I need a good movie to watch.
Last edited Sun Jun 5, 2022, 04:49 PM - Edit history (1)
I'm sapping today. nothing to do. what should i watch?
thank you all for the great suggestions. I'll check them out. I just decided on "The Big Wedding" with 2 favorites, Diane Keaton and Robert DeNiro. had never even heard of it, have no idea if i'll like it, but here goes.
= new reply since forum marked as read
I watched Old Henry without knowing any more than it was a western and was blown away... And I'm not even real big on westerns. Really good movie 
The Conformist (Italian: Il conformista) is a 1970 political drama film directed by Bernardo Bertolucci, whose screenplay is based on the 1951 novel The Conformist by Alberto Moravia.
The film stars Jean-Louis Trintignant, Stefania Sandrelli, Gastone Moschin, Enzo Tarascio, Fosco Giachetti, José Quaglio, Dominique Sanda and Pierre Clémenti. The film was a co-production of Italian, French, and West German film companies.
Bertolucci makes use of the 1930s art and decor associated with the Fascist era: the middle-class drawing rooms and the huge halls of the ruling elite.
Why Bertolucci's The Conformist deserves a place in cinema history
The Italian director's 1970 expressionist masterpiece offered a blueprint for a new kind of Hollywood film, which is why Coppola, Spielberg, Scorsese and co owe him a huge debt
https://www.theguardian.com/film/filmblog/2012/feb/22/bertolucci-the-conformist
Bernardo Bertolucci's expressionist masterpiece of 1970, The Conformist, is the movie that plugs postwar Italian cinema firmly and directly into the emerging 1970s renaissance in Hollywood film-making. Its account of the neuroses and self-loathing of a sexually confused would-be fascist (Jean-Louis Trintignant) aching to fit in in 1938 Rome, who is despatched to Paris to murder his former, anti-fascist college professor, was deemed an instant classic on release.
It was, and is, a highly self-conscious and stylistically venturesome pinnacle of late modernism, drawing from the full range of recent Italian movie history: a little neo-neorealism, a lot of stark and blinding Antonioni-style mise-en-scène, some moments redolent of Fellini. And it was all framed within an evocation of the frivolous fascist-era film-making style derided by Bertolucci's generation as "white telephone" cinema. Add a dose of unhealthy sexual confusion and it's hardly surprising that it was one of the international hits of the year. It also offered the blueprint for the new wave of Hollywood film-makers to a different kind of cinema and a roadmap of new formal possibilities – not merely for those of Italian descent such as Francis Coppola and Martin Scorsese.
To be sure, Coppola's The Godfather, with its operatic qualities, seems on the surface to have more in common with Visconti's mature work (while the paranoid-realist spirit of Francesco Rosi hovers ever near), but Bertolucci became friends with Coppola, and his influence is palpably discernible in the formally adventurous The Godfather: Part II. Surveillance expert Harry Caul (Gene Hackman) in Coppola's The Conversation is a repressed Catholic and professional paranoid who has plenty in common with Trintignant's agonised Marcello Clerici. Meanwhile, Bertolucci's cinematographer Vittorio Storaro – who shot both The Conformist and Bertolucci's other 1970 masterpiece The Spider's Stratagem – made his American debut on Apocalypse Now, and has worked with Coppola several times since, as well as remaining Bertolucci's DP (while also working fitfully for Warren Beatty).
There are other links. Marlon Brando, after completing work on The Godfather – something that reinvigorated his career and sealed his image as actorly padre padrone to the young ethnic method players who emerged from the set of that film and thereafter dominated serious American cinema of the 1970s – went straight to work on Bertolucci's Last Tango in Paris.
snip
https://www.dailymotion.com/video/x7p08lb (full movie)
makes us feel good after watching it. 
