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Louisana
Joined July 2008
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Reshaud retweeted
Stifler's mom says the role got her "like 200 people" she would have never slept with. One night a young guy took off his shirt and she saw "1987" tattooed across his chest. She asked what band that was. He said: "That's the year I was born." Then they had to call his mother.
In the video below, Jennifer Coolidge tells it herself. Watch her face when she gets to the part about his mom.
American Pie is the movie everyone remembers for a warm apple pie. But her few minutes on screen, seducing her son's classmate Finch on a pool table, gave the world a new word: "MILF."
She was 37. Then Hollywood kept handing her the same joke for 20 years. In her own words, she survived on "little jobs" and "five different sequels of American Pie. I milked that to the bone."
Then Mike White wrote The White Lotus for her. She almost said no because she "didn't like the way she looked." At 61 she won an Emmy.
That year she told Variety about the 200. A few months later she told Ariana Grande it was "sort of an exaggeration." About the young guy: "Legal, of course."
Now the ex-boyfriends are calling again. Her take: "People are really that shallow."
The pie made the movie famous. The mom made it immortal.
So which one do you believe: the 200, or the "exaggeration"?
Reshaud retweeted
Channing Tatum opens up about his failed Gambit solo film:
“We had three different directors that were signed up to do it, and the first one, the studio, Fox, they had a fallout, so that one didn't work out. The second one was just in development for so long with somebody that I was just like, ‘We got to move to making this thing.’
So we separated ourselves, and then the third one almost got going with Gore Verbinski, and then creatively all three of us, the studio, him and me, we started in the same place, and then as it developed, we just all grew apart.”
(Source: @screenrant)
Reshaud retweeted
CARLITO’S WAY turns 33 today.
Brian De Palma originally planned an elaborate shootout on the escalators of the World Trade Center, but the location was destroyed just days before filming. The climactic chase was moved to Grand Central Terminal instead.
Reshaud retweeted
#Noirvember Day 10 recommendation: THE ASPHALT JUNGLE (1950) by John Huston.
THE ASPHALT JUNGLE (1950) is one of the foundational American heist films and one of the most important crime pictures of the classical Hollywood period and film noir.
Earlier crime films certainly featured robberies, gangs and elaborate criminal operations. However, Huston's film helped establish the particular dramatic structure that would become a defining characteristic of the genre.
The structure of modern heist films (assembly of the team -> executing heist -> the ensemble characters -> the inevitable collapse) can be traced back to THE ASPHALT JUNGLE (1950). It helped establish the idea that a heist film could simultaneously be a procedural thriller, a character study and a tragedy.
Another must watch film noir.
#Noirvember Day 9 recommendation: OSSESSIONE (1943) by Luchino Visconti.
This Visconti debut feature film noir laid some of the foundations for Italian Neorealism movement.
The story follows a drifter named Gino who begins an affair with inn-owner Giovanna as they plan to get rid of her older husband.
The film is loosely adapted from the American play James M. Cain's "The Postman Always Rings Twice", but Visconti takes the conventions of American crime fiction, strips away their glamour, relocates them to the impoverished Italian countryside and turns a murder story into an examination of human desperation.
A doomed relationship, criminal conspiracy, sexual obsession, guilt and fatalism makes OSSESSIONE (1943) a perfect film noir and a precursor to one of cinema's most important movements.
Reshaud retweeted
Noirvember 10. 🎞️ 🖤 🍂
Touchez pas au grisbi (1954.) Jacques Becker. Jean Gabin.
The quiet heist. The aging gangster. Loyalty that costs everything. No American shadow. Pure French weather. 🇫🇷 The name’s home ground.
Grisbi holds the centre. Quintessential. Titans of the continent carry it. Quiet. Peak clip that sings: the montage from Gangster Cinema (Gabin, nightclub, pressure, guns...)
'A masterpiece of French crime cinema that redefined the gangster genre by focusing on the weariness, honour and vulnerabilities of aging.' Wiki.
Noirvember 10. 🎞️ 🖤 🍂
Touchez pas au grisbi (1954). Jacques Becker. Jean Gabin.
Un casse tout en retenue. Un gangster vieillissant. Une loyauté qui coûte tout. Aucune influence américaine. Une atmosphère typiquement française. 🇫🇷 Le genre, sur ses terres d’origine.
Le « grisbi » est au cœur de tout. L’essence même du genre. Porté par des géants du continent. Tout en sobriété. Un moment fort, magistral : la séquence emblématique (Gabin, boîte de nuit, tension, armes…).
« Un chef-d’œuvre du cinéma policier français qui a redéfini le genre du film de gangsters en mettant l’accent sur la lassitude, l’honneur et les vulnérabilités liées au vieillissement. » - Wiki.
Touchez Pas au Grisbi (1954), directed by Jacques Becker, is one of the greatest gangster films ever made. Kinji Fukasaku and Martin Scorsese have both cited it as one of the pinnacles of the gangster genre. If you want to get into classic French crime cinema, this is essential viewing.
Jean Gabin stars as Max, an aging gangster trying to hold onto a quiet life after one last big score. He’s calm and cool in a world full of young, up‑and‑coming cutthroats looking to take him out.
In a sense, it’s a reaction to the Warner Bros. prohibition‑era gangster movies of the ’30s: what happens when those gangsters don’t die in a hail of bullets, but actually grow old?Can an old-time criminal age out comfortably in the dangerous, glamorous underworld of 1950s Paris?
Director Jacques Becker captures Paris in a way that feels alive, steeped in French noir fatalism. The tension and paranoia are subtle at first, but become ever more palpable as the story progresses; eventually erupting into one of the great final showdowns of the gangster genre.
10/10 classic crime flick I can’t recommend enough
Reshaud retweeted
Footage from yesterday morning’s Veterans Tattoo Ceremony, presented by Bossier Schools.
The Military Tattoo is a centuries-old tradition, originally used to signal soldiers to return to their barracks. Today, it has evolved into a patriotic ceremony honoring the men and women who have served our country.
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Reshaud retweeted
The iconic heist sequence in Jules Dassin's "Rififi" (1955) lasts more than half hour. The scene does not contain a single line of dialogue or music. But George Auric, the composer of the movie thought that it would be a disaster to have the scene without music.
Dassin told Auric he did not want music, Auric claimed he would "protect [him]. I'm going to write the music for the scene anyways, because you need to be protected".
Once the filming was finished, Dassin showed the film to Auric both with and without music. After seeing both the versions, Auric turned to Dassin and admitted, that the scene should be "Without the music".
("Rififi (Supplemental slideshow on DVD), The Criterion Collection. 2001", IMDb & Wikipedia)
P.S: On this day, 71 years ago, "Rififi" (1955) was released in France
Reshaud retweeted
Dustin Hoffman says Mike Nichols’ was a cocaine addict and working with him was the worst experience of his career.
Conan O’Brien asks why Nichols cast him despite how insecure Hoffman felt during filming.
“When he casts you, many people think, ‘What is he doing? What is Mike Nichols doing?’ Including you. You were very insecure during the making of that movie.”
Hoffman doesn’t hold back.
“It’s the worst experience of my life working. When it was over, I said I’m going back to the theater.”
He says Nichols also struggled with his own demons.
“He knew he was terminal. He knew he had an incurable illness. He confessed things, and this was shocking, which I never knew: he was a cocaine addict.”
Hoffman says that explained Nichols’ changing moods.
“I realized that’s the reason he was so nice to me, because when he was high, it was wonderful. The next day, when he was on a downer, he was abusive.”
He also recalls Nichols overhearing cinematographer Bob Surtees say, “That’s okay, it’ll be over soon,” which Hoffman believes was connected to his drug use.
Reshaud retweeted
Alain Delon in Le Samouraï (1967) Jean-Pierre Melville
In Plein Soleil, Delon’s beauty is seductive and dangerous. In L’Eclisse, it becomes elusive, caught in Antonioni’s world of emotional uncertainty. In Le Samouraï, Melville who wrote the character of Jef with Delon in mind takes it somewhere else entirely.
As Jef Costello, Delon barely speaks. His face reveals almost nothing, his movements are precise, his gestures reduced to ritual. The fedora, the trench coat, the impassive gaze: everything contributes to a carefully constructed image of detachment.
Melville understands the extraordinary power of Delon’s physical presence, but rather than exploiting his charm, he suppresses its expression. The beauty remains, stripped of warmth and intimacy, transformed into something enigmatic and almost abstract.
There is a fascinating paradox at the heart of the film. Jef Costello is a man who lives by remaining unnoticed, yet Delon possesses a face the camera—and the spectator—cannot stop looking at.
In Le Samouraï, Delon the movie star becomes an icon of solitude, at once utterly visible and profoundly inaccessible. Delon's beauty does not only hide behind an impassive mask, its inaccessibility is the very substance of the character.
The scene presented below captures the essence of Delon’s performance. Sitting motionless behind the wheel, he tries one key after another, patiently arranging the rejected keys beside him. His expression scarcely changes. Melville allows this ordinary, repetitive action to hold our attention, relying entirely on Delon’s physical presence. His stillness becomes the performance.
#AlainDelon #botd #Noirvember
Reshaud retweeted
Fallen Angels (1995), directed by Wong Kar-wai, was originally conceived as the third story of Chungking Express before developing into a separate film. Wong considered the two films complementary, describing them as “the bright and dark of Hong Kong.” While Chungking Express captures the city's daytime energy, Fallen Angels explores its lonely, neon-lit nights.
Starring Leon Lai, Michelle Reis, Takeshi Kaneshiro and Karen Mok, the film follows a hitman and several disconnected individuals searching for human connection. Wong deliberately used extreme wide-angle lenses, placing the camera close to the actors while making them appear emotionally distant. As he explained, “The main characters of Chungking Express are not Faye Wong or Takeshi Kaneshiro, but the city itself.”
With its hypnotic soundtrack, distorted perspectives and dark humour, Fallen Angels is a haunting portrait of loneliness, missed connections and life in a city that never sleeps.
Reshaud retweeted
#NoirvemberChallenge
7. Un #FilmNoir para iniciarse en el género: IN A LONELY PLACE (1950). Una historia de amor turbiamente grandiosa, interpretaciones soberbias, tensión sublime y una de las frases más preciosas del cine🖤
#Noirvember @LadyKdesigns
#NoirvemberChallenge
6. Un #FilmNoir en el que el villano recibe su merecido: THE NIGHT OF THE HUNTER (1955). Robert Mitchum está inmenso como ese reverendo psicópata y manipulador que esconde el mal tras una fachada religiosa.
#Noirvember @LadyKdesigns
