A shark if it walks out of the water

You might wanna go easy on the sharks.
Why?
Don't scare the tourists.
The rule is, it's a shark if it walks out of the water, stops traffic, and bites a cop.
If they're just swimming , call them fish.
Okay. Fish-infested waters.
 
Dovresti andarci caIma con gIi squaIi.
Perché?
Non spaventare i turisti.
La regoIa è: è uno squaIo se esce daII'acqua e morde un poIiziotto.
Se nuotano soIamente intorno, si chiamano pesci.
Ok. ''Acque infestate da pesci.''

Sidney Pollack, Absence of Malice (Diritto di cronaca), 1981

 

The rich win, the poor are powerless. We become... tired of hearing people lie.

Well ...
You know, so much of the time, we're just lost.
We say "Please, God ... tell us what is right, tell us what is true."
I mean, there is no justice.
The rich win, the poor are powerless.
We become... tired of hearing people lie.
And after a time we become dead.
A little dead. We think of ourselves ... as victims. And we become victims.
We become... we become weak.
We doubt ourselves, we doubt our beliefs. We doubt our institutions.
And we doubt the law.
But today you are the law. You are the law.
Not some book, not the lawyers.
Not a marble statue ... or the trappings of the court.
See, those are just symbols ... of our desire ... to be just.
They are ... they are, in fact, a prayer.
I mean, a fervent and a frightened prayer.
In my religion ... they say "Act as if ye had faith ... and faith will be given to you."
If ... if we are to have faith in justice ... we need only to believe in ourselves ... and act with justice.
See, I believe there is justice in our hearts.
 
Bene …
Per la maggior parte del tempo siamo smarriti.
Chiediamo: "Ti prego, Signore, indicaci cos'è giusto, qual è la verità".
Non c'è giustizia.
I ricchi vincono e i poveri sono impotenti.
Siamo stanchi di sentire menzogne.
E cominciamo a morire dentro. A morire un po'.
Pensiamo a noi stessi come a delle vittime. E lo diventiamo.
Diventiamo ... Diventiamo deboli.
Dubitiamo di noi stessi, e di ciò in cui crediamo. Dubitiamo delle istituzioni.
E dubitiamo della legge.
Ma oggi siete voi la legge. Siete voi la legge.
Non un manuale o un avvocato. Non una statua di marmo, o gli emblemi della corte.
Quelli sono solo simboli del nostro desiderio di essere giusti.
Sono una preghiera. Una preghiera fervente e impaurita.
Nella mia religione si dice: "Agisci come se avessi fede, e fede ti sarà data".
Se per avere fede nella giustizia dobbiamo solo credere in noi stessi, e agire con giustizia.
Credo che ci sia giustizia nei nostri cuori.
 
Sidney Lumet/ David Mamet/Paul Newman, The Verdict (Il verdetto), 1982

木下惠介 映画本 - Kinoshita Keisuke film book

Directed by 

木下惠介 Kinoshita Keisuke

1912 - 1998

one of the most prolific postwar directors at Shochiku’s Ofuna studios, 

producing 42 films in 23 years

https://ja.wikipedia.org/wiki/%E6%9C%A8%E4%B8%8B%E6%83%A0%E4%BB%8B

https://en.wikipedia.org/wiki/Keisuke_Kinoshita

 

鬼畜 [The Demon] 1978 - 出典: フリー百科事典 French Connection II] 1975

野村 芳太郎 Yoshitarō Nomura 鬼畜, The Demon, 1978

本名 John Frankenheimer, 出典: フリー百科事典『ウィキペディア, French Connection II, 1975

岩下志麻, Iwashita Shima

緒形 明伸 Ken Ogata

本名はユージーン・アレン・ハックマン Gene Hackman

1967: Cassio, Iago, Roderigo, PPP, Otello

From left to right: 

Franco Franchi (1928 - 992), Totò (1898 - 1967) Ciccio Ingrassia (1922 - 2003),

Pier Paolo Pasolini (1922 - 1975), Ninetto Davoli (1948)

 

若松孝二 会う 塞吉歐·李昂尼 - Koji Wakamatsu meet Sergio Leone

 Screenshot from: 現代好色伝　テロルの季節 Season of Terror (1969) Koji Wakamatsu

狂沙十萬里 1968年12月21日: Diecimila miglia di sabbie selvagge

Aka C'era una volta il West/Once Upon a Time in the West

导演 direttore 塞吉歐·李昂尼: Sergio Leone

编剧 sceneggiatori:   

達利歐·阿基多 Dario Argento

柏納多·貝托魯奇 Bernardo Bertolucci

謝爾吉歐·多納蒂 Sergio Donati

配乐 Colonna sonora:  恩尼奥·莫里科内 Ennio Morricone

摄影  fotografia:  東尼諾·戴笠·寇利 Tonino Delli Colli 

剪辑 montaggio:  尼諾·巴拉利 Nino Baragli

克勞蒂雅·卡汀娜 Claudia Cardinale - 吉尔·麦克贝恩（Jill McBain）

亨利·方达 – Henry Fonda 弗兰克（Frank）

贾森·罗巴兹 – Jason Robards 夏安（Cheyenne）

查爾斯·布朗森 – Charles Bronson 哈莫尼克（Harmonica）

Mikio Naruses's sureness

Naruse’s method consists of building one very brief shot on top of another, but when you look at them all spliced together in the final film, they give the impression of a single long take. The flow is so magnificent that the splices are invisible. This flow of short shots that looks calm and ordinary at first glance then reveals itself to be like a deep river with a quiet surface disguising a fast-raging current underneath. The sureness of his hand in this was without comparison.

Akira Kurosawa, 1980

https://akirakurosawa.info/2015/08/20/110-years-ago-today-mikio-naruse-born/

In apertura Akira Kurosawa e Mikio Naruse

 
 

L'avventura: yesterday and today locations

Schisina, village of Francavilla di Sicilia in the Province of Messina, Italy

Screenshot from Michelangelo Antonioni L'avventura (1960)

Today's photo Sandro Messina

Gino Paoli, Anche se, sung Ornella Vanoni, Ennio Morricone arrangement and orchestra.

Le dernier des maîtres

 

J-L G

1930 - 2022

ne reste que

Mozart, Dostoïevski... Bresson

"Robert Bresson est le cinéma français, comme Dostoïevski est le roman russe et Mozart, c'est de la musique allemande". Jean-Luc Godard

 

The Big Nation

John Ford, Rio Grande,1950
 

Werner Hochbaum, director, (1899 - 1946)

 Werner Hochbaum, Razzia in St. Pauli, 1932. Camera: A. O. Weitzenberg

Orson Welles's Christmas Card

Mark Cousins, The eyes of Orson Welles, 2018

 

EASTWOOD IS GOD

 EASTWOOD IS GOD

 Conner “Haf“ MacLeod

 Temple City, Calif.

IN A WORLD WHERE A SINGLE ARTISTS Vision is increasingly blurred in a storm of art-by-committee, it is refreshing to read about Clint Eastwood [“Any Which Way He Can,“ April]. Time has vindicated him

for sticking by his guns and for his vision of himself as an artist. He doesn’t even stoop to telling his critics, “I told you so !" He lets the results do that for him. Let`s hope we all see a lot more of him before he

decides to ride off into the sunset.

 Bart Summer

 North Hollywood, Calif.

IT IS REALLY AMAZING THAT TWENTY YEARS ago, most critics viewed Eastwood's acting as stiff and hopelessly wooden and his films as incessantly violcent exercises of redneck fascism. Now the same intellectually constipated, artistically myopic sycophants have anointed him the new god of American cinema. Thanks for taking decades to find out what his fans have known all along: Eastwood is a major talent to be reckoned with.

R. D. Myers

Kansas City, Mo.

PREMIERE JULY 1993

READER RESPONSE, LETTERS

Mizoguchi Kenji set in Gion

MIZOGUCHI Kenji director - KAZUO Miyagawa cinematographer

MIZOGUCHI Kenji - KOGURE Michiyo - WAKAO Ayako

 WAKAO Ayako - KOGURE Michiyo 

KOGURE Michiyo - WAKAO Ayako

Mizoguchi Kenji, A Geisha (祇園囃子, Gion Bayashi, La musica di Gion), 1953

Mizoguchi Kenji 溝口 健二,1898 –  1956

Miyagawa Kauzo 宮川 一夫, 1908 -1999

Kogure Michiyo, 木暮 実千代 1918 -1990

Wakao Ayako, 若尾 文子, 1933