I've noticed that files over 16MB cannot be uploaded due to a Connection Failed error

In 1968, even anti-drug PSAs were psychedelic

>>36
Facemelting original ending THEY don't want you to see. I don't understand why this was cut in the first place.
https://invidio.us/watch?v=beLpsWaUDNk

I wish I could find a better version of this.

English coal miners parade down the street and into Durham Cathedral. At first I wasn't sure why they would go to the cathedral, but it's probably to honor their members who did not make it out of the mines alive.
Maybe you'll think this clip is boring, but to me it's beautiful footage of humble workers from a century ago. I could have made a cut, but I didn't want to interrupt Johan Johanssen's music (which elevates the event to another level).

Found some old vidgrids. Check dat resolution.

>>136
This quote is awkward given the simple idea. I'm curious to see the original context.

>>74
Dammit they removed the video. I thought I saved it but now I can't find it.

>>210
18MB test

>>225

Scorsese says Les enfants du paradis, Zéro de conduite, I vitelloni... yet for some reason both he and Coppola use the English title "I Am Cuba". Spike Lee also listed I Am Cuba on his personal Best-Of list. Is the English title really this common? I never use it. It's like referencing The Gopher by Jodorowsky.

Where is the video of this exchange? I can't find it anywhere.
Scorsese vs. Dumb Journo is getting better by the day. I hope they keep asking him questions like this.

>>282
Crazy that a lot of The Irishman is a deepfake with their 1990s faces. But DeNiro and Pacino are in their 70s so they're still going to move (and speak) like old men.
De-aging has been done before in Marvel movies but I haven't seen any of those.

>>291
It's funny that expensive postproduction is used so geriatric men can be dragged out of the hospice to act, but women still get the boot from the industry when they turn 30

>>294
That's usually because women in the upper industry echelons don't really know how to act, or do so with the help of coordinators and tons of takes.
When they are in their early/mid 30's the real reason why they are there, escort services, no longer seems attractive due to fresh meat coming everyday (or used meat that are owned a favor or two if you want to look it that way). The good actresses are thrown into the supporting cannon fodder roles, and usually in the TV version of that place as the film versions also act as companions in promotional parties for the producers/distributors.
Quite sad really, not because they are used as a quick bang, but because they need to pay them with screen time instead of money thus dragging the quality down. Even when trying to get laid some folks just don't want to hand the money out, always looking for lookarounds and cheap favor tactics.

Interesting 1967 vision of the future. I'm not sure where the clip comes from, anyone know?

>>355
>nearly 2020
>we still can't do video searches
sorry anon, haven't a clue, but thanks.

Gang war in Chinatown as a pseudo-white meathead fights to prevent the birth of a hapa

This scene stands out to me as a rare example of an "America First" character in a postwar Hollywood movie. The man is not portrayed very kindly. He doesn't make strong arguments and he meets a nasty fate.

<Separate Gallup polling in December 1939, after the war began with the German invasion of Poland, showed a startling 96% of Americans said the United States should not declare war on Germany and send the Army and Navy abroad to fight. In early 1940, 77% said that the U.S. should not get involved, even if it "appears that Germany is defeating England and France."
https://news.gallup.com/opinion/polling-matters/186716/historical-review-americans-views-refugees-coming.aspx

Rewatching the scene I see the man keeps tapping on his newspaper as a source of facts. This must be a reference to William Randolph Hearst, an independent publisher sympathetic to Germany and opposed to US intervention in Europe. Nowadays it's hard to imagine any big media outlet promoting a dissident viewpoint.

<Anti-New Deal publishers Hearst and McCormick were so popular with the general public that their newspaper “holdings comprised over 50 percent of the country’s Sunday circulation” according to pro-FDR media historian Betty Houchin Winfield. Once those independent newsmen’s reputations were destroyed, establishment papers in New York and Washington D.C. would come into prominence.
http://www.unz.com/article/the-forgotten-media-purges-of-the-great-depression/

>>390
Man, and truth is many people in "countries in development" are sympathetic to the axis solely because of the blatant bias against them in every respect portrayed in most films there are without being given a context outside (WWII is miscellaneous education in latin america, for example), although that example is much more straightforward.
Sometimes i can't really imagine how it must've felt for a german in the post-war, being right or not they were, mostly, just by looking at the facts
I do remember non-interventionism being a very popular stance, even popular figures later on started out around these stages, namely John F. Kennedy.

>>391
>many people in "countries in development" are sympathetic to the axis solely because of the blatant bias against them in every respect portrayed in most films

I didn't know that.

>I do remember non-interventionism being a very popular stance

Yeah after witnessing the horrific inhumanity of World War I the US population became very antiwar. This national sentiment is present in silent films and some talkies, and it was a big reason for the strong opposition to involvement in the next big European war.
By the 1940s Hollywood films had started to make the case for intervention. It's a good example of the entertainment industry working as propaganda for Washington DC (which continues to this day of course). I'd like to know if any films in the early 1940s defied this trend because I can't think of any.

>>394
>I didn't know that.
Mexico received a couple of popular history magazines neutral to the axis (neutral as in sympathetic) and in South America there's plenty of countries who had strong emotions favoring them due to very heavy german and italian immigration, namely Argentina, Brazil, Chile, Venezuela and Peru.
Political correct behavior has calmed some of those antics (no one sells gestapo unit disguises anymore) but political conversations usually revolves in asking what Hitler did or why did he do it. And as expected, if someone knows the facts the whole thing doesn't make sense and questioning the narrative begins. Great way to talk and buy more beer.
According to the argentinian board it seems they actually do get some form of education regarding WWII due to having officially supported the axis, while also being filled with jewish citizens in their education institutions.

>I can't think of any.
I remember the Zinnemann discussion back in the old place, and relating to the theme of WWII movies in the immediate aftermath i also don't remember a significant example, if anything by the 40's the very strong Austrian Film School (Lang, Stroheim, Sternberg, Zinnemann, Wilder, Preminger, Reinhardt) already had a sizeable influence and well, you know, Metro-Gelbfisz-Meir, Cohn-Schulberg-Cohn aka Columbia and Zukor's Famous Players-Lasky aka Paramount were having Hollywood in their grasp (funny to see most of these were Austro-Hungarian too) and top it the executives of at least Columbia and Paramount were involved indirectly with men from Roosevelt's New Deal program shenanigans. I guess it wasn't very viable to go against the officialist narrative.

>>395
>in South America there's plenty of countries who had strong emotions favoring them due to very heavy german and italian immigration, namely Argentina, Brazil, Chile, Venezuela and Peru.
That makes sense. I was just reading about South America during WWII and apparently the US made propaganda efforts in that direction too. In fact these propaganda efforts were the reason Orson Welles famously went to South America before the completion of Magnificent Ambersons.

Speaking of studios, Warner Bros were faithful supporters of FDR too. I discovered this 1933 Dick Powell propaganda short not too long ago, "Patriotically Contributed by the Motion Picture Industry".
https://www.youtube.com/watch?v=JJov-apDYvE
I find it very questionable to show a reanimated George Washington strongly endorse this New Deal power-grab of wage and price controls, a scheme that which was eventually ruled unconstitutional by the Supreme Court.

>>408
Bruno?
That wouldn't play unless I downloaded it.

Follow Buzz from Home Alone as he tries to spark a romance with the love of his life, Secretary of State Condoleezza Rice

ayyy your feelings harsh, revengeful, blasphemous into your songs you can boldly inrhyme; purpose always consecrated purposes humean, natheless don't obliviate that horripilating dote
your manrique

>>473
Good content, where did that come from?

Old repost but worthwhile for the montage.

>>478
Where from? Don Pedro d'Alfaroubeira, don't you recognize his voice, the way there's T-N, the way it's shot by the most basic of the most basic essayists, /ourguy/ Hippolyte?
That guy is like ten thousand miles under Resnais when it comes to documenary films, nowehere near it, Resnais comes wih both poetic quality and poetry, while the former comes with usual french muh deep gibberish muh interpretation lol, it's shallow almost as my pooms loool. 10/demarcation zone

>>481
>That guy is like ten thousand miles under Resnais when it comes to documenary films
I felt a vaguely Resnais vibe but didn't recognize it, seemed to have some potential but I'll take your word on the quality

>>482 Sadist.

Merry Christmas friends

hmm, i wonder how much of fanny and alexander i can watch before christmas if i haven't downloaded it yet

refik anadol sizzle reel

>>521 That's a real clock in the scene. I thought it might be fake because the countdown is fake (you should be able to see why).

The place is Dien Bien Phu in French Indochina.. The year is 1954. The lonely jungle outpost, surrounded by communist guerillas and accessible only by air, is doomed.

Ouch. This seems like it's not very good and I was right to ignore it.

>>636 It had a very well paced script for a 210 minute movie, but as you can see in the now infamous scene i think the technology/actors were behind the standards. The actors really don't do justice to their real time counterparts (Pacino as Jimmy Hoffa is absurd) and the compelling cinematography Scorcese was known for was replaced with very clean and technical but also very sterile work. It has 2 decent scenes in there so i guess it was not a total waste of time, but i agree with you as i would not recommend it. I feel it would've fared better as a miniseries than a movie.

>>639 As I see it, there must be either a glut in actors who can play mobsters or an over reliance on the "stars" which seem to always be older actors as the younger ones don't seem to be turning into international icons that have created this issue of using actors who really should just retire.

>>636 If they are digitally replacing DeNiro's face anyway, why not used a stunt double for the action scenes he clearly can't do anymore? Or cut to a closeup. They could have disguised it better from a different angle. >>639 >the compelling cinematography Scorcese was known for was replaced with very clean and technical but also very sterile work. Yeah that's what it looks like from the clip. >Pacino as Jimmy Hoffa is absurd Ha ha, I heard a little about that. Someone said Jack Nicholson was better as Hoffa. I forgot that he played him.

>>641 I don't bash the movie so much because so far it seems it was Scorcese's Kagemusha, a very old pet project nobody wanted to produce or promote it and the guy wanted those specific actors for a long time (Michael Mann got there first with Heat but he still insisted). One of the producers, Pavlovic, decided to force some money to Scorcese via economic packages from Netflix and academies but the little guy didn't want to use digital, he wanted something akin to Jurassic Park's film-to-CGI-to-film process, which looks decent enough but costs much more than before. Somehow the producer convinced Martin and got around to also convince Pesci and Dunk to do it and half of Hollywood jumped the bandwagon to give some money. The final result is more of an executive tribute to the director than a personal project financed by a maverick, it seems there was a lot of meddling too so i personally think Scorcese made his peace after this one, and all the main actors should also do it. The lack of young actors is more of an artistic decision i believe, because Martin has used them, for example in Silence he (or someone else) very controversially casts 2 jewish actors to portray jesuit missionaries in Japan, Adam Driver and Andrew Garfield, both marketing products but at the least the former does know how to act a little. >>642 I believe it was for purity reasons, even as a rulebreaker the director seems reserved about doing rampant post-processing, i don't blame him as i would feel uncomfortable seeing or directing a mocap man for a good 7 or 8 scenes, might as well give him top billings. I agree playing with angles and cuts could've made it more bearable but guess nobody told him, if anything someone made it worse because those windows and stands broke faster than in a Norris Bros. film. >Yeah that's what it looks like from the clip. And it's one of the most risky scenes with the use of a short focal length fixed in a position tracking the character who is somewhat far away. The rest are very short dolly movements at close-ups and behind-the-shoulder exchanges, very decent lightning all around but it just doesn't work in a long movie, it was like seeing a television production or watching 6 episodes of a series straight. Casino on the other hand was much more interesting and with the same script format. >Someone said Jack Nicholson was better as Hoffa Very ironically DeNiro fits the Hoffa role much better, the guy had a belligerent and strongman character with a confidence air but not clownish, not to mention his physique is more similar. Dunk's characterization was more about a cocky and decisive leader with a penchant to banter his rivals or downright insult them, and his appearance is somewhat different, i don't know who was in charge of attires but his bright suits don't fit the sober image of the historical guy. Nicholson would've been worse unless he downright re-enacted the same role from decades ago but sadly he's suffering from a degenerative sickness that makes him forget almost everything short-termed so he retired some years ago... good thing about that is that you can watch great movies over and over again.

>>644 >the director seems reserved about doing rampant post-processing It's kind of funny because the movie was already heavy in post. Having a body double in particular scenes would have made it better. I do blame him because the mocap guy wouldn't even be up against a green screen, he would just have points on his face. Would have made at least certain scenes more convincing. He had the body of an old man the entire fucking movie and it made engagement a task. >I agree playing with angles and cuts could've made it more bearable but guess nobody told him I'm sure he was well aware of it, just too old and stubborn to listen to good advice.

I haven't seen Irishman but that beat up clip I actually find endearing, old De Niro kicking the face is great. Just saw this scene of righteous kill on cable TV and my imagination ran wild about them doing Irishman in 2008

Does anyone recognise this? I can't find the source

>>660 It looks like Thriller - A Cruel Picture (1974) https://www.youtube.com/watch?v=ymhEsei_o-0

>>520 >>521 What films are these?

>>671 1 - My Twentieth Century 2- CQ

>>672 thanks

I would like to know the source of the text being repeated by Austrian schoolchildren. My websearching came up empty. The words are very interesting to me. This is a community of poor farmers so it's affecting to hear their children recite this poetic rejection of modernity. "We don't need your virtue, only truth counts. Neither do we want your progress, its face is smeared with future's paint.". At the same time I wonder if they're being taught to accept their low status in life. It reminds me how the Prussian education system would teach the upper class how to lead society while teaching the poor to be compliant laborers.

Cops at a retreat in 1968 discussing the turbulent social situation in the United States

>>735 Very nice thank you

video test