Кафедра иностранных языков

ФЕДЕРАЛЬНОЕ ОБРАЗОВАТЕЛЬНОЕ УЧЕРЕЖДЕНИЕ ВЫСШЕГО ПРОФЕССИОНАЛЬНОГО ОБРАЗОВАНИЯ

КОСТРОМСКОЙ ГОСУДАРСТВЕННЫЙ УНИВЕРСИТЕТ имени Н.А. НЕКРАСОВА

Кафедра иностранных языков

А.А. Веснин

АМЕРИКАНСКИЙ КИНЕМАТОГРАФ

для бакалавров неязыковых направлений

Кострома

Contents:

Woody Allen 3

Midnight in Paris (2011) 4

Michael Curtiz 6

Casablanca (1942) 8

Hal Hartley 10

Unbelievable Truth (1989) 11

Duplass Brothers 13

The Do-Deca-Pentathlon (2012) 14

Orson Welles 16

The Third Man (1949) 18

Martin Scorsese 21

After Hours (1985) 22

Jim Jarmusch 24

Night On Earth (1990) 26

Peter Bogdanovich 28

Paper Moon (1972) 29

Milos Forman 31

One Flew Over The Cuckoo’s Nest (1975) 33

Todd Solondz 35

Welcome To The Dollhouse (1995) 37

Mike Nichols 39

The Graduate (1967) 40

John Landis 42

Animal House (1978) 44

woody allen

Woody Allen holds a unique place in America’s consciousness. Over the past twenty-five years—as a filmmaker, actor, writer, and musician—he has portrayed contemporary American life with an unmistakable mixture of irony, neurotic obsession, and humor. From his early career as a cabaret comedian in New York City clubs to his most recent films, Woody Allen has examined the frailty of human relations and the pains and complexities of existence like no other artists working today.

http://www.groveatlantic.com/?title=Woody+Allen+on+Woody+Allen

Woody Allen is one of the best, most prolific filmmakers of all time. His hit-to-miss ratio is up there with the likes of the Coen Brothers and Spielberg in terms of how many classic movies he's made. The first thing you should know about Allen is that he started as a Stand Up Comedian and sketch writer. That will inform the type of comedies he makes. He started out making absurd comedies like BANANAS and gradually got more mature themes and styles as he got deeper into his film career.

https://www.reddit.com/r/flicks/comments/305yqq/a_discussion_of_woody_allens_writing_style/

Woody Allen's style is dialogue-driven comedy where a central character is neurotic (often played by Allen) and speaks openly about his fears, desires, issues and is surrounded by friends and family who, while likable, aren't supportive and usually makes his situation worse. In a very broad summation, that's an Allenesque scene or type of movie.

Allen's worldview is also clear: he's an agnostic who is often terrified of failure and whenever he gets success or happiness he thinks it will end soon... this archetype is something Allen made more successful than ever before. It's born out of the Jewish Catskills comedy tradition that pre-dates Allen, but he's the one who really perfected this in cinema. Then he added a sophistication that hadn't been done before in terms of strong plot-driven stories. His dramas are excellent examples of character development in that sense.

https://www.reddit.com/r/movies/comments/2pmczi/can_someone_explain_woody_allen_to_me/

Woody’s women arrive behind the director in a big bustling caravan – a noisy train of flakes and nymphs, art snobs, academics and intellectuals, hookers, healers and harpies. Allen’s own nebbish persona aside, women are easily the most recognisable roles to come out of his films: Annie, Hannah, Jasmine. Female actors in his films have won no fewer than six Oscars.

http://www.theguardian.com/film/2015/sep/03/woody-allen-inner-woman-irrational-man

*Find corresponding Russian words and expression to the grey ones

*Say exactly what new information each quote adds to the whole picture

*Find out more information on Woody Allen

midnight in paris (2011)

Midnight in Paris is fantastique. In comparison to Woody Allen's previous tales of lust and spite, his newest film feels like a dessert rather than a filling entree, yet this is exactly how a good, highbrow summer movie should be. The cast shines just as bright as the lights at the top of the Eiffel Tower and Allen proves himself worthy of his place in society as a master director once again. By no means a classic, Midnight in Paris is a pretty little diversion, one that is grounded in a theatrical gimmick that totally works every time. This, along with The Tree of Life, will be one of a few summer movies that will dazzle visually (without explosions) and somehow manage not to insult the viewer's intelligence.

http://www.imdb.com/title/tt1605783/reviews

alexart-1

"Midnight in Paris" is a one-note wonder with a script that is lazy and shallow. It's practically an insult to the great men and women of arts and letters who litter its scenes. Around the time that I saw "Midnight in Paris" I also caught Richard Linklater's dreamy, but alive, "Before Sunrise". Now, there's magic for you.

http://www.imdb.com/title/tt1605783/reviews

rpvanderlinden

Midnight In Paris follows a young writer in a visit to Paris with his fiancée where he travels all nights ninety years back in time to get advise and friendship from the literary geniuses of the time. Yes, it's another film from Woody Allen, but this time is not as routinary as You Will Meet A Tall Dark Stranger or as cheeky as Vicky Cristina Barcelona. This shows Woody Allen at the standard he should be at every year. Original, funny, engaging and with some light meaningful message that we all relate to; what else can you ask from a film?

http://www.imdb.com/title/tt1605783/reviews

bcarlos

It begins as a low-end travel agency commercial, with irritating jazzy music (that's out of place, in my experience). Then we see Owen Wilson as the latest Woody "stand in." And then we are exposed to the usual self-absorbed individuals (in Allen films) who think they are special. Aren't these the kinds of people you don't want to spend any time with if you can avoid doing so? If not, perhaps this movie is for you! It's almost like Woody doesn't understand that society is not exactly the same as it was (for him if nobody else) in the 60s or 70s. In the age of the mortgage crisis and the destruction of the American middle class, this movie is a proverbial rubbing of salt in the wounds of the injured!

http://www.imdb.com/title/tt1605783/reviews

nazztrader

Allen doesn't try to make "Midnight in Paris" anything more than an airy little souffle of a movie. But the film is far more optimistic than any that Allen has made recently, and he sustains its magical mood brilliantly. (He grabs us with the opening few minutes, a wordless mini-travelogue of Paris accompanied by a lovely, slow Dixieland blues.) Owen Wilson brings a joyous, puppy-dog eagerness to the lead role, and the rest of the cast is equally fine; Michael Sheen has some wonderful moments as the sort of pompous pseudo-intellectual Woody has been skewering at least since "Annie Hall." "Midnight in Paris" has a pointed yet painless moral--that it's up to us to create our own Golden Age, right here and now--and envelops its viewers in a lingering, enchanted glow.

http://www.amazon.com/Midnight-Paris-Kathy-Bates/dp/B005MYEQ4U

Miles D. Moore

*Find corresponding Russian words and expression to the grey ones

*Try to summarize each review in one word

*Describe each reviewer

*Watch the movie and write your own review

*Translate the following quotes as close to Russian as possible:

Man Ray: A man in love with a woman from a different era. I see a photograph!

Luis Buñuel: I see a film!

Gil: I see insurmountable problem!

Salvador Dalí: I see rhinoceros!

Ernest Hemingway: I think a woman is equal to a man in courage. Have you ever shot a charging lion?

Adriana: Never.

Ernest Hemingway: Would you like to know how that feels?

Adriana: I don't think so.

Ernest Hemingway: You ever hunted?

Adriana: No.

Ernest Hemingway: You?

Gil: Only for bargains.

Gertrude Stein: You have a clear and lovely voice. Don't be such a defeatist.

michael curtiz

You may know him as Michael Curtiz, but early credits designate him as Mihaly Kertesz. Mostly notorious for directing, among a profuse hundred films, Casablanca, continually canonized as one of the greatest films of all time, Michael Curtiz is one great and greatly unheralded director. Even though he was responsible for some of the widely acclaimed films of the era, his talent and skills are often diminished by film scholars and critics (and even the director himself in his memorable quote “Who cares about character? I make it go so fast nobody notices”), his versatility in style and genre being often used against him. And yet, his films consistently showed greatness, continuity and vision and reflected his undeniable capacity for getting stellar performances out of some of the greatest stars in the history of cinema.

http://tiff.ro/en/stiri/perspectiff-screening-exile-rediscovering-michael-curtiz

1942’s Casablanca has repeatedly been canonized as the best film Hollywood ever made. Its iconic dialogue produced a bevy of quotable lines that sealed seated their seemingly eternal place in movie culture, and it’s damn near impossible to refer to Humphrey Bogart’s iconic career without bringing to mind his worn mug reminiscing to Dooley Wilson’s iteration of “As Time Goes By” in his empty bar’s depths of night. Never has Bogie been so tragically Bogie, or, for that matter, Bergman so classically Bergman, Rains so nobly Rains, Lorre so campily Lorre, and the film’s team of studio scribes so harmoniously in tune towards a pitch-perfect example of Hollywood narrative convention.

Given the vaunted reputation of Casablanca, it’s strange that the film’s director, Michael Curtiz, is so often obscured within observations of its notable ensemble, much less considered the film’s reigning auteur. Among all the beloved directors of Classical Hollywood – Howard Hawks, John Ford, Alfred Hitchcock – Curtiz is rarely included, often regarded on the relative margins as a talented director for hire.

http://filmschoolrejects.com/features/underrated-michael-curtiz.php

Michael Curtiz directed more acclaimed movies in different styles and genres than any other film director. He directed over 170 feature films; a staggering output that outstrips the legendary John Ford and exceeds the combined careers of George Cukor, Victor Fleming and Howard Hawks. Nominated five times by the Motion Picture Academy as Best Director and winning for Casablanca, Curtiz helmed rousing adventures, westerns, musicals, spectacles, drama, comedies, horror, war, crime, mystery and film noir. His career shaped the earliest days of silent cinema in Europe as he acted, produced and directed scores of films in Budapest, Vienna and France before coming to Warner Brothers in 1926. A tireless craftsman, Curtiz slept a fitful few hours each night with his conscious time off the set spent incessantly talking and thinking movies. The irreverent actor Peter Lorre aptly remarked that Curtiz ate pictures and excreted them. The life of Michael Curtiz was indeed a feast of work.

http://alankrode.com/public2/index.php/photogal/vig/resources/menu-separator/work-in-progress-biography-of-michael-curtiz

Elegant camera movement is a hallmark of the Curtiz film. The director’s camera begins a high approach to a scene, sweeps slowly downward into and through the detailed composition, and then closes dramatically on the scene’s main substance. In Casablanca and Angels with Dirty Faces, for instance, the stylized camera begins at the highest point of a cityscape, providing a broad perspective and setting, then moves in hypnotically. The camera is a magnet to the audience, drawing them into Curtiz’s world. Not only does the establishing shot capture place, it creates the overall feeling that will dominate the film.

Another secret to the Curtiz success is his editing rhythm. His films move in incisive camera strokes without sacrificing a graceful flow. The establishing shot, the two-shot, the close-up, the long-shot is Curtiz’s cinematic dance created to bring his vision to life. Watching a Curtiz film with an added awareness of his astounding visual vocabulary will layer the experience. Curtiz’s films, even when flawed, move with an unpretentious grace and effortless pace.

http://www.filmsondisc.com/Features/Curtiz/direct_passion.htm

During filming of The Charge of the Light Brigade, he wanted many riderless horses in the background during the final charge. His instructions were, "Bring on the empty horses", later the title of the autobiography of one of the stars of the film, David Niven (I)' Another time he was chewing out an assistant for neglecting to do a job assigned to him, and yelled, "The next time I want an idiot to do this, I'll do it myself!"

http://scooterm.blogspot.ru/2008/09/mascot-of-month-michael-curtiz.html

*Find corresponding Russian words and expression to the grey ones

*Say exactly what new information each quote adds to the whole picture

*Find out more information on Michael Curtiz

casablanca (1942)

If you've never seen this movie before, shame on you and see it immediately. If you only seen it once, I believe you will come back to it more than once. This is just about the most perfect film ever made and it is a miracle that that is so considering that there were so many hands in the pie. (Excuse me for my mixing my metaphors. It's late, and I get emotional just thinking about this classic film masterpiece.)

http://www.imdb.com/title/tt0034583/reviews

John Wayne Peel ([email protected])

Poor acting, poor Drama, cheesy carton airplane to end up an excuse of a classic. People are afraid of actually watching it and being critical, thus regarded as ignorant film-wise and hence the many 10 out of 10 reviews. It's easier to go with the flow! With the bunch. However I tried, I can't. Casablanca is so lame!

http://www.imdb.com/title/tt0034583/reviews

hitzendegen

Casablanca is the story of an American man in WWII era Morocco and his struggle in choosing between "love and virtue". Confronted by the woman he once loved and her new husband, a Czech resistance leader and important figure in the fight against the Nazis, the film focuses on Rick's internal conflict over deciding between his desires or the good of many others.

My favorite thing about the film was Rick's Cafe Americain. The Cafe itself was just a series of sets constructed in Warner Brothers Studios in Burbank California, but it was so fitting and perfect for the film it left the same kind of impression that would be made by a well made fantasy location. Its stone walls were decorated in the shadows left by ornate lamps and intricate patterns made to shine light in from the outside. It was so packed full of extras during all of the scenes taking place there that it always created the atmosphere of a real bar. These things were vital to the film because so much of it was contained within these walls, and it was so great that I loved every moment of the scenes there.

http://www.imdb.com/title/tt0034583/reviews

john-hogan23

Casablanca is not a film. Casablanca is the film.

http://www.imdb.com/title/tt0034583/reviews

Darkday

I think this film is a sentimental favorite with audiences because it's just a really good party: a beautifully photographed assemblage of fascinating people in a glamorous setting. It's fun to spend two hours in Casablanca with Rick and Sam and Ilsa and all their far-flung friends. But when you come down to it it's not much of a story; whether it doesn't make logical sense or is just too boring to follow is something I've never decided, and lines like "Play it, Sam" and "I stick my neck out for no one" are famous because of who said them in a gorgeous white linen jacket, not what's being said.

http://www.imdb.com/title/tt0034583/reviews

Anne_Sharp

Bloom said of Shakespeare that he invented humanity. Films will always have less depth than poetry, but they can have a similar, profound effect on popular culture. Movies are seldom about life, but life is often about film, the few films (like Casablanca) that find the groove.

http://www.imdb.com/title/tt0034583/reviews

tedg

*Find corresponding Russian words and expression to the grey ones

*Try to summarize each review in one word

*Describe each reviewer

*Watch the movie and write your own review

*Translate the following quotes as close to Russian as possible:

Yvonne: Where were you last night?

Rick: That's so long ago, I don't remember.

Yvonne: Will I see you tonight?

Rick: I never make plans that far ahead.

Ilsa: I wasn't sure you were the same. Let's see, the last time we met...

Rick: Was La Belle Aurore.

Ilsa: How nice, you remembered. But of course, that was the day the Germans marched into Paris.

Rick: Not an easy day to forget.

Ilsa: No.

Rick: I remember every detail. The Germans wore gray, you wore blue.

Ugarte: You know, Rick, I have many a friend in Casablanca, but somehow, just because you despise me, you are the only one I trust.

Rick:...Here's looking at you, kid.

Rick: Louie, I think this is the beginning of a beautiful friendship.

hal hartley

The cinema of Hal Hartley is paradoxical in its very nature. A melodramatic minimalist and pragmatic philosopher, the director is as sanctimonious as he is sincere. Arriving on the indie scene with The Unbelievable Truth (89), Hartley carved out a niche for himself with his deadpan, schmaltz-free brand of romantic comedy that garnered him acclaim on the festival circuit and a cult following among fringe-oriented generation X-ers.

http://www.filmcomment.com/article/hal-hartley-the-unbelievable-truth-trust-flirt-the-book-of-life/

Hal Hartley is one of the true originals of modern cinema. A consummate stylist, his work is erudite and eccentric, defiant in its singularity. After making first film The Unbelievable Truth (1989) for just $75,000, Hartley went on to quietly change the face of independent American cinema with his deadpan dialogue, brimming with arch and often philosophical insights on relationships.

http://www.cine-vue.com/2013/05/interview-hal-hartley-director-of.html

Filmmakers simply don't come much more independent than Hal Hartley. In a career that stretches back more than 25 years, he has created sharp, literate explorations of modern life almost exclusively on his own distinctive terms. Though today his name is not as well known as those of Richard Linklater or Steven Soderbergh, the dry comedies of Hartley were an essential part of the American independent scene of the '80s and '90s.

http://www.latimes.com/entertainment/movies/la-et-mn-hal-hartley-ned-rifle-20150403-story.html

You’ve got to give credit to Hal Hartley. After breaking out onto the scene 25 years ago with The Unbelievable Truth, he’s been sticking to his guns ever since, making a dozen features characterized by his trademark deconstructed storytelling, deliberately artificial performances and offbeat deadpan humor. He’s a true independent at a time when that term no longer means much, and while his fan base hasn’t exactly grown, he’s stuck to the path that’s made him such a unique auteur.

https://www.fandor.com/keyframe/daily-toronto-2014-hal-hartleys-ned-rifle

*Find corresponding Russian words and expression to the grey ones

*Say exactly what new information each quote adds to the whole picture

*Find out more information on Hal Hartley

unbelievable truth (1989)

A heart-warming little story of an ex-convict returning to a city, and the infatuation of the local Lolita has for him, it touches you, ever so softly, from behind the facade of the boisterous small town existence and the foibles of the small group of townspeople who form the nucleus of the story. At the end of it, you're glad you sat down to watch it - it's a laid-back mind-soother, which leaves you with a warm feeling all over.

http://www.imdb.com/title/tt0100842

charishankar

There are plenty of talented amateur film makers, actors and directors out there, none of them were involved in this film. To say that the horribly stiff acting and poor writing and screen play is a "edgy style" that you don't get unless your hip is just a lazy cop-out. Hal Hartley is not a film maker, he's a dude with a camera and some friends wasting time. There have been much better high school plays. There really was no reason to make or see this movie, none.

http://www.imdb.com/title/tt0100842

joesab

Hal Hartley's masterpiece brims with clever dialogue and funny performances. Adrianne Shelley is a standout as Audrey who is convinced that the world is soon to blow up. Chris Cooke should be getting a lot more work after his winning performance as Vic Hugo. He's a delight to watch as his daughter Audrey bargains with him on about going to college. And Robert Burke is great as the quiet Josh, the returning man with a past. You catch something new every time with this film... like the funny way everyone fights in the movie (elaborate pushing matches). An original film and thoroughly enjoyable. Great soundtrack too...

http://www.imdb.com/title/tt0100842

Joel_Goodsen

The believable truth about this flick is it is pure amateurish tripe. The unbelievable truth is that some people have found a basis for recommendation.

http://www.imdb.com/title/tt0100842

George Parker

Hartley weaves all of a small neighborhood's idiosyncrasies into a tapestry of seeming stereotypes but which delves far beneath the surface, the catalyst being that everyone believes they know what the "unbelievable truth" of the title is, yet no two people can agree (including our hero) on what exactly that truth is. A wonderful little movie with some big ideas.

http://www.amazon.com/Unbelievable-Truth-Blu-ray-Adrienne-Shelly

G P Padillo

*Find corresponding Russian words and expression to the grey ones

*Try to summarize each review in one word

*Describe each reviewer

*Watch the movie and write your own review

*Translate the following quotes as close to Russian as possible:

- Excuse me, but... Are you a priest

- No. I'm a mechanic

- Where're you headed?

- Home.

- Where're you coming from?

- Prison.

- Audry, the world's not gonna come to an end when there are so many people

making so much money.

- What are you so dreamy about! The world's gonna end tomorrow,

remember!

- Right now it's today. It's not tomorrow.

- Audrey's crazy about you. You look surprised. But listen to

me, Josh.I ain't kiddin' you. The girl sleeps with your crescent wrench.

duplass brothers

The Duplass brothers are very funny, quick-witted guys who talk and joke over each other, often finishing one another’s sentences. They also come from the same town, New Orleans, and thus have similar-sounding voices and speech patterns.

http://www.tinymixtapes.com/features/jay-and-mark-duplass

Some people are not a fan of the so-called mumblecore movement. Its quiet, nuanced storytelling can oftentimes fall flat with viewers used to a certain sort of melodramatic pay-off. But when it comes to the humor of real life, few do it as well — and full of laughter — as the brothers Duplass.

http://nerdist.com/mark-jay-duplass-on-being-cave-men-telepathic-brotherspeak-finding-togetherness/

Mark Duplass started his career in Austin, where he and his brother Jay had lots of ideas and excitement about filmmaking, but absolutely no connections. After enough odd editing jobs, they had raised enough money to shoot a feature for $65k. Unfortunately, as Mark characterized it, the film they made was “a steaming pile of dog diarrhea.”

Instead of giving up, Duplass started over by making short films that recaptured the feeling he and his brother had making movies for fun as kids. Twelve or so years later, Mark and Jay Duplass are icons of independent filmmaking. Too bad there’s not some formula we could follow to replicate their success.

http://nofilmschool.com/2015/03/complete-mark-duplass-filmmaking-bible-becoming-successful-director

Like many kids, the Duplass brothers cut their filmmaking teeth shooting home movies, first a remake of "The Blob" starring the family's blue beanbag, then one with 7-year-old Mark as a karate master who has to kill a home intruder. "It's so funny because you hear stories of how Spielberg and Sam Raimi made films as children and you could see the geniuses that they were going to become," says Duplass. "And ours were absolutely nothing like that. They were just really dumb movies."

http://www.backstage.com/interview/mark-duplass-is-more-mainstream-than-mumblecore/

The brothers’ preference for detailed scenario outline over precise script results in dialogue that has the ebbs and flows of real conversation, while director/cameraman Jay Duplass’ handheld, seat-of-your-pants shooting style infuses the films with energy

http://variety.com/2005/film/markets-festivals/the-puffy-chair-1200527909/

If you’re not familiar with ‘mumblecore’, it is considered by many to be a movement in American cinema led by filmmakers such as Joe Swanberg, Lynn Shelton, the Duplass Brothers and many others who over the past few years have created a variety of films all characterised by the use of low grade equipment, realistic settings and naturalistic performances and dialogue. The roots of mumblecore are often attributed to filmmakers such as John Cassavetes and Richard Linklater but with a variety of people making what are often considered mumblecore films, the influences are very diverse.

http://www.heyuguys.com/who-are-the-duplass-brothers/

They have good reason to want to distance themselves from mumblecore. For one thing, unlike a lot of movies of their ilk, the Duplass brothers' films incorporate professional actors, and they've worked with studios. Plus, their films often offer emotional depths and nuanced character portraits that go beyond the simple navel-gazing that critics associate with mumblecore. People who can't stand the movement's awkward preciousness will probably hate Jeff, Who Lives at Home on principle, but the film once again shows that what these guys do so well is not stare at their navels but actually observe the world around them.

http://deadspin.com/5893252/say-goodbye-to-mumblecore-how-the-duplass-brothers-rise-above-the-ramble

*Find corresponding Russian words and expression to the grey ones

*Say exactly what new information each quote adds to the whole picture

*Find out more information on Mark and Jay Duplass

the do-deca-pentathlon (2012)

Two brothers, each pushing middle age, and each with their own set of baggage, breathe new life into an old and unfinished piece of business at a gathering at Mom's house (the old family home) for a family birthday party. The Do-Deca-Pentathlon is an epic battle of strength and mettle, and is comprised of a series of 25 quasi-sports events (ping-pong, skeeball, arm-wrestling, air hockey, breath-holding, push-ups, laser tag, go-kart racing, etc.). The game ends after 13 of the 25 games are won, and the prize is the the coveted "Best Brother" title. And so it goes.

http://www.amazon.com/Do-Deca-Pentathlon-Zissis

ReCynd

Two brothers (Mark Kelly and Steve Zissis) compete in their own private 25-event Olympics.

I did not get a deeper meaning out of this film, so if there is one it passed me by and will have to wait for a second viewing. But I definitely appreciated the humor, and the competition, and the morality (or lack thereof) of it all. And I also appreciate that, unlike "Jeff", this film does not rely on big name actors and still gets the story out just as well. It may suffer some publicity, but those who watch it will not be let down.

http://www.imdb.com/title/tt0811137

gavin6942

In the hands of a Hollywood-hired screenwriter, this would be a physical comedy in which the winner would probably be determined in the final event, with history repeating itself in some way just before it all ends, but if you know the Duplass Brothers, you're not going to get that formula at all. They're experts at setting up situational comedy potential and then ignoring it, focusing instead on the relationship dynamics that arise from would-be shenanigans.

http://www.imdb.com/title/tt0811137

Movie_Muse_Reviews

There are laughs and smiles to be had here -- like all of the Duplass films -- but there are also uncomfortable moments of real-ness which make the films work on a base-line of reality. I appreciate what these guys do. They celebrate the mundane of our everyday lives but also give it a slight twist to make something a bit more interesting. The film is quite short (under an hour and a half) and I wish it had carried out a bit further... I won't get into the why here. This isn't a movie that will win numerous awards; but it is a pleasant way to pass some time.

http://www.imdb.com/title/tt0811137

twilliams76

The Do-Deca-Pentathlon was written and directed by the Duplass brothers, Jay and Mark, who have sort of pioneered the genre of mumblecore, where amateur actors immerse themselves into humanly flawed characters, accompanied with naturalistic dialog and recognizable cinematography. They brothers continue with their theme or sibling disconnect, which was the main point of focus with their last feature, the wonderful and underrated Jeff, Who Lives at Home. This is their return to mumblecore, by definition.

http://www.imdb.com/title/tt0811137

Steve Pulaski

Ugh...total waste of money. I can't believe I really wasted $4 on a movie I watched for 30 minutes and then turned it off.

http://www.amazon.com/Do-Deca-Pentathlon-Zissis

wegneraa

*Find corresponding Russian words and expression to the grey ones

*Try to summarize each review in one word

*Describe each reviewer

*Watch the movie and write your own review

*Translate the following quotes as close to Russian as possible:

- If you do the Do-Deca tomorrow, I am leaving tomorrow morning!

- Are you wearing shoes?

- Yeah.

- I'm not wearing shoes, take them off.

- All right, fair enough. You happy?

- Yep. On my go.

- On three.

- On three or my go?

- No, no, on three.

- Okay.

- One, two, three.

- One, two, three.

orson welles

Orson Welles is one of the most instantly recognisable names amongst the great directors of Hollywood. He was many things during his lifetime; starting as a child prodigy, he became a magician, a radio and stage actor, a television personality, a movie actor and above all, a great film producer and director. He was in many ways ahead of his time and he got little appreciation from his contemporaries. He has often been hailed as a genius but he seemed to spend a great part of his life in squandering his gifts on projects which were unfinished or ill-prepared or just underfunded.

http://www.hollywoodsgoldenage.com/moguls/orson_welles.html

Orson Welles was an integral part of cinema's development as an artform, or even being seen as an artform as opposed to the penny arcade entertainment it started out as at the beginning of the century.

http://scriptshadow.net/screenplay-review-the-way-to-santiago/

Orson Welles remains amongst the most enigmatic figures in film history. To the public, there were many faces of Orson Welles. Some label him the finest director in history; few doubt that he created the greatest film of all time in Citizen Kane. He was the prodigious young theatrical genius of a voodoo Macbeth and Caesar on Broadway in his earlier twenties; the man whose radio broadcast of H.G Wells’ War of the Worlds apparently caused nationwide panic; the respected Shakespearean actor; the charismatic raconteur of late night chat shows and roasts; the revolutionary film maker whom Hollywood robbed of fulfilling his true potential; the possessor of an encyclopedic knowledge of film, theatre and literature; the liar; the skilled magician; the presenter of several ground breaking television projects; the waster of his God-given gift; the morbidly obese, washed up former prodigy; the hack that claimed credit for the ideas and hard work of others; the drunken fool of Findus and Paul Mason adverts; the genius.

http://www.leftlion.co.uk/articles.cfm/title/why-orson-welles-matters/id/7559

He had an enormous talent and he was able to cultivate that talent at an even earlier age. He made his theatrical debut at the age of 16 in Dublin. At 18 he was acting in the U.S. and at 19 was putting together his own drama festival. At the age of 21 (five years since his theater debut) he directed Macbeth for the stage. Two years later he was running a theater company and had done War of the Worlds. By the time he was offered the chance to direct a Hollywood movie he had more than 10 years of experience as an actor, director and writer.

https://www.quora.com/How-was-Orson-Welles-able-to-make-Citizen-Kane-at-such-a-young-age

Welles was both a high-brow and a low-brow artist. What he didn’t like was the middle brow, which gets you praise from the mainstream media and Academy Awards. He commented in various interviews that the mainstream media never liked his work.

https://www.wsws.org/en/articles/2014/05/23/wint-m23.html

Was Welles a tragic hero, martyred by the bureaucratic hacks who mutilated his films? He preferred to see himself as a comic figure and joked that he began at the top and then conscientiously worked his way down. This ironic defense covered his misery as he begged funds from dodgy backers for films he seldom managed to complete. Like Othello or Lear, he was simultaneously noble and feeble, titanic and pathetic, a thunder-god and a spoiled child, a sacred monster and a profane clown.

http://www.wilderutopia.com/performance/film/orson-welles-tragic-hero-sacred-monster-profane-clown/

Orson Welles was famous for many things. One of them was not a habit of turning down a bracing beverage. Mostly he was deep into the Scotch, I gather, but the late film icon apparently was also instrumental in drawing light in America to the third-best gin cocktail of all time. That would be the negroni, an inspired, rusty-red mix of equal parts gin, Campari liqueur and dark vermouth, a drink now enjoying a well-deserved comeback at bars tended by young men with waxed mustaches and undersized fedoras.

http://www.theglobeandmail.com/life/food-and-wine/wine/orson-welles-alfred-hitchcock-and-the-four-best-gin-cocktails/article24909884/

*Find corresponding Russian words and expression to the grey ones

*Say exactly what new information each quote adds to the whole picture

*Find out more information on Orson Welles

the third man (1949)

Long before Orson Welles makes his appearance as Harry Lime in "The Third Man," it's abundantly clear that this is a "Welles film."

Not taking anything away from the fine director Carol Reed, who could easily stand on his own, this film has the "Welles touch" in every scene.

How did he manage to turn every film in which he was associated into his own? In his documentary on famous charlatans, "F for Fake," Orson admits to being somewhat of a conjurer. And he wasn't a half bad magician, at that (note his levitation and disappearing tricks).

My thought is that he was such a powerful presence, with a superior intellect, that he managed to dwarf other colleagues and imbue every project with his own stylistic brand. Whether he was coaching a performance from child actor Natalie Wood ("Tomorrow Is Forever") or taking charge of the entire production of "Jane Eyre," Welles dominated everything with which he was associated.

http://www.imdb.com/title/tt0041959

harry-76

This is a rare film that is flawless in every respect. It combines great acting and memorable characters with a fascinating story, taking place in an interesting setting and adding a creative musical score. "The Third Man" is remembered for many things - for Orson Welles' wonderful performance in his appearances as Harry Lime, for its wonderfully appropriate musical score, and for its nicely conceived plot surprises.

http://www.imdb.com/title/tt0041959

Snow Leopard

One of the most conspicuous aspects of the movie is the heavy use of canted camera angles. Usually, camera techniques are lost on the average viewer, but you can't miss it in this one. The average conversation bounces back between two characters, one with a thirty degree tilt to the left and the other with a thirty degree tilt to the right. Simple but effective.

And you can't miss that ubiquitous zither music. Annoying: yes. To be sure. But, the fact that it doesn't really seem to ever fit the images gives "The Third Man" a surreal, exotic feel. Nevertheless, I still think they could've gotten the feel and spared us a few of those annoying, manic tunes.

Finally, Orson Welles, of course, is great. His two most memorable scenes are the one with the kitten in the doorway and the ferris wheel scene. In his first shot, Orson's cherubic, mischievous visage lets us know immediately the plot is getting thicker than a Sequoia.

http://www.imdb.com/title/tt0041959

Matt Mintz ([email protected])

'Third Man' fans will insist that the cinematography is excellent, but frankly, both Welles, and Reed made movies with more compelling visuals prior to 1949. The score, now a hoary piece of film lore, is a tonal disaster, always undermining scenes with the wrong tone, and frequently at a volume too loud for a given moment. I acknowledge the movie is very influential (The Good German, Welles entire career after Ambersons) and even influenced some movies I enjoy very much (the Trial, Zentropa). But to find excellence in this is to willfully deny what your unengaged mind is telling you. Skip this and view Reed's Odd Man Out.

http://www.imdb.com/title/tt0041959

shanayneigh

The Third Man is an ideal example of Film Noir. With its impossible shadows and bleak plot elements, it embodies everything that makes the genre what it is. The protagonist of the film is Holly Martins, an American who goes to Vienna because his friend Harry Lime has offered him a job there. Upon reaching Vienna, Martins discovers that his friend has been run over by a car and killed. Or has he?

http://www.imdb.com/title/tt0041959

blippster

You know, as I think back over the film, it's the first two-thirds of the film that disappoints me. Yawn. The final third of the film IS what all the fuss is about.

http://www.imdb.com/title/tt0041959

vincentlynch-moonoi

*Find corresponding Russian words and expression to the grey ones

*Try to summarize each review in one word

*Describe each reviewer

*Watch the movie and write your own review

*Translate the following quotes as close to Russian as possible:

Calloway: Go home Martins, like a sensible chap. You don't know what you're mixing in, get the next plane.

Martins: As soon as I get to the bottom of this, I'll get the next plane.

Calloway: Death's at the bottom of everything, Martins. Leave death to the professionals.

Martins: Mind if I use that line in my next Western?

Calloway: We should have dug deeper than a grave.

Martins: I was going to stay with him, but he died Thursday.

Crabbin: Goodness, that's awkward.

Martins: Is that what you say to people after death? "Goodness, that's awkward"?

Martins: I guess nobody really knew Harry like he did... like I did.

Calloway: How long ago?

Martins: Back in school. I was never so lonesome in my life until he showed up.

Calloway: When did you see him last?

Martins: September, '39.

Calloway: When the business started?

Martins: Um, hmm.

Calloway: See much of him before that?

Martins: Once in a while. Best friend I ever had.

Calloway: That sounds like a cheap novelette.

Martins: Well, I write cheap novelettes.

martin scorsese

Martin Scorsese is an American icon. If there ever were a quintessential American director that captured Americana so well throughout his whole career, it would be Martin Scorsese. And best of all, his films transcend geographical boundaries. International audiences get to glimpse into Scorsese's interpretation of America, and beyond that, they are usually engaging and compelling stories with engaging and compelling characters.

https://www.quora.com/What-is-so-great-about-Martin-Scorsese

What was American cinema like before Martin Scorsese came along? It's a tough world to imagine. In dozens of films - including classics like Taxi Driver, Raging Bull, The Departed and more - Scorsese has raised more bars and pushed more envelopes than most people working in movies today. Having spent nearly half a century behind the camera, Scorsese has influenced countless filmmakers, and his unique vision has changed cinema forever.

http://www.shmoop.com/martin-scorsese/biography.html

Scorsese is a director who focuses on dialogue driven films with beautiful cinematography in which any shot could be easily identified as his work. Martin Scorsese also doesn’t just set up the scene, he paints images and feelings into the minds of the audience by using camera shots that have become his trademark in the film institution and themes that have already been developed. Scorsese uses elaborate sets and props (mis-en scene) to emphasize characterization and plot development.

https://prezi.com/xf2skbjk0wv2/martin-scorsese/

Scorsese is not new to controversy. Going all the way back to Taxi Driver, it has been a simmering threat in his work. In order to secure an "R" rating for that film, he had to desaturate the colors of the climactic shoot-out to make the bright red color of the blood less prominent. Casting a young Jodie Foster (13 years old) in the role of a prostitute who bears witness to that sequence was an equally raw nerve. Attempted Reagan assassin John Hinckley Jr. infamously obsessed on the film. When The Last Temptation of Christ was released, fundamentalists lost their marbles. A Paris movie theater showing the film was burned to the ground, severely injuring many. Scorsese needed bodyguards. Kundun caused quite the stir with the Chinese government, which threatened distributor Disney's access to the ever-growing China market. Scorsese, screenwriter Melissa Mathison and others involved with the production were banned from ever returning to the country, and there are even those who surmise the film played a significant role in the firing of then-Disney president Michael Ovitz.

http://www.hitfix.com/in-contention/wolf-of-wall-street-dispute-reminds-us-that-martin-scorsese-is-no-stranger-to-controversy

Some filmmakers as they grow older begin to pare down their styles, to produce mellow, autumnal works that attempt to express with serene simplicity the accrued wisdom of their lives. Does that sound like Martin Scorsese? His movies have always been fueled by nervous energy and huge uprushes of adrenaline, and it’s nearly impossible to imagine him doing without some kind of emotional turbulence, even if he has to induce it by sheer force of will.

http://www.nytimes.com/2010/02/07/movies/07scorcese.html?pagewanted=all

Martin Scorsese is not only one of our most important living directors, but he also may be the world’s biggest cinephile. With a famously encyclopedic knowledge of film and an unparalleled love for cinema, the director has committed himself to making movies, as well as to preserving some of the best films of the 20th century.

http://www.indiewire.com/article/martin-scorsese-on-fighting-for-film-preservation-and-not-believing-in-old-movies-20151002

“We can't keep thinking in a limited way about what cinema is. We still don't know what cinema is. Maybe cinema could only really apply to the past or the first 100 years, when people actually went to a theater to see a film, you see?”

http://www.quote-coyote.com/quotes/authors/s/martin-scorsese/3/

*Find corresponding Russian words and expression to the grey ones

*Say exactly what new information each quote adds to the whole picture

*Find out more information on Martin Scorcese

after hours (1985)

Scorsese's funniest movie, this dark comedy follows meek New Yorker Paul (a brilliant Griffin Dunne) as he ventures for a night outside his safety zone in an unknown neighborhood to a date with a cute young woman (Rosanna Arquette) he barely knows. Soon enough events take a dangerous turn: his date is a creepy disaster, he meets increasingly weird individuals, then an angry mob mistakes him for a criminal and chases him through the streets as he desperately tries to go home.

http://www.imdb.com/title/tt0088680

petra_ste

I was living in Los Angeles in the golden '80s, the last great age of American films I think. I watched the video of 'After Hours' so many times it wore out and am happy it is now available on DVD. But I hesitate to buy said DVD. Why? This film is extremely disturbing, and not really a comedy but a gruesome and pitch black snapshot of NYC culture that cuts very close to the bone for those of us who knew the nightlife of Sunset Boulevard on the other side of the country. The similarities between NYC and LA at that time were legion, the only difference being the cavernous, sinister streets of NY were not lined with palm trees. David Lynch's 'Mulholland Drive' best captures that aspect of danger and tragedy on the west coast that Scorsese has captured on the eastern seaboard.

http://www.imdb.com/title/tt0088680

pekinman

After finding Martin Scorsese to be a perpetual disappointment, I have to say I was quite pleasantly surprised by how much I enjoyed After Hours. Coming off one of my favorite comedic scripts I've encountered, written by Joseph Minion, this is a wild romp of an experience that didn't let up much at all. I've often found Scorsese's films to be loaded with pacing problems and while the final half hour or so here does drag a little bit it wasn't nearly as what I usually experience with his work.

http://www.imdb.com/title/tt0088680

Rockwell_Cronenberg

If you've never watched this, you're in for a treat. Linda Fiorentino and Rosanna Arquette (each at her sexiest) are terrific in the night and day loft mate roles. Character specialists Will Patton and John Heard get the best parts of their early careers. The pre-Disneyfied New York on display is both charming and deadly.

http://www.imdb.com/title/tt0088680

nixskits

This is a terrible film, an attempt, apparently, to cash in on the Stephen King audience. A sane guy is suddenly surrounded by insane people, chased throughout an utterly Soho district of New York, and deposited, after a horrendous night, miraculously at his office building door. There is the obligatory traffic madness, nudity, profanity, violence, drugs, homosexuality, and a wholly unbelievable story.

http://www.imdb.com/title/tt0088680

aberlour36

*Find corresponding Russian words and expression to the grey ones

*Try to summarize each review in one word

*Describe each reviewer

*Watch the movie and write your own review

*Translate the following quotes as close to Russian as possible:

Street Pickup: Why don't you just go home?

Paul Hackett: Pal, I've been asking myself that all night.

Paul Hackett: Is Marcy here?

Kiki: She had to go to the all-night drugstore.

Paul Hackett: Is she all right?

Kiki: It's under control.

Pepe: Art sure is ugly.

Neil: Shows how much you know about art. The uglier the art, the more it's worth.

Computer screen: Good morning, Paul

jim jarmusch

(left)

Director Jim Jarmusch is the king of indie movie cool. He’s one of the most distinctive and influential directors in recent years who has produced many a cult classic. One thing that characterizes Jarmusch’s creative vision is a strict adherence to his idea of artistic integrity based on the concept of what’s cool. Jarmusch’s movies are filled with cameos and soundtracks from rock musicians he admires, from Neil Young to Tom Waits to Iggy Pop to Jack White. He throws in quotes from and references to his favorite pieces of literature constantly. By the time you’re done watching several of Jarmusch’s movies, you know what the director’s favorite art is, and it’s some very cool stuff.

http://www.cheatsheet.com/entertainment/6-cool-indie-movies-from-jim-jarmusch.html/?a=viewall

Jarmusch's films are full of enormous pictorial beauty. This is especially found in the landscape shots that fill his work. This is landscape in the broad sense, including cityscapes and street scenes. They are highly atmospheric too. They constantly create a sense of feeling, convey emotions, and bathe the drama in a world of evoked sensation, mental experience and sensory richness.

There are two ways to see Jarmusch. If you ignore his landscapes, he can be seen as a maker of somewhat minimalist comedies, inoffensive, with sympathetic characters, but not a whole lot of substantive events. If you open your eyes to the landscapes, he becomes a major filmmaker, a pictorialist in the tradition of Sternberg.

http://mikegrost.com/jarm.htm

The word "hipster" invariably crops up in discussions about American film-maker Jim Jarmusch, not least because he looks the part. He is tall, lean, often wears shades and has a famous shock of hair that started turning silvery grey in his teens; his basso drawl completes the uncanny resemblance to a certain Hollywood great, which inspired Jarmusch to found a jokey secret society, The Sons of Lee Marvin.

http://www.theguardian.com/film/2014/feb/22/jim-jarmusch-only-lovers-left-alive

Jim Jarmusch is a filmmaker interested in what goes on in the margins of life. He is not concerned about the “whats” or the “whys” of people’s actions like most filmmakers, but rather in how they got there. It is the time between jump cuts that are the basis for many of Jarmusch’s films. He is interested in documenting the mundane events that most people take for granted and shows that they too are filled with fascinating moments. His films are populated by characters who seem to have no real direction in life, who just happen to stumble into adventures – much like real life itself.

http://sensesofcinema.com/2003/great-directors/jarmusch/

Independent filmmaker Jim Jarmusch is famous for maintaining a unique vision in a highly corporate medium. One of his most famous quotes on inspiration reads like flash:

Nothing is original. Steal from anywhere that resonates with inspiration or fuels your imagination. Devour old films, new films, music, books, paintings, photographs, poems, dreams, random conversations, architecture, bridges, street signs, trees, clouds, bodies of water, light and shadows. Select only things to steal from that speak directly to your soul. If you do this, your work (and theft) will be authentic. Authenticity is invaluable; originality is nonexistent. And don’t bother concealing your thievery—celebrate it if you feel like it. In any case, always remember what Jean-Luc Godard said: “It’s not where you take things from—it’s where you take them to.”

http://thefridaychallenge.blogspot.com/2011/08/flash-fiction-advisory.html

*Find corresponding Russian words and expression to the grey ones

*Say exactly what new information each quote adds to the whole picture

*Find out more information on Jim Jarmusch

night on earth (1990)

A fantastic piece of entertainment: five little stories, five cities, four languages. That's all. This movie has no message but it portrays five regions of the world most sensitively.

`Night on Earth' is not a movie for everybody but I think it is, in any case, the ideal movie to watch on television at two o'clock in the morning.

http://www.imdb.com/title/tt0102536

Mort-31

When I first heard about "Night on Earth" I thought it was one of the typical award-winning Arthaus- movies your girlfriend forces you to watch. I mean, 120 minutes watching people in taxis? But it was really entertaining, especially the scenes with Roberto Benigni and Armin Mueller-Stahl. I could watch Benigni for the whole 120 minutes talking to himself. (Talking? Singing, screaming, yelling, poking fun,... and his interlocutor, the deserted, silent, dark, somewhat morbid streets of a beautiful Roman night) So, if you are an Arthaus-sceptic like me, give this one a try.

http://www.imdb.com/title/tt0102536

silesius-1

The film is almost like a really good book. You can stop it between chapters and not miss a beat. It has fantastic acting and a dynamite cast. Some have said that they thought the first story with Gena Rowlands and Wyonna Ryder was weak,but I disagree.That story was about someone being content with who they are not looking for the brass ring. It also left the door open for further possibilities. I loved the New York story for many reasons. Not the least of which is that I live in New York. Excellent casting and a real story of the immigrants who came here to New York and the melting pot we are here in New York. It also showed a real problem that minorities face here in NY trying to hail a cab.

http://www.imdb.com/title/tt0102536

Sean P.O'Neill

This 1991 movie, which was produced, directed, and written by Jarmusch, is slow, self-indulgent, and horribly scripted. Five scenes, in five dark cities, play out at night. These are taxi scenes, but take it from me, folks: I have driven a taxi in two cities, only one of them dark, and every night that I drove I returned home with at least one story to relate that was better than these. It is painful to watch Gina Rowlands or Winona Ryder, for example, deliver lines that make them look like beginning actors. Only Roberto Benigni, who probably wrote his own comic bit, sustains any interest.

http://www.imdb.com/title/tt0102536

GeneSiskel

I've been a taxi driver for almost 30 years, and when discussing movies featuring taxis, I always say that there's only been one movie that gives a fair description of what taxi driving is all about. Jarmush hits it spot on here. Through 5 episodes in 5 different cities, all happening at the same time, he takes us into the magic World of night driving.

This is my favorite Jarmush movie. It's about real people.

http://www.imdb.com/title/tt0102536

redx1708

Why people like him still alludes me, but I'll give it a shot. It's because they don't want to like what everybody else likes. They want to be unique. They want to see independent film making, they probably also like Indy rock. It's OK to like something, but to wrongly preach about how great it is, when it's really just boring, and act as if you are better than people who don't like this film for a reason, that's wrong. I don't like this film for the reasons above, why you like it, I don't know. Maybe I'm just too stupid to get Jarmusch.

http://www.imdb.com/titl