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Re: Atrapado por su pasado (Carlito's Way, 1993)
Cierto. La secuencia en que se nos cuenta cómo el desdichado Winslow escapa de la prisión, va a parar al Paraíso y roba las piezas del disfraz, que está toda hecha desde el punto de vista del propio protagonista. O la secuencia de la bomba durante la actuación de los Juicy Fruits, con la pantalla partida, muy depalmiana.Iniciado por Branagh/Doyle
"People believe my folderol because I wear a turban and a black tuxedo [...] We're in show biz! It's all about razzle-dazzle. Appearances. If you dress nice and talk well, people will swallow anything."
"Waving the flag with one hand and picking pockets with the other: that's your patriotism. Well, you can have it." Alfred Hitchcock's Notorious.
"Haven't you any friends your age?-They bore me.-Why?-All they think about is Superman, cowboys..." Charles Chaplin's A King in New York.
Re: Atrapado por su pasado (Carlito's Way, 1993)
Esto es Sed de Mal, el coche con la bomba y tal... fíjate Jane que no te hacía yo mucho del cine de este hombre, con sus momentos tan over the top. Me alegra mucho que te guste.
What makes Megalopolis so strange and, for a big-budget Hollywood film, so singular, is that, just like Vergil’s Aeneid, it is at once accretive, allusive, and idiosyncratic because Coppola is attempting something very few artists have ever done: to speak from inside the imperial organism, even as it begins to crack, and to craft a vision that is both a monument to its grandeur and a requiem for its decline.
Re: Atrapado por su pasado (Carlito's Way, 1993)
Me queda bastante por ver, y me pasa con él un poco lo mismo que decía Marty, que con sus aciertos y errores, sus excesos y sus manierismos me parece un tanto irregular, tanto el conjunto de su obra como las películas en sí, aunque hay dos o tres que tengo bastante arriba, lo reconozco.
"People believe my folderol because I wear a turban and a black tuxedo [...] We're in show biz! It's all about razzle-dazzle. Appearances. If you dress nice and talk well, people will swallow anything."
"Waving the flag with one hand and picking pockets with the other: that's your patriotism. Well, you can have it." Alfred Hitchcock's Notorious.
"Haven't you any friends your age?-They bore me.-Why?-All they think about is Superman, cowboys..." Charles Chaplin's A King in New York.
Re: Atrapado por su pasado (Carlito's Way, 1993)
Mira, Jane:
What makes Megalopolis so strange and, for a big-budget Hollywood film, so singular, is that, just like Vergil’s Aeneid, it is at once accretive, allusive, and idiosyncratic because Coppola is attempting something very few artists have ever done: to speak from inside the imperial organism, even as it begins to crack, and to craft a vision that is both a monument to its grandeur and a requiem for its decline.
Re: Atrapado por su pasado (Carlito's Way, 1993)
O la escena de la escalinata en Los intocables, sin ir más lejos. Éso es El Acorazado Potemkin. Hasta en una peliculita chorra/cachonda/farsesca, como pueda parecer El Fantasma...se nota que De Palma ha visto mucho cine y que además, lo que es más difícil, lo ha asimilado:
"People believe my folderol because I wear a turban and a black tuxedo [...] We're in show biz! It's all about razzle-dazzle. Appearances. If you dress nice and talk well, people will swallow anything."
"Waving the flag with one hand and picking pockets with the other: that's your patriotism. Well, you can have it." Alfred Hitchcock's Notorious.
"Haven't you any friends your age?-They bore me.-Why?-All they think about is Superman, cowboys..." Charles Chaplin's A King in New York.
Re: Atrapado por su pasado (Carlito's Way, 1993)
Por eso digo que la obra de De Palma tiene mucho valor, aunque muchas veces el guión sea aparentemente chorra.
Última edición por Branagh/Doyle; 04/08/2017 a las 16:06
What makes Megalopolis so strange and, for a big-budget Hollywood film, so singular, is that, just like Vergil’s Aeneid, it is at once accretive, allusive, and idiosyncratic because Coppola is attempting something very few artists have ever done: to speak from inside the imperial organism, even as it begins to crack, and to craft a vision that is both a monument to its grandeur and a requiem for its decline.
Re: Atrapado por su pasado (Carlito's Way, 1993)
Yo reivindico siempre que puedo su Raising Cain, de la que Shyamalan bebe mucho en su última peli.
A todo esto, ¿podríamos pasarnos al hilo de DePalma, no? Que a mí no me importa, pero si hablamos del resto de su filmografía me parece más propio.
Re: Atrapado por su pasado (Carlito's Way, 1993)
Respecto a la secuencia que dices de las piezas del disfraz , exacto, a esa me refería. Me alucinó por completo.
What makes Megalopolis so strange and, for a big-budget Hollywood film, so singular, is that, just like Vergil’s Aeneid, it is at once accretive, allusive, and idiosyncratic because Coppola is attempting something very few artists have ever done: to speak from inside the imperial organism, even as it begins to crack, and to craft a vision that is both a monument to its grandeur and a requiem for its decline.
Re: Atrapado por su pasado (Carlito's Way, 1993)
Por si quereis refrescar el trabajo de Doyle:
https://open.spotify.com/album/2dM4rK10bJH2aAyjseXxNI
What makes Megalopolis so strange and, for a big-budget Hollywood film, so singular, is that, just like Vergil’s Aeneid, it is at once accretive, allusive, and idiosyncratic because Coppola is attempting something very few artists have ever done: to speak from inside the imperial organism, even as it begins to crack, and to craft a vision that is both a monument to its grandeur and a requiem for its decline.
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