Archive for the ‘ filmes da minha vida ’ Category

Nosferatu – 30 anos

Ainda que Nosferatu, eine Symphonie des Grauens de Murnau (1922) seja uma obra-prima, a minha versão preferida é a de Herzog – Nosferatu: Phantom der Nacht (1979) com Klaus Kinski (Conde Orlok), Isabelle Adjani e Bruno Ganz (o próximo Nosferatu).

A banda sonora de Popol Vuh encaixa bem no filme, mas Saraband de Georg Friedrich Händel fica mesmo a matar neste vídeo:

 

 

De levantar a tampa do caixão são as representações de John Malkovich – no papel F. W. Murnau, realizador de Nosferatu – e Willem Dafoe (o actor que teria encarnado o Conde Orlok), em Shadow of the Vampire (2000).

Filmes da minha vida – Pulp Fiction

[Jules and Vincent take Marvin with them in their car and Vincent’s gun goes off and blows Marvin’s head off]
Vincent: Whoa!
Jules: What the fuck’s happening, man? Ah, shit man!
Vincent: Oh man, I shot Marvin in the face.
Jules: Why the fuck did you do that!
Vincent: Well, I didn’t mean to do it, it was an accident!
Jules: Oh man I’ve seen some crazy ass shit in my time…
Vincent: Chill out, man. I told you it was an accident. You probably went over a bump or something.
Jules: Hey, the car didn’t hit no motherfucking bump.
Vincent: Hey, look man, I didn’t mean to shoot the son of a bitch. The gun went off. I don’t know why.
Jules: Well look at this fucking mess, man. We’re on a city street in broad daylight here!
Vincent: I don’t believe it.
Jules: Well believe it now, motherfucker! We gotta get this car off the road! You know cops tend to notice shit like you’re driving a car drenched in fucking blood.
Vincent: Just take it to a friendly place, that’s all.
Jules: This in the Valley, Vincent. Marcellus ain’t got no friendly places in the Valley.
Vincent: Well Jules this ain’t my fucking town, man!
Jules: Shit!
[Jules dials a number on his cell phone]
Vincent: What you doin’?
Jules: I’m calling my partner in Toluca Lake.
Vincent: Where’s Toluca Lake?
Jules: It’s just over the hill here over by Burbank Studios. If Jimmie’s ass ain’t home, I don’t know what the fuck we’re going to do, man. ‘Cause I ain’t got no other partners in 8-1-8. Hey Jimmie, yo, how you doin’, man? It’s Jules. Listen up man. Me and my homeboy are in serious fucking shit. We’re in a car and we gotta get off the road, pronto. I need to use your garage for a couple of hours.

A swallow carrying a coconut?

[opening music]
[wind]
[clop clop clop]
KING ARTHUR:
Whoa there!
[clop clop clop]

SOLDIER : Halt! Who goes there?
ARTHUR: It is I, Arthur, son of Uther Pendragon, from the castle of Camelot. King of the Britons, defeater of the Saxons, Sovereign of all England!
SOLDIER : Pull the other one!
ARTHUR: I am,… and this is my trusty servant Patsy.
We have ridden the length and breadth of the land in search of knights who will join me in my court at Camelot. I must speak with your lord and master.
SOLDIER : What? Ridden on a horse?

ARTHUR: Yes!
SOLDIER : You’re using coconuts!
ARTHUR: What?
SOLDIER : You’ve got two empty halves of coconut and you’re bangin’ ‘em together.
ARTHUR: So? We have ridden since the snows of winter covered this land, through the kingdom of Mercia, through.
SOLDIER: Where’d you get the coconuts?
ARTHUR: We found them.
SOLDIER : Found them? In Mercia? The coconut’s tropical!
ARTHUR: What do you mean?
SOLDIER : Well, this is a temperate zone.
ARTHUR: The swallow may fly south with the sun or the house martin or the plover may seek warmer climes in winter, yet these are not strangers to our land?
SOLDIER : Are you suggesting coconuts migrate?
ARTHUR: Not at all. They could be carried.
SOLDIER : What? A swallow carrying a coconut?
ARTHUR: It could grip it by the husk!
SOLDIER : It’s not a question of where he grips it! It’s a simple question of weight ratios! A five ounce bird could not carry a one pound coconut.
ARTHUR: Well, it doesn’t matter. Will you go and tell your master that Arthur from the Court of Camelot is here?
SOLDIER : Listen. In order to maintain air-speed velocity, a swallow needs to beat its wings forty-three times every second, right?
ARTHUR: Please!
SOLDIER : Am I right?
ARTHUR: I’m not interested!
SOLDIER : It could be carried by an African swallow!
SOLDIER : Oh, yeah, an African swallow maybe, but not a European swallow. That’s my point.
SOLDIER: Oh, yeah, I agree with that.
ARTHUR: Will you ask your master if he wants to join my court at Camelot?!
SOLDIER : But then of course a African swallows are non-migratory.
SOLDIER : Oh, yeah.
SOLDIER : So, they couldn’t bring a coconut back anyway.
[clop clop clop]
SOLDIER : Wait a minute! Supposing two swallows carried it together?
SOLDIER : No, they’d have to have it on a line.
SOLDIER : Well, simple! They’d just use a strand of creeper!
SOLDIER : What, held under the dorsal guiding feathers?
SOLDIER : Well, why not?

Monty Python and the Holy Grail, 1975

The Knights Who Say "Ni"

Voice over:
Meanwhile, King Arthur and Bedevere, not more than a swallow’s flight away, had discovered something.

Knights of Ni: Ni! Ni! Ni! Ni! Ni! Ni!
Arthur: Who are you?
Knight of Ni: We are the Knights who say….. “Ni”!
Arthur: (horrified) No! Not the Knights who say “Ni”!
Knight of Ni: The same.
Other Knight of Ni: Who are we?
Knight of Ni: We are the keepers of the sacred words: Ni, Ping, and Nee-womm!
Other Knight of Ni: Nee-womm!

Arthur: (to Bedevere) Those who hear them seldom live to tell the tale!
Knight of Ni: The knights who say “Ni” demand….. a sacrifice!
Arthur: Knights of Ni, we are but simple travelers who seek the enchanter who lives beyond these woods.
Knights of Ni: Ni! Ni! Ni! Ni! Ni! Ni! Ni! Ni! Ni!
Bedevere: No! Noooo! Aaaugh! No!
Knight of Ni: We shall say “Ni” to you… if you do not appease us.
Arthur: Well what is it you want?
Knight of Ni: We want…..

(pregnant pause)

A SHRUBBERY!!!!
(dramatic minor chord)


Arthur: A *WHAT*?
Knights of Ni: Ni! Ni!! Ni! Ni!
Arthur: No! No! Please, please, no more! We will find you a shrubbery.
Knight of Ni: You must return here with a shrubbery… or else you will never pass through this wood… alive.
Arthur: O Knights of Ni, you are just and fair, and we will return with a shrubbery.
Knight of Ni: One that looks nice.
Arthur: Of course!
Knight of Ni: And not *too* expensive.
Arthur: Yes!
Knight of Ni: Noowwwww…. GO!

Monty Python and the Holy Grail, 1975

Ho! Ho! Ho!

It’s Christmas in Heaven,
All the children sing,
It’s Christmas in Heaven,
Hark hark those church bells ring.
It’s Christmas in Heaven,
The snow falls from the sky…
But it’s nice and warm and everyone
looks smart and wears a tie.
It’s Christmas in Heaven,
There’s great films on TV…
`The Sound of Music’ twice an hour
And `Jaws’ I, II, and III.
There’s gifts for all the family,
There’s toiletries and trains…
There’s Sony Walkman Headphone sets
And the latest video games.
It’s Christmas it’s Christmas in Heaven!
Hip hip hip hip hip hooray!
Every single day,
Is Christmas day.

It’s Christmas it’s Christmas in Heaven!
Hip hip hip hip hip hooray!
Every single day,
It’s Christmas day.

Lyrics by Monty Phyton

E agora, para algo completamente diferente..


The Dead Collector: Bring out yer dead.
[a man puts a body on the cart]
Large Man with Dead Body: Here’s one.
The Dead Collector: That’ll be ninepence.
The Dead Body That Claims It Isn’t: I’m not dead.
The Dead Collector: What?
Large Man with Dead Body: Nothing. There’s your ninepence.
The Dead Body That Claims It Isn’t: I’m not dead.
The Dead Collector: ‘Ere, he says he’s not dead.
Large Man with Dead Body: Yes he is.
The Dead Body That Claims It Isn’t: I’m not.
The Dead Collector: He isn’t.
Large Man with Dead Body: Well, he will be soon, he’s very ill.

The Dead Body That Claims It Isn’t: I’m getting better.
Large Man with Dead Body: No you’re not, you’ll be stone dead in a moment.
The Dead Collector: Well, I can’t take him like that. It’s against regulations.
The Dead Body That Claims It Isn’t: I don’t want to go on the cart.
Large Man with Dead Body: Oh, don’t be such a baby.
The Dead Collector: I can’t take him.
The Dead Body That Claims It Isn’t: I feel fine.
Large Man with Dead Body: Oh, do me a favor.
The Dead Collector: I can’t.

Large Man with Dead Body: Well, can you hang around for a couple of minutes? He won’t be long.
The Dead Collector: I promised I’d be at the Robinsons’. They’ve lost nine today.
Large Man with Dead Body: Well, when’s your next round?
The Dead Collector: Thursday.
The Dead Body That Claims It Isn’t: I think I’ll go for a walk.
Large Man with Dead Body: You’re not fooling anyone, you know. Isn’t there anything you could do?
The Dead Body That Claims It Isn’t: I feel happy. I feel happy.
[the Dead Collector glances up and down the street furtively, then silences the Body with his a whack of his club]
Large Man with Dead Body: Ah, thank you very much.
The Dead Collector: Not at all. See you on Thursday.
Large Man with Dead Body: Right.

Monty Python and the Holy Grail – 1975

To be free like the wind

House of Flying Daggers de Zhang Yimou, é muito mais do que uma história sobre um triângulo amoroso.

Estamos no ano 859 A.D.
Mei (Zhang Ziyi) é membro secreto dos Punhais Voadores – cujo líder foi morto pelos polícias da corrupta Dinastia Tang.
Jin (Takeshi Kaneshiro) e Leo (Andy Lau Tak Wah), ambos capitães da polícia, estão firmemente empenhados em anular o novo líder dos rebeldes.

A luminosa Zhang Ziyi desenha um esplendoroso quadro de ballet durante o Jogo do Eco, acompanhada pelo som dos tambores.

Mei, que actua no Pavilhão de Peony – um luxuoso bordel, é presa por suspeita de pertencer ao movimento rebelde.

Jin simula o salvamento de Mei e foge com ela, a caminho da Casa dos Punhais Voadores.

À medida que vai conquistando a sua confiança, Jin vai-se envolvendo com a bela e elegante Mei, num jogo de sedução a que não estamos habituados no cinema europeu, sem no entanto deixar de ser familiar.

Quando são atacados por uma patrulha que os persegue, contam com a inesperada ajuda de um misterioso protector, que segue Mei e a protege.
Jin percebe então que existe outro homem na vida de Mei. Inicia-se o triângulo amoroso.

São imagens excitantes, as perseguições pela floresta de bambú!

Num claro desafio às leis da natureza – tal como em O Tigre e o Dragão, os guerreiros voam por cima das árvores, identificados quase exclusivamente pelos silvos das lanças de bambú, como efeito musical do movimento.

O simbólico combate de morte, no meio de uma repentina tempestade de neve, entre os dois homens que lutam pelo amor dela é uma tragédia lírica, quase operática.
Como um combate de morte pode ser comovente!

O trabalho sobre a côr é magnífico, num exercício de fotografia de Zhao Xiaoding que capta muito bem as autênticas coreografias nas cenas de acção, bem como os tons outonais das paisagens. Muito bonito, este filme.

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