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BLOG CREATED, EDITED and WRITTEN BY JEREMY RICHEY: Began in DEC 2006. The written content of all posts (excepting quotes from reviews, books, other publications) COPYRIGHT JEREMY RICHEY.
10 comments:
Frickin' wonderful flick. Can't say the same about Payback. But tell me, whaddaya think about the Director's Cut (haven't seen that version)?
Great image choices as always. This film is visually stunning (as you'd expect of any film influenced so heavily by Godard).
Nice images, Jeremy. Along with THE KILLERS, this is my fave Lee Marvin performance.
Tony Dayoub:
The Director's Cut of PAYBACK is quite good, much grittier and has much more of a '70s crime film vibe, right down the opening credits font. Plus, it doesn't have the Mel Gibson-imposed torture sequence from the previous cut. It has a much more satisfying ending, IMO.
This is an incredible film. I absolutely love it. I would highly recommend it to people.
Now, that is what I like to see. The creative juices flowing. The images are great. Certainly, some one was thinking about how to produce this.
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Point Blank is the best American crime film of the 1960s that I can immediately think of, and is definitely a post-noir milestone. I second J.D. in giving props to The Killers. Jeremy, you have chosen well.
Uh, not enough Angie.
Thanks guys,
I think Boorman's film is easily one of the best of the sixties and one of the best crime films ever made....probably the most haunting as well.
I actually am quite fond of both versions of Payback, although I don't think anyone would compare it quality wise to to Point Blank.
The DC of Payback is a real winner and the disc is out of sight. The doc on the two versions is really splendid and I am glad Gibson (who was caught in the middle as star and producer) supported Helgeland to go back and redo the film. I know it's a maligned work, but a personal favorite none the less.
Love POINT BLANK and any imagery associated with it. I must second Larry's request for more Angie and my own request for a little more color. You could probably achieve both in one image.
The DVD commentary with Boorman and Steven Soderbergh goes into a good amount of detail with regards to Boorman's very carefully selected and controlled color palettes--particularly amazing is the hotel sequence in which everything down to Angie's outfit and the coin-operated telescopes are color-coordinated (yellow).
I also love the editing sequence of images with that constant "stomping down the hall" soundtrack of Lee Marvin.
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