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name='daisyhall1']Just watched Long Good Friday again and was mesmerised by the closing scene of Bob Hoskins being driven away at gunpoint.
Wondered if anyone had a favourite moment from Brit films.?
They've heard mine so often I needn't bother
Just watched Long Good Friday again and was mesmerised by the closing scene of Bob Hoskins being driven away at gunpoint.
Wondered if anyone had a favourite moment from Brit films.?
name='daisyhall1']Just watched Long Good Friday again and was mesmerised by the closing scene of Bob Hoskins being driven away at gunpoint.
Wondered if anyone had a favourite moment from Brit films.?
They've heard mine so often I needn't bother
I absolutely love drowning scene at start of "Don't Look Now" - that precise moment when Donald Sutherland emerges from that dank vortex of pond water with his daughter.
name='daisyhall1']Just watched Long Good Friday again and was mesmerised by the closing scene of Bob Hoskins being driven away at gunpoint.
Wondered if anyone had a favourite moment from Brit films.?
Brilliant ,thats the one ,Monkmans music ,a sinister nappy wearing Brosnan and the look on Harold Shands face a true classic.Apparently Hoskins did,nt know his characters fate at this stage and just let the cameras role.His resigned and bemused look just makes the movie..class
name='ddock54']Brilliant ,thats the one ,Monkmans music ,a sinister nappy wearing Brosnan and the look on Harold Shands face a true classic.Apparently Hoskins did,nt know his characters fate at this stage and just let the cameras role.His resigned and bemused look just makes the movie..class
And apparently Hoskins has never met Brosnan, not during filming or since. Their scenes and reverse angles looking at each other were filmed separately with Hoskins reacting to the film crew in the front seats rather than the gun toting Brosnan.
In Excalibur, the revival of the Waste Land shown by the trees bursting into blossom as the knights ride past, with Orff's setting of the 12-13C Latin song O Fortuna, Velut Luna on the soundtrack.
name='silverwhistle']In Excalibur, the revival of the Waste Land shown by the trees bursting into blossom as the knights ride past, with Orff's setting of the 12-13C Latin song O Fortuna, Velut Luna on the soundtrack.
What a beautiful and rousing scene, majestic even. I pretty much like the finale between Arthur and Mordred when they lance each other and Mordred says something like "come father let us embrace", grusome but powerful.
I'll go for the meeting of Harry Lime and Holly Martins at the ferris wheel, the way Lime enters the screen and moves from side to side, reminds me of a rat evading it's enemy to garner its own victim.
Simon
name='silverwhistle']In Excalibur, the revival of the Waste Land shown by the trees bursting into blossom as the knights ride past, with Orff's setting of the 12-13C Latin song O Fortuna, Velut Luna on the soundtrack.
Completely agree. A great scene in a great film.
Babs Windsor's top flying off in CARRY ON CAMPING.
No, strike that, this is better: Alec Guinness's entrance near the start of THE LADYKILLERS.
name='daisyhall1']Just watched Long Good Friday again and was mesmerised by the closing scene of Bob Hoskins being driven away at gunpoint.
Wondered if anyone had a favourite moment from Brit films.?
Brilliant scene in a brilliant film. Never fails to affect me every single time I see it. Same goes for the scene when Edward Woodward sees the Wickerman for the first time.
How about this little exchange ....
"I admire your pluck Miss?"
"Trench, Sylvia Trench. I admire your luck Mister?"
"Bond, James Bond"
Bats.
name='Third Man']What a beautiful and rousing scene, majestic even. I pretty much like the finale between Arthur and Mordred when they lance each other and Mordred says something like "come father let us embrace", grusome but powerful.
Yes � that was fantastic, although they changed it from the way it is in the book: in the Morte d'Arthur (and its main source, the French Prose Lancelot), it's Mordred who drags himself up the spear-shaft to get within sword's reach of his father. Presumably they reversed it so that Arthur would look more heroic.
Blimey, there's loads. A few that come to mind...
Christopher Lee at the top of the stairs in Dracula.
The closing scene of The Third Man with Valli walking towards the camera.
Richard E Grant soliloquising to the wolves in Regents Park in Withnail & I
Finlay Currie in the graveyard at the start of Great Expectations.
Oliver Reed's death scene in The Devils.
Basil Radford talking to London on the phone in The Lady Vanishes.
The dinner party in Carry On Up the Khyber.
Omar Sharif's arrival in Lawrence of Arabia (actually anything from that).
name='silverwhistle']Yes � that was fantastic, although they changed it from the way it is in the book: in the Morte d'Arthur (and its main source, the French Prose Lancelot), it's Mordred who drags himself up the spear-shaft to get within sword's reach of his father. Presumably they reversed it so that Arthur would look more heroic.
Yes, I've heard of the 'hard-done-by' Mordred scenario and very interesting it is too.
Arthur states (in-the-film) that Mordred bore his sins, this is a very poignant and indepth point of view, for not only does this exonerate Arthur but it gives him a will to fight.
The sons willing less to embrace his father at the end compounds those feelings. Father and son shall be one, I was aware of the bias towards Arthur but I think Mordred even in the film came out as the heroic one.
Simon
"Excalibur" is a new film to me. You've all tempted me to see it now!
Available for �3.99 in HMV!
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Rob
name='Rob Compton']"Excalibur" is a new film to me. You've all tempted me to see it now!
Available for �3.99 in HMV!
HMV.com: Music CDs, DVDs, Games & More
rgds
Rob
I don't think you'll be disappointed Rob - it's the best recreation of the Arthurian mythos put on film... so far.
It looks fantastic, the screenplay is beautifully literate and it has some memorable performances from a superb cast, especially Nicol Williamson as Merlin!
name='Third Man']Yes, I've heard of the 'hard-done-by' Mordred scenario and very interesting it is too.
Simon
Well, before Lancelot was invented in the 12C, he was the one who was bonking Gwenhwyfar (his aunt and/or stepmother!), putting that thread of the plot more in the same tradition as the Drustan-Essylt-March, Diarmuid-Grainne-Fionn, Naisiu-Deirdriu-Conchobhar triangles. where there's generally a family tie between the 2 men, and it's the young queen with the older husband choosing a younger man. The plotline survived in English until 14C (the Alliterative Morte Arthur), but Malory used the French Prose Lancelot as his main source, and Lancelot had first been given the role of the Queen's lover by Chr�tien de Troyes (quite possibly as a spoof). Lancelot's earlier storyline seems to be the one recorded by Ulrich von Zatzikhofen, in his Lanzelet.
Mordred/Medrawd was always my favourite character (what can I say? I'm a sucker for young men in distress, generally involving sharp pointy objects!), and my favourite modern version is in Joy Chant's The High Kings, which goes back to the pre-Lancelot versions.
Boorman and Pallenberg's innovation was to weld the Grail legend to Arthur himself, and make him and the Roi P�cheur (Sinner/Fisher King) one character. They thus created a very powerful subtext which draws on both Christian and pre-Christian notions of sacrificial kingship.
I once had a drink with a bloke who produced all those Hitler documentaries for Channel Five. He remarked that, based on his knowledge of Nazi occultism which he'd acquired for one of his shows, EXCALIBUR was "a very sinister film". But he would say no more!
name='dremble wedge']I don't think you'll be disappointed Rob - it's the best recreation of the Arthurian mythos put on film... so far.
It looks fantastic, the screenplay is beautifully literate and it has some memorable performances from a superb cast, especially Nicol Williamson as Merlin!
Agreed! Its visual style is derived very heavily from the Pre-Raphaelites' Arthurian paintings, especially Rossetti and Burne-Jones. The shining plate armour is straight out of Burne-Jones, and Cherie Lunghi as Guenevere looks like Rossetti's portraits of Jane Morris. There are also sexy influences from the work of Aubrey Beardsley (another of my lifelong heroes), who illustrated Malory in the 1890s. In the same mode, it uses a lot of 19C Arthurian-inspired Romantic music, notably Wagner's Parsifal and (I think) bits of Tristan, as well as Orff's 20C setting of songs from the Carmina Burana (Benediktbeuren MS, early 13C). A magical film, in all. I saw it when it was first released, on the big screen.
The very last scene is pure Pre-Raphaelite: the queens on the boat vanishing into the sunset…
name='D Cairns']I once had a drink with a bloke who produced all those Hitler documentaries for Channel Five. He remarked that, based on his knowledge of Nazi occultism which he'd acquired for one of his shows, EXCALIBUR was "a very sinister film". But he would say no more!
Sounds like someone who's let his hobby-horse run away with him! Just because the Nazis developed some bizarre notions based on medi�val romances (especially Grail legends), generally mediated through Wagner, doesn't mean that anything based on the medi�val romances is tainted with Nazism. He probably doesn't know much about medi�val literature�
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