Ryan. Klimov's elegant, harrowing union of unflinching ferocity and dreamlike clarity moved Empire of the Sun author J.G. Ballard to declare Come and See's nimble balance of the sordid with the elegiac makes Peckinpah's Cross of Iron seem like Newsies.

When young Florya willingly joins a group of Partisans fighting the Nazis in Byelorussa, USSR, he little suspects that he is plunging through the looking glass. Separated from his comrades during a paratroop attack and struck deaf by German artillery, Florya - in the company of Glascha, a beguiling peasant girl - wanders a battle-scorched Russian purgatory of prehistoric forests and man-made slaughter. Florya's journey takes him and us through a gallery of exquisitely poetic imagery and brutal human atrocity.

Unlike traditional war films, Come and See never stoops to convenient heroic catharsis or genre movie narrative symmetry. Images of a beautiful girl's impromptu dance in the rain and an SS unit's spontaneous, self-congratulatory applause at their own butchery haunt with equal power. More than any other war film, Come and See unites the powerful truths and inescapable dilemmas that lurk behind both the raptures of youth and the horrors of war.

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