CIVIL.10

07 Sep 1996 - 03 Sep 1998

Messages - film

film.940 chill,
WAV-ovi iz omnibusa KAKO JE PROPAO ROKENROL ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= 1. ŽIKA: "Ko vidi nindžino lice, i priča o tome, umreće u najstrašnijim mukama!" SARMA: "Ćuti bre Koma, nemoj da te udavim u šolju." =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= 2. ANICA: "Pitam, da nećeš možda da me tucaš?" =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= 3. ANICA: "Je l' bi ti to da me... tucaš?" =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= 4. PUBLIKA: "Bravo majstore zeleni!!!" =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= 5. VESNA: "Ti si budala i kreten." =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= 6. DJURA: "Dirkam ti gaćice!" =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= 7. DJURA: "Ko ti dirka gaćice?" =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= 8. BABA: "Pokojni Toza!" DEDA: "To... To... To... Toza?" =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= 9. DRAGAN: "Pokojni Toza!" =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= WAV, 8 bit, Mono, 22.050 kHz, PCM... rokenrol.arj
film.941 vitez.koja, -> #936, firus
#=> 3 + 3 + 3 = 9 #=> #=> Tako sam čuo još pre jedno 10 godina i niko mi od tada nije rekao #=> da to nije tako. Ma nije to ništa... Ja sam pre 10 godina učio i da je 4 + 4 + 4 = 12 i niko mi od tada nije rekao da to nije tako (obrati pažnju, sabiranje preko 10!) sk ps. jooj, šala - komika...
film.942 inferno, -> #908, lada
Ů│ ˙ Nikad neću shvatiti zašto niko u Help ne stavi Sofronija: "Da Ů│ ˙ li je išta od ovoga ušlo pod tu tvoju plavu kapicu?" Da, ali najjači je odgovor mis Prisi: "Jeeeesteee". :))) takođe je čudno da se niko nije setio onoga: "daj da ga ja drmnem jednom bratac." ;) (duško gremlinu kad ovaj lupa čekićem u bombu).
film.943 chill, -> #942, inferno
>> Da, ali najjači je odgovor mis Prisi: "Jeeeesteee". :))) >> >> takođe je čudno da se niko nije setio onoga: "daj da ga ja >> drmnem jednom bratac." ;) (duško gremlinu kad ovaj lupa >> čekićem u bombu). Eeee, toga nije bilo na Sezamu! Ne budi lenj, pa okači ta dva (i sve ostalo što imaš iz crtaća)... :)
film.944 floyd, -> #937, spantic
-> Žalim slučaj, ali knjiga je nastala kasnije. U SAD imate Navedena godina se odnosi na "Prosvetino" izdanje (prevod). Od podataka o originalu stoji (osim naslova) još "A Del Rey Books, Published by Ballantine Books, Copyright 1976 by The Star Wars Corporation". Ako i jeste knjiga napisana po filmu, zašto je onda reklamirana kao osnova za film? (Ili je to propust "Prosvete"?)
film.945 ranx, -> #940, chill
> WAV-ovi iz omnibusa KAKO JE PROPAO ROKENROL Keep on doin' Chill!
film.946 ranx, -> #944, floyd
> Ako i jeste knjiga napisana po filmu, zašto je onda reklamirana > kao osnova za film? (Ili je to propust "Prosvete"?) Možda i zato što je za knjigu bolja reklama kada se kaže da je knjiga podloga za film, a ne obratno...
film.947 firus, -> #941, vitez.koja
Vi> i niko mi od tada nije rekao da to nije tako (obrati pažnju, sabiranje Vi> preko 10!) Ma svaka tebi čast, znaš da sabiraš. Nego, daj da čujemo tvoje informacije. Koliko delova SW-a treba da bude? X
film.948 gkosta,
Valjda ide JPG iz 'Otkacenog profesora'. P.S. Molim za bilo sta sto ima veze sa MEG RAJAN!!! ntyprof.arj
film.949 floyd, -> #946, ranx
-> Možda i zato što je za knjigu bolja reklama kada se kaže -> da je knjiga podloga Možda je i bolje, samo je onda malo... neistina, da ne kažem LAŽ? Kako su reklamirani film i knjiga tamo preko?
film.950 gkosta,
Ajde da mi neko pomagne. 1. Odakle da startujem .mod fajl? 2. Imam Cinemaniu 97 a sa Sezama sam skinuo i neki Update. Kako da ga vidim? Hvala
film.951 ranx, -> #949, floyd
> Možda je i bolje, samo je onda malo... neistina, da ne kažem LAŽ? Kad si ti u ovoj zemlji (a i šire) video reklamu čiji je sadržaj istinit?
film.952 kiklop,
Evo jedne male zanimljivosti. Mislim da pre nije bilo, isečak iz filma do koske u mov formatu. Prijatno :) insert3.zip
film.954 chill,
Trading Places ~~~~~~~~~~~~~~ Svi wavovi su Eddie Murphy-jeva foliranja iz filma! :))) WAV, 8 bit, Mono, 22.050 kHz... k_srece.arj
film.953 chill,
The Blues Brothers ~~~~~~~~~~~~~~~~~~ WAV, 8 bit, Mono... blues_b.arj
film.955 morkin, -> #951, ranx
> Kad si ti u ovoj zemlji (a i šire) video reklamu čiji je sadržaj istinit? Astonish prah? :)))))
film.956 ivan,
Robert Zemeckis... Romancing the Stone thestone.jpg
film.957 ivan,
Robert Zemeckis... Back to the Future future.jpg
film.958 ivan,
Robert Zemeckis... Death Becomes Her death.jpg
film.959 ivan,
Al Pacino u filmu SCARFACE Briana De Palme: 1. "I'm Tony Montana, a political prisoner from Cuba." 2. "Hey, fuck you Manny!" 3. "Who put this thing together? Me! That's who!" 4. "Who do I trust? Me!" 5. "Say 'hello' to my little friend!!!" 6. "Haa, how you like that? Aaa? You fuckin' Americans! Eee! You think you're gonna take me?! You need a fuckin' army to take me!" 7. "I'll take you all to fuckin' Hell!" 8. "Who do you think you fucking with? I'm Tony Montana! If you fuck with me, you're fucking with the best!" WAV, 8 bit, Mono, 22.050 kHz, PCM... scarface.arj
film.961 nenad,
Samo da skrenem pažnju na sledeće: 1. Za ljubitelje Klarka i Odiseje, u nedelju na TV Politika se prikazuju iste - 2010 uveče u 7, a 2001 na kraju programa. Redosled baš i nije pravi, ali nema veze... 2. Za ljubitelje Ene Begović, ;) u pola 12 uveče u sredu je "Pad Italije", a sutradan u isto vreme "Čaruga". Na NS Plus kanalu. Još bih skrenuo pažnju na "Mediteran" (tako ga su ga "preveli") na Pinku u utorak nešto posle ponoći, a za Švarcenegere, Džoni Depove i ostale "Petrijine vence" nije bitno... ;)
film.962 floyd, -> #951, ranx
-> Kad si ti u ovoj zemlji (a i šire) video reklamu čiji je -> sadržaj istinit? Za ovu zemlju (a i šire) znam kako stoje stvari i ništa me više ne iznenađuje. U svetu se takve stvari nazivaju prevarom... Nije u pitanju knjiga nekog anonimusa koja se prodala u par komada, pa da niko ništa ne primeti... Intersuje me da li je i u Americi tako reklamirana knjiga? Reklama je UVEK suva istina, naročito ako te ne uhvate da lažeš. ;)
film.963 ivan,
Robin Williams: "Gooooood Morning, Vietnam!!!" WAV, 8 bit, Mono, 11.025 kHz... vietnam.arj
film.964 ivan,
Muzika iz filma HALLOWEEN WAV, 8 bit, Mono, 11.025 kHz... hallowen.arj
film.965 ivan,
Muzika iz filma JAWS WAV, 8 bit, Mono, 11.025 kHz... j_a_w_s.arj
film.966 ivan,
Uvodna špica TV serije Mission: Impossible WAV, 8 bit, Mono, 8.000 kHz... mision_i.arj
film.967 ivan,
Muzika iz filma PULP FICTION WAV, 8 bit, Mono, 22.050 kHz... pulpfict.arj
film.968 ivan,
Odjavna špica Warner Bros-ovih crtaća... Savršen zvuk za izlaz iz Windowsa WAV, 8 bit, Mono, 22.050 kHz... warner.arj
film.969 gmatic, -> #950, gkosta
==> 1. Odakle da startujem .mod fajl? Pa imas vide mod plejera kao vp(visual player) za dos. Vidi u dos\sound i naci ces neki mod player. Inace vp je josh i najlosiji jer necita sve formate. Zato ja koristim Wovi(ili tako nesto). Sto se Cinemanije tice neznam.Cackaj malo.
film.970 ivan,
Bruce Willis i Brad Pitt... 12 MONKEYS 12monkey.jpg
film.971 ivan,
Tommy Lee Jones i Jim Carrey... BATMAN FOREVER batman.jpg
film.972 vladda, -> #948, gkosta
evo nekoliko slika Meg Ryan meg.zip
film.973 vitez.koja, -> #947, firus
#=> Nego, daj da čujemo tvoje informacije. Koliko delova SW-a treba da #=> bude? Pa 4+4... :) 9 naravno. sk
film.974 orlic, -> #962, floyd
Fl> knjiga? Reklama je UVEK suva istina, narocito ako te ne uhvate da lazes. ^^^^ Narocito za uloske...
film.975 firus, -> #969, gmatic
Gm> Vidi u dos\sound i naci ces neki mod player. Fast tracker 2.08, možeš i da praviš modove, da sempluješ sa CD-a... Gm> Inace vp je josh i najlosiji jer necita sve formate. Ali pušta FLI animacije. X
film.976 firus, -> #973, vitez.koja
Vi> Pa 4+4... :) 9 naravno. Videh juče u nekim novinama od pre jedno mesec dana tekst u kome piše kako je uloženo toliko i toliko para da bi se napravile ove prepravljene verzije. Kako se pare uložene u obnovu filmuva i reklamu već polako vraćaju, kako je uspeh u Americi ogroman. A onda piše da će Lukas zadovoljan uspehom ostati pri tome da snimiti i ostalih 9 delaova. OSTALIH 9???? To mu onda dođe 12. Jel zna neko nešto o ovome? X
film.977 gmatic, -> #975, firus
==> Fast tracker 2.08, mozes i da pravis modove, da semplujes sa ==> CD-a... Hm, moj favorit je ST 3.0 (jes da nema sempler al sam naviko na njega). ==> Ali pusta FLI animacije. Uf jaka stvar. Imam fliplay i samo u NC-u lupim fli i on se pushta. A i nesto nema mnogo flijeva da se gleda(sem ako neradis u 3DS-u)
film.978 ivan,
M I N I S M O A N D J E L I ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 1. "Dobro momci, koliko puta sam vam rekao da ovde nema duvanja?" 2. "Džiberu, nemoj da ti manijak da po pičci." 3. "Je li, je l' sam ti prič'o da sam se ja još '68 zakleo da..." 4. "Je li, bogati, nisi čuo da je Kusta prekin'o snimanje u Americi?" "Puu, jebem ti lebac!" 5. "Alo Milane, što su osumnjičeni ovi drugovi Markes i Borkes?" 6. "Kol'ko je sati?" "Ijaaaaaaao, ma ne radim danas, idi u pičku materinu, bre!" 7. "Mala je talentovana za trpanje. Eh he he, razbijam je." 8. "Gori vatraaaa..." 9. "Deco, je l' volite brzu vožnju?" WAV, 8 bit, Mono, PCM... andjeli!.arj
film.979 goth, -> #975, firus
>> Fast tracker 2.08, mozes i da pravis modove, da semplujes sa >> CD-a... Zar nije zadnji verzija 2.06? Ili se pojavio novi???
film.980 inferno, -> #943, chill
Ů│ ˙ Eeee, toga nije bilo na Sezamu! Ů│ ˙ Ů│ ˙ Ne budi lenj, pa okači ta dva (i sve ostalo što imaš iz crtaća)... :) Nemam tehniku. :)
film.983 ivan,
Film: KO TO TAMO PEVA ~~~~~~~~~~~~~~~~~~~~~ Dragan Nikolić, Danilo Bata Stojković, Slavko Štimac i Neda Arnerić. Može li Miško da vozi dva kilometra vezanih očiju?! kotopeva.jpg
film.984 haevorn,
u sredu, u vreme utakmice, na studiju B je prikazan neki film ciji pocetak, a time ni naslov nisam video, a naravno, u novinama nema ni reci o tome. Film je crno-beli, ali novije produkcije, lici na 'Smoke' ali ima i Tarantinovskih elemenata, bez nasilja, ali sa mnogo 'bad words'. Film prati dogadjaje u jednoj radnjici i 'kraju' oko nje od jutra do veceri itd, itd...
film.985 chill, -> #984, haevorn
>> u sredu, u vreme utakmice, na studiju B je >> prikazan neki film ciji pocetak, a time ni >> naslov nisam video, a naravno, u novinama >> nema ni reci o tome. >> Film je crno-beli, ali novije produkcije, >> lici na 'Smoke' ali ima i Tarantinovskih >> elemenata, bez nasilja, ali sa mnogo 'bad >> words'. Film prati dogadjaje u jednoj >> radnjici i 'kraju' oko nje od jutra do veceri >> itd, itd... Ako je to tvoje pitanje, film se zove CLERKS (Prodavci)... Film je genijalan... Slika iz filma je vezana uz poruku 8.526
film.986 haevorn, -> #985, chill
// Ako je to tvoje pitanje, film se zove CLERKS (Prodavci)... jeste, to je (trebalo da bude) pitanje. hvala :)
film.987 nenad, -> #986, haevorn
> // Ako je to tvoje pitanje, film se zove CLERKS (Prodavci)... > > > jeste, to je (trebalo da bude) pitanje. hvala :) Uzgred i moji pozdravi "bistrim" momcima sa STB-a koji su film pustili u vreme utakmice Jugoslavija-Španija. ;(
film.988 chill,
Gde je na Internetu najbolje, što se tiče filmova? Što duži spisak, to bolje... :))
film.989 ivantod,
Za ljubitelje filma "Profesionalac" odnosno "Léon," evo nekih informacija o integralnoj verziji filma. Ponavlja se ista stvar kao i kod rediteljevog ranijeg filma "The Big Blue," tako da ovaj put za razliku od skracene verzije (koja je i kod nas prikazivana) i traje 105 minuta u Francuskoj prikazana puna verzija koja traje celih 135. U nastavku su navedene isecene scene... LEON: Version Integrale _____________________________________________________ Supposedly due to test audiences in the U.S., Luc Besson's Leon had the middle ripped out of it. Lucky enough to be in Paris this summer, I saw it and here's my synopsis of the restored version. I originally posted this to usenet, but either I think no one cared or attatched a false email address to it. Either way, I've seen no sites which feature any of this information. While I know nothing about the American laserdisc release, I happened to be in Paris last week checking out the Francis Bacon exhibiton in the Pompidou center; after leaving and plodding through the rain up the Champs de Elysses I happened to see a poster for Leon outside a Gaumont cinema. [INLINE] I bought this poster in France. It's about five feet by four Since I've seen it enough, I kept on walking. Later, while passing by, I translated the tag line on the poster and noticed that the pic on it was very unrecognizable "Vous ne savez por tout". It was starting in five minutes. Sucker I am for Besson I saw it twice. SPOILERS - what follows is a detailed account of the restored scenes in Leon. Also this synopsis is copyrighted by me. Anyone who wishes to use this material at their website should email me. VERSION INTEGRALE of LEON / THE PROFESSIONAL Due to memory loss the dialogue is not wholly accurate, but I'd wager it's 90% there. My apologies to respective actors and Besson. NC denotes new cut. These are the scenes that were not in the UK/Ireland release of Leon... I hear a few seconds of violence were cut from the US version... Considering that, I hope these changes make sense within the American version, as I'm not aware what was also cut from that version... After leaving Leon and Matilda's first apartment building, and arriving in the Hotel National (under the name McGuffin), Leon checks out the room while Matilda fills out the hotel form. Leon sits down. MATILDA: There, finished. NC LEON: How old are you. MATILDA: 18. Leon looks on increduously. MATILDA: You wanna see my license? LEON: No. It's just that you look... Younger. MATILDA:(putting on age beyond her years) Thanks. After Leon and Matilda move for the second time, and Matilda visits the apartment where her family was killed, this scene occurs. Leon showers, stitching up the hit he took, then this. Leon enters room from shower, Matilda staring at him. He looks left and right, then sits down. Matilda pushes the money she took from her family's apartment at him. MATILDA: Here take it. $20,000. It's for a contract. His name is Norman Stansfield and he's in room 4602 at the DEA's office. LEON: No, Matilda. I won't take it. MATILDA: Why not? LEON: It's too big. Revenge is not worth it. Believe me. MATILDA: Then rent me your gear. LEON: No. I never rent my gear. But here. (Leon pushes the revolver he gave her earlier towards Matilda) LEON: Your present. MATILDA: What do you excpect from me? After I've seen the outline of my brother's dead body? LEON: Once you kill somebody, your life changes forever. You have to always sleep with one eye open. MATILDA: I don't care about sleep. I want love or death. LEON: Get off my case Matilda. I'm tired of your games. MATILDA:(beginning to cry) I have a game. It makes you think. The kind of game you like, Leon. (Matilda begins to load four chambers in the revolver. Cue Music: The Fight, Pt 1. The Swat Squad) MATILDA: if I win, you keep me with you for the rest of your life. LEON: if I lose? MATILDA: you go shopping alone, again. (She spins the chamber, snaps it shut. Puts the revlover to her head) LEON: You're going to lose Matilda. I heard. There is a round in the chamber. MATILDA: What does it mean to you if there's a bullet in my head? Leon: Nothing. MATILDA: I hope you mean that, Leon. I really do. Because if there's even a little bit of love in you for me, then you're going to regret you said that. (Leon stares, unflinching) MATILDA: I love you, Leon. (Slow, subtle zoom on Leon's face. At the final moment he grabs Matilda's wrist and swings it away as the gun goes off, the bullet knocking over a lamp. MATILDA:(crying heavily) I win. (Cut to: The Macaroni Company. Shot of Tony, looking aggreived. He downs a shot of liquor. Cut to Leon and Matilda sitting at the other side of the table.) [INLINE] LEON: I took a hit, Tony. I could use the help. Tony: How old is she? LEON: Eighteen. (Tony looks at Matilda, up and down, looks over his shoulder.) LEON: Kids need to be shaped into something these days, right Tony? Tony: I told you that Leon, but shouldn't there be an age limit? LEON: How about a drink, Tony. (pause) TONY: Yeah, sure. Manolo, a glass of milk for Leon here. MATILDA:(slowly smiling, wide silly grin) Nice tattoo. TONY: Make that two glasses of milk. (Tony looks on, slightly shaking his head, pours another shot...) (Cut to: a hallway in an apartment building. Leon in cleaner outfit, Matilda dressed as normal, carrying a lunchbox. Leon walks to a door, and asks Matilda for the gum she's chewing. He covers the eyehole, and puts on his beanie) MATILDA: whats that for? LEON: can't afford to catch cold. (From the hip holster Leon has he produces a large pair of twin handled bolt cutters) LEON: (fingering door frame) First thing you want to do is find the chain. You can't see it but you can feel it, here... (Leon readys the bolt cutters, placing them right where he predicts the chain is) LEON: ring the doorbell. Talk to him. Get him to open the door. (Matilda rings doorbell) VOICE: Who is it? MATILDA: It's Cynthia. VOICE: Sorry kid, you've got the wrong apartment. Why don't you step back so I can see you? (Leon gestures with one hand, so - so) MATILDA: It's dark out here mister. I can't see anything. I'm scared. VOICE: Hold on... (Sound of opening locks. Leon thumbs up Matilda. As soon as the door opens Leon snaps the chain, pushes in and jams a pistol in a tattooed Drug Dealer's mouth. Matilda follows him into the apartment, taking the gum and closing the door behind her.) [INLINE] LEON: If you let go, I will put a bullet in you. Capiche? (Dealer nods. Leon leads him around the house, behind him with the pistol in his mouth while he surveys the apartment with a revolver in front of him. Matilda wanders around, until she spies weigihing scales and a large stash of powder on a table in the middle of a room. Leon brings Dealer into this room.) LEON: Let go of it. (Dealer nods, hands up) LEON: I said let go. (Dealer lets go and backs away, hands up) DEALER: It's not my dope, mister. I swear to you it's not my dope. LEON: Up against the wall. (Dealer backs up, tripping over a couch until he stands in front of some windows.) LEON: Okay, your turn. [INLINE] (Matilda goes to the table, opens her lunchbox, and gets out a pistol, slides in a clip and chambers it. It has a silencer. She stands next to Leon, aims at Dealer.) MATILDA: a little to the left please. (Dealer looks on increduously, moves to the left) DEALER: It's not my dope! LEON: Do it. (Matilda fires! A paintball lands on the dealer's shirt. Pause as Dealer looks down at his stomach, now splotched with red, screaming.) DEALER: What the fuck?! What the... Hey? LEON: Now the safety shot. (Matilda shoots again, this time hitting lower. The Dealer screams again, while continuing to mumble obscenitites.) LEON: (adpoting teacher's tone) No, no... The second shot goes higher. With the first shot you knock him out. With the second you aim for the heart and lungs. But never the face. Because that way you can kill anybody and tell the boss that was your client, and they can't prove it. Got it? MATILDA: Got it. Never the face. LEON: Okay, pack up. DEALER: Mister, what the fuck is going on? What the... (Leon casually fires twice with a steady hand, not flinching, killing the Dealer. Matilda is removing her silencer. Leon leans over and educates) LEON: When you use the silencer a lot you find it can get very hot. You want to use something to protect your fingers. A black, damp cloth is perfect for it. (Matilda finishes packing up and begins to douse the powder stash with rubbing alcohol. Cue Music Track 'The Game is Over') LEON: What are you doing? MATILDA: No women, no children right? Who do you think this is going to kill, donkeys and monkeys? (Matilda lights it ablaze.) MATILDA: There. Now its clean. LEON: Let's get out of here... (CUT TO: A shot of New York at night. Glasses clinking, champagne. Leon and Matilda take a drink. They are in a nice resturaunt surrounded by opulent people.) [INLINE] MATILDA: I thought we don't have the right to drink. LEON: We're making an exception. For a first client. MATILDA: Well, since we're making exceptions, how about a kiss? Like in the movies? LEON: No, Matilda. MATILDA: (smiling slyly) yes... LEON: No. (Matilda gets up. Has to climb up the table to lean over...) LEON: Matilda, stop. Everyone is looking. MATILDA: Yeeesss... (Matilda she leans very, very close, smiling. But Leon begins to pull her away, back into her seat. Her flirtatious smile has to be seen to be believed. A waiter arrives with something. Matilda gets the bottle of champagne and pours it hapharzardly into her glass, spilling everywhere. Leon looks on, obstinate as ever. The waiter walks away quickly.) WAITER (sarcastically): enjoy... (Leon hides the bottle of champagne under the table.) MATILDA: You really don't believe me, do you? LEON: What? MATILDA: When I tell you I'm in love with you. LEON: Please, Matilda stop. Just change the subject. MATILDA: Okay, okay, sorry... So how old were you when you made your first hit? LEON: Nineteen. MATILDA: (looking up, triumphant) Beat ya! (She guzzles the champagne, nearly finsihed with a whole glass, she has to stop. She takes a breath, then downs the rest and lets out a little burp. Then she begins to laugh, and laugh, and laugh... Leon looks on coyly, trying to look upright, just on the verge of laughing himself, while the other diners look at them. Just when you think Leon's about to laugh... Cut To: CUE New music, not on soundtrack. Matilda and Leon in a hallway again, preparing the same drill. Matilda puts on a red beanie.) LEON: What's that for? MATILDA: Can't afford to catch cold. [INLINE] (MONTAGE sequence, of doorbells and gum covering eyeholes, and chains being brust, doors being knocked open. (Jean Hughes Anglade appears as one of the victims, for just a sceond, sporting his Killing Zoe looks). This continues for awhile, then cut to: new hallway. Music stops. Matilda gets in front of the door, Leon stands to her ) MATILDA: This one doesn't have a doorbell. LEON: So knock. (Matilda knocks.) VOICE: Hello? MATILDA: Hello, I'm looking for Mister Rubens. It's dark out here. I can't see anything. I'm scared. VOICE: Okay little girl, just a minute. (Sound of clicking. Slow zoom on Leon's face, as he leans in. Quick glimpse of a lever being pulled on an automatic. Just in time Leon grabs Matilda, swings her around to the other side of the door as a barrage of bullets come blasting through, tearing up the opposite wall.) [INLINE] VOICE: Come on motherfucker, you think you're going to get me! Keep it up! Check this out, huh? Fucking come on... (rambling continues throughout scene) LEON: When it's tough like this, you better make it quick before he kills us all with his talking. HEY! You know the Ring Trick? VOICE: Ring Trick? Let's see it motherfucker! (Leon tosses a grenade in through a bullet chewed gap in the door. Looking down the hallway we see an enormous burst of flame shoot out the door, just lapping against Leon's back as he covers Matilda with his entire body.) [INLINE] LEON: (holding a grendade pin up) That's the ring trick. (Matilda looks up at him, buried in his arms, genuinely scared, trembling) And that's why Leon goes to Tony worried about himself, telling him to give all his money to Matlida should anything happen to him - the scene beginning with Tony getting a haircut. This scene follows. NC (Leon is getting ready for work.) LEON: I'm going to do this alone today. MATILDA: Did I do something wrong? LEON: It's too heavy. MATILDA: And I only get the shitty leftovers, right? LEON: No, Matilda... You just need time to grow up. MATILDA: I already have. All I do is get older. LEON: (weary) And for me, its the opposite. I'm old enough, but I need to grow up. (Leon leaves.) MATILDA: Shit... [INLINE] (Montage sequence: Matilda smokes a cigarette on a window ledge, does some shopping, watches some TV. Smokes a cigarette on some steps outside, but tosses it away after a drag or two. Some kids come out, playing basketball. They eye Matilda and go up to her.) [INLINE] KID: Hey, you're new here, yeah? Fifth floor? MATILDA: That's right. KID: Well if you want to hang out around here you gotta pay us. Like a parking toll. MATILDA: Only on TV... KID: What? MATILDA: Nothing. So how much is your toll? KID: Uh, ten dollars a month. (Matilda gets out a 100 dollar bill.) MATILDA: got change? (Kids whoa and ooh over the money, shake their heads no.) MATILDA: Then we'll do ten for twevle, right now. The whole year. Does paying you mean I have to put up with you guys? KID: No. Matilda (much older): Then play somewhere else. I need to think. (The kids run off. Matilda looks ahead, looking severe, anxious. Older than she should be.) From this scene Matilda goes to the DEA building, and has her stand off with Stansfield. After Leon goes to rescue her, and they drive off in the cab, this scene follows... (Leon in the window of the apartment, at night. He looks out, then brings his plant inside. He sits down at a table, and inspects the plant. Sound of a door opening, and Leon looks up, staring. Matilda emerges from the other room, wearing the pink dress he bought her, made up. Walking stiffly. Leon looks stunned, though in a fatherly way; like he's addressing how old she's becoming.) [INLINE] MATILDA: Do you like it. LEON: Yes. MATILDA: So say it. LEON: I like it. (Matilda leans in close. She pours him a glass of milk.) MATILDA: Not thirsty? (Leon picks up the glass and downs it in one. They're both nervous. Matilda leans in close.) MATILDA: Do you think I'll like it, my first time? A woman's first sexual experience determines the rest of her life. I read that in one of my sister's magazines. Most girls I know just did it not because they loved their guys but because they wanted to show off, and they said they didn't like it very much, that they learned to like it later. Like cigarettes. Will I like it my first time, Leon? LEON: No Matilda. I won't. MATILDA: Why not? Do you love somebody else? LEON: (looking away) No... I... Once I was in love with a girl. MATILDA: And? LEON: She came from a very respectable family. My family was... Not so respectable. Her father told her to stay away from me. MATILDA: But she snuck out to visit you, didn't she Leon? LEON: Yes... MATILDA: See Leon, nothing can stop love. LEON: He killed her. One bullet to the head. They kept him in prison for two days, then they let him go. He said it was an accident. I waited for him. 250 meters, with a rifle. One bullet to the head. It was also an accident. I was nineteen. The same night I got a boat to the States. My father was working for Tony. Ever since, I have never left this city, never had another girlfriend. So you see Matilda... I... Won't be a very good lover. (Pause.) MATILDA: (much younger now, sad) Okay, Leon. But do me one favor, okay? We're going to share the bed. (Cut To: Profile of bed, Matilda lowers his head slowly onto a pillow.) MATILDA: It's okay, it's okay... Easy. Just lie down. (Leon looks like a pigeon trying to lie down on a bed. Matilda removes his shoes. He lays rigidly. Matilda pulls one of his arms around her, lies on her side, pressing against him, and quickly falls asleep. Leon lies awake in the dark, looking up... Music: How Do You Know It's Love plays...) Which explains how Leon ends up asleep in the bed, waking up to Matilda asking him if he slept well. Then the cut to Tony's place, and his kid's birthday, with Stansfield bursting in. And that's it... This script doesn't do justice to the feeling of these scenes. In essence they removed the whole second act, which is usually where Besson hits his stride in his films, as he takes the time to show their inner lives. The lessons on being a hitman are superb, and kinda makes you wonder about Besson's own education... They also removed Leon's past, his history... What keeps him remote... The Version Integrale may skirt too close towards very dark thoughts for American test audiences, but to me facing these subjects is being honest to his characters... Showing that a 12 yr old girl, raised as she is today, with a head full of dysfunction and violent media, while being essentially good; can come to such a position, and how the furious and desperate relationship she forms could be a blessing, while dangerous... As one critic in Ireland put it: "It's a fairy tale where the fairy godmother has a beard and an arsenal..." [INLINE] Besson's films are my own guilty pleasure. They break no new ground, they contain melodramatic plots, they feature vapid dialogue, and beautiful violence. And yet, unlike most action film directors whose films I might like, I will defend Besson to the death. He is the most overtly cinematic director working today; his visual language was fully developed in his first feature. In some ways, one can consider him as the French Steven Spielberg; a master of kinetics and camera movement; and big, populist entertainment who the arthouse and critics in his own country shun, while his films gross the largest boxoffice there. The difference might be that Besson has a beautifully skewed persepctive on the world which becomes obvious in his authoring (something Spielberg doesn't do). Leon is full of aquatic metaphors, only in the visuals: breath determines response, as the audience collectively breathes with Matilda learning to snipe, as she waits for Leon through his fisheye peephole to let her into his world and save her from drowning. His early life as a scuba diver has taught him to reproduce the world as a series of fluid gestures, of liquid movement and floating suspension. Furthermore, the pedophilic subtext in Leon is misconstrued; perhaps more honestly Besson presents education as dangerous, as children more aware of the adult world. Matilda needs to learn of violence and sex from an adult, but her upbringing has made her the only one who can teach Leon of the other side of life, responsibilty, feeling, empathy, and vengeance. That is far closer to the truth than the codex of violence submerged in the suburban world, which a film like The Long Kiss Goodnight presents as it's subtext. If anything, Besson's films are the action films I've always wanted to have seen: childish fairy tales full of the violence and darkness hinted at by the adult world (which Spielberg too often sugar coats), all waiting for us to learn from them. One last note: if ANYONE out there has the French language book Gaumont published of the making of Leon written by Besson, please email me. I'm willing to part with A LOT of money for this book, as its out of print. Best of luck to you all; I truly hope you get to see the full vision of Besson's best film yet... All images from this page (much larger) and many more from the Version Integrale can be found at Gaumont's Leon page (they produced the film). It's in French, but tinkering on all the links should get you there. _____________________________________________________ Sad vidim da sam ovo verovatno trebao da pošaljem kao fajl. Izvinjavam se zbog dužine.
film.990 ljubisha, -> #988, chill
> Gde je na Internetu najbolje, što se tiče filmova? Hm, probaš na us.imdb.com pa gde zalutaš posle toga. :)
film.991 ivantod,
Zaboravio sam da pošaljem i poster za "Leona" na kom se sve lepo vidi. Evo ga uz ovu poruku. poster.jpg
film.992 ivantod,
S obzirom da sam pomenuo Luca Bessona, mozda ne znate da je danas u Kanu svetska premijera njegovog novog filma "Le Cinquieme Element" (The Fifth Element). Zanr filma je SF, a losa vest je da glavnu ulogu nazalost igra Bruce Willis. ;( Evo podataka o sadrzaju i glumcima... PLOT Once every 5000 years, the doorway between dimensions opens and the embodiment of all that is evil enters our galaxy with the purpose of wiping out all life. In the year 2259, Evil's time has come again and it manifests itself as a giant comet which heads for Earth, any attempts to destroy it just make it more powerful. Meanwhile, retired marine/presently taxi driver Korben Dallas is minding his own business until a mysterious flame-haired, alien speaking girl falls into his flying cab. He is pulled into an alliance of humans and aliens who must stop Evil before it wipes out everything. To do so, they must find and align ancient stones representing the four elements (earth, air, fire and water) with the Fifth Element and they will force Evil back to it's own dimension. Unfortunately the stones are lost, and they must find them before Evil's ally, the powerful human Zorg, finds them and destroys them. CAST Bruce Willis............Korben Dallas Gary Oldman.............Zorg Milla Jovovich..........Leeloo Ian Holm................Father Cornelius Chris Tucker............DJ Ruby Rhod Brion James.............General Munro Tiny Lister Jr..........President Lindberg Lee Evans...............Fog Luke Perry..............Billy Yolanda Garza...........Evil Conscience Sybil Buck..............Zorg's Secretary Maivenn Le Besco........The Diva Charlie C. Miles........David Tricky..................Right Arm CREW Director....................Luc Besson Producer....................Patrice Ledoux Writer......................Luc Besson Music.......................Eric Serra
film.993 chill,
Ptica Trkačica: "Bip! Bip!" WAV, 16 bit, Mono, 22.050 kHz... bip-bip.arj
film.994 chill,
64 WAV-a iz crtanih filmova produkcije Hanna-Barbera... Tu su: Skubi Du, Inspektor Draguljče, Porodica Kremenko, Medved Jogi, itd. Većina WAV-ova su samo zvučni efekti iz crtaća... WAV, 4 bit, Mono, 11.025 kHz - 22.050 kHz... cartoons.arj
film.995 chill,
Kompletan spisak SVIH arhiva sa WAV-ovima koje sam poslao na Sezam. Ukupno 41 arhiva, 16.798.552 bytes... Toliko od mene što se WAV-ova tiče za ovaj život. E, sad... Bio bi red da se neko drugi 'isprsi' za nove WAV-ove... :)) wavovi.!!!
film.996 dr.grba, -> #994, chill
>> 64 WAV-a iz crtanih filmova produkcije Hanna-Barbera... >> Tu su: Skubi Du, Inspektor Draguljče, Porodica Kremenko, Medved Jogi, itd. Jedna Ana se zahvaljuje (: Za WAV kolekciju iz crtaća "Two stupid dogs" (UBR, najbolja serija crtaća koje sam video u svom životu) dajem kovčeg zlata, ili barem plaćam pivo (:
film.997 firus, -> #987, nenad
Ne> Uzgred i moji pozdravi "bistrim" momcima sa STB-a koji su film Ne> pustili u vreme utakmice Jugoslavija-Španija. ;( Na poluvremenu sam malo gledao film. Imao sam sreću da uletim par trenutaka pre nego što počnu da raspravljaju da li je bolji Empire Strikes Back ili Return of the Jedi. Ne vredi da prepričavam. Ko nije video tu raspravu ne zna šta je propustio. X
film.998 mango, -> #997, firus
> Imao sam srecu da uletim par trenutaka pre nego sto pocnu da raspravljaju > da li je bolji Empire Strikes Back ili Return of the Jedi. > > Ne vredi da prepricavam. Ko nije video tu raspravu ne zna sta je propustio. Ko nije gledao film ne zna sta je propustio. Jel ima negde da se kupi (original) kaseta? Ipak, najveci biser je scena sa devojkom u WC-u;)
film.999 chill,
Scenario za Trainspotting MS Word 7.0 document trnspot.arj
film.1000 chill,
Scenario za Apoacalypse Now MS Word 7.0 document apoc_now.arj
film.1001 chill,
Scenario za Back to the Future HTML back.arj
film.1002 chill,
Trainspotting trainsp2.jpg
film.1003 chill,
Fargo fargo.jpg
film.1004 chill,
Underground undergnd.jpg
film.1005 chill,
Malcolm X malcolmx.jpg
film.1006 chill,
Unforgiven unforgiv.jpg
film.1007 chill, -> #999, chill
>> Scenario za Trainspotting Scenario je KOMPLETAN!
film.1008 mikeman, -> #998, mango
>> da li je bolji Empire Strikes Back ili Return of the Jedi. Izvinte al meni stvarno nije jasno kakva je razlika izmedju starog i novog serijala Star wars-a? Jel ima neke sustinske razlike u scenariju i tako to ili samo mlate lovu?
film.1009 hercog, -> #1008, mikeman
-*- i novog serijala Star wars-a? Jel ima neke sustinske razlike u -*- scenariju i tako to ili samo mlate lovu? Suštinske razlike u scenariju nema... Razlika je u tehničkoj izvedbi i par novih scena... Sale
film.1010 darth.vader, -> #1009, hercog
>> -*- i novog serijala Star wars-a? Jel ima neke sustinske razlike u >> -*- scenariju i tako to ili samo mlate lovu? >> Sustinske razlike u scenariju nema... Razlika je u tehnickoj >> izvedbi i par novih scena... Jeste, ali i mlate lovu, razbishe se ;))) See ya, Darth :)
film.1011 ljubisha, -> #1008, mikeman
> Izvinte al meni stvarno nije jasno kakva je razlika izmedju starog > i novog serijala Star wars-a? Jel ima neke sustinske razlike u > scenariju i tako to ili samo mlate lovu? U zadnjih mesec dana je bilo više emisija o SW triologiji i o razlozima za re-emitovanje. Suštinski je sve isto osim novih 4 minuta (ukupno) od kojih je najduža scena gde su glavni akteri Han Solo i Jabba. Mislim da je Nenad čak poslao taj video isečak na Sezam.
film.1012 ratman,
Kada ce taj Hamlet (Kenneth Branagh rezirao)- rekli su od 1. maja u pocinje u Bgd...? Forspan izgleda opako dobro..!
film.1013 nenad, -> #1011, ljubisha
> U zadnjih mesec dana je bilo više emisija o SW triologiji i o > razlozima za re-emitovanje. Suštinski je sve isto osim novih 4 minuta > (ukupno) od kojih je najduža scena gde su glavni akteri Han Solo i > Jabba. Mislim da je Nenad čak poslao taj video isečak na Sezam. Jesam, ima u starim porukama. Još jedan duži insert je onaj sa samog kraja kada narod širom galaksije pozdravlja pobedu progresivnih i patriotskih levih snaga i poraz snaga haosa i bezumlja, nasilja i nepravde. Voleo bih da vidim samo te dodatne kadrove isečene... Pa da ih pregledam nekoliko puta. Eh, kad će taj DVD... :) Do tada ću valjda imati 21" monitor. :).
film.1015 chill,
Ghostbusters logo ghost.jpg
film.1014 chill,
Scenario za Fargo Word 7.0 fargo.arj
film.1018 chill,
Slika iz Back to the Future: Grom udara u clock-tower... future_3.jpg
film.1016 chill,
Bruce Willis kao John McClane... diehard3.jpg
film.1017 chill,
Back to the Future logo future_1.jpg
film.1019 dr.grba, -> #1014, chill
>> Scenario za Fargo Krećemo opet sa ovakvim prilozima... Imam molbu: da bismo učinili ove materijale što univerzalnijim, trebalo bi ih slati u čistoj ASCII formi, da bi bili čitljivi i onima koji nemaju Word. Osim toga, onih par ranijih scenarija (TrainSpotting i Apocalypse now) fakat nisu pisani u Wordu, već su tamo uvezeni. Na kraju svakog reda se nalazi znak za kraj paragrafa, što eventualnu pripremu za štampu u lične svrhe čini skoro nemogućom.
film.1020 ivan,
"Mission: Impossible" plakat mission.jpg
film.1021 ivan,
Sledi osam slika iz Indijane Džonsa...
film.1022 ivan,
"Riders of the Lost Ark" plakat indy_01.jpg
film.1023 ivan,
"Indiana Jones and the Temple of Doom" plakat indy_02.jpg
film.1024 ivan,
"Indiana Jones and the Last Crusade" plakat indy_03.jpg
film.1025 ivan,
Dr. Jones beži pred ogromnom kuglom... indy_05.jpg
film.1026 ivan,
Udri, udri, udri Indy, udri, ne žali! indy_06.jpg
film.1030 ivan,
Goofs and Trivia for Indiana Jones Trilogy ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Filmske greške, i zanimljivosti u vezi filmova... indiana.arj
film.1029 ivan,
U pauzama snimanja, akteri filma su zaradjivali radeći kao fizikalci. indy_09.jpg
film.1028 ivan,
Udri Indy, potamni dušmane! indy_08.jpg
film.1027 ivan,
Ovo su neki čobani, budale! indy_07.jpg
film.1031 ivan,
Nekoliko kursora za Win95 na temu Dr. Jones-a... Bezveze. cursors.arj
film.1032 ivan, -> #1030, ivan
>> Goofs and Trivia for Indiana Jones Trilogy >> ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ >> >> Filmske greške, i zanimljivosti u vezi filmova... Zaboravio sam da pomenem najbolju filmsku grešku opisanu u ovom fajlu: U trećem delu Indijane Džonsa, Indy igrom slučaja dobija autogram od Hitlera lično. Da, pa?! Hitler (koji je bio levak) u filmu se potpisuje desnom rukom... Plus: POGREŠNO SPELUJE SOPSTVENO IME!!! :)))))))
film.1033 ivantod,
The Fifth Element A Film Review by James Berardinelli United States, 1997 U.S. Release Date: 5/9/97 (wide) Running Length: 2:07 MPAA Classification: PG-13 (Brief nudity, violence, profanity) Theatrical Aspect Ratio: 2.35:1 Cast: Bruce Willis, Milla Jovovich, Gary Oldman, Ian Holm, Chris Tucker, Luke Perry Director: Luc Besson Producer: Patrice Ledoux Screenplay: Luc Besson & Robert Mark Kamen Cinematography: Thierry Arbogast Music: Eric Serra U.S. Distributor: Columbia Pictures "The Fifth Element" uses one of the newest tricks in the science fiction motion picture handbook: perform a visual and aural assault on viewers in the vain hope that they won't notice the lack of substance, logic, and intelligence. For a few recent examples of where this tactic has been employed, check out "Stargate," "Independence Day," and "Judge Dredd." "The Fifth Element", the summer of 1997's first big-budget disappointment, is right at home in such company. A lot of money was spent on this film, but $100 million doesn't guarantee a good product. Maybe someone should have thought of spending a few more dollars on a better script. Going into the film, I was guardedly optimistic. As a result of what I'd seen in the two-minute theatrical trailer, visions of "Blade Runner" danced in my head (I guarantee that no one in their right mind would make such a ludicrous association _after_ seeing "The Fifth Element"). And the director, Luc Besson, is a well-respected artist whose short-but-impressive resume includes such international hits as "La Femme Nikita" and "The Professional (Leon)". I figured that if anyone could handle the task of putting together a rousing science fiction adventure with Bruce Willis in the lead, it was Besson. Alas, such is not the case. What can I say about the storyline? There's not much there, and what there is, doesn't make a lot of sense. If you see "The Fifth Element", do not, under any circumstances, attempt to reason out what's going on. In general, science fiction tales play fast and loose with reality, but here, it's so flagrant that even a moment's intelligent consideration of what's on the screen will shatter any hope of suspending disbelief. The goal in "The Fifth Element" is to save Earth from a gargantuan evil that's hovering somewhere beyond the fringes of the solar system, blasting space ships as it waits around for forty- eight hours so our heroes can destroy it before it turns the planet into a cinder. Nothing can stop this nearly-omnipotent enemy (which looks like the Genesis planet from the "Star Trek" except The Fifth Element -- the most powerful weapon ever devised. Things aren't straightforward, however, because the Fifth Element is actually a girl who can't speak English (Milla Jovovich), and she's missing four key stones without which she can't do her job. Pretty soon, there's a whole rogues' gallery of characters looking for the stones: an ex-government operative-turned-cab driver, Korben Dallas (Bruce Willis), a new age priest (Ian Holm), a megalomaniac (Gary Oldman), and a bunch of bunch of ugly looking aliens. The quest, which starts on Earth during the twenty-third century, takes us to an outer space vacation resort where the stones are supposedly hidden. "The Fifth Element" is populated by all manner of flashed, bangs, and booms. New York City, circa 2200, has been rendered with eye-popping splendor by the effects wizards at Digital Domain. (Check out rush hour in the future if you think it's bad now) Bright colors -- reds, oranges, and yellows -- are in evidence everywhere, from Bruce Willis' outfit to Milla Jovovich's hair. And Eric Serra's throbbing, cacophonous score tests the limits of theater speakers. On a purely visceral level, it's impossible to deny that "The Fifth Element" has an impact. When it comes time to discuss the rest of the movie, however, there's not much to talk about. When a wisecracking actor like Bruce Willis and a hammy performer like Gary Oldman are reduced to ineffectual bystanders, there's a problem. Willis and Oldman don't have much to do, and, when they're on screen, they fade into the background, dwarfed by the special effects. Willis, whose John McLane _is_ the "Die Hard" series, is used to taking center stage, but he can't compete with the visual busy-ness of "The Fifth Element", and that makes him a pretty dull hero. Meanwhile, with her fiery hair and occasionally-revealing costumes, Jovovich makes an impression, although her effectiveness has little to do with acting and less to do with dialogue (she doesn't have much to say). Only Chris Tucker, who plays an insanely energetic, over-the-top talk show host (a loquacious Dennis Rodman in outer space) manages to hold his own amidst the digital chaos, but his outrageousness starts to wear thin after about two minutes. I will give Besson some credit. He never takes things too seriously, which is a good idea, because a somber version of "The Fifth Element" would have made it a candidate for the year's Bottom 10 list. The director, working from a comic book-type script that he co-wrote with Robert Mark Kamen (and which bears a certain resemblance to one of the segments of "Heavy Metal"), injects a ton of offbeat, sporadically-effective humor into the movie, frequently causing "The Fifth Element" to cross over the line into self-parody. This unique approach kills any possible sense of adventure or suspense (the numerous action scenes are obligatory and perfunctory, and never remotely exciting), but it at least offers something unusual. Once "The Fifth Element"'s assault on the senses starts to wear off, it's easy to become restless. After all, in keeping with the "epic" sweep demanded by such an obese budget, the film had to clock in at over two hours, even though there's no excuse for a movie with so little going on to last for so long. At least the payoff is worthwhile in a campy sense. Where else can you see sweat rung from a handkerchief become integral to saving the world? Besson may have misfired with "The Fifth Element", but at least he does it with flair and a sense of humor. Copyright (c) 1997 James Berardinelli
film.1034 ivantod,
THE FIFTH ELEMENT *** Korben Dallas: Bruce Willis Zorg: Gary Oldman Cornelius: Ian Holm Leeloo: Milla Jovovich Ruby Rhod: Chris Tucker Billy: Luke Perry Gen. Munro: Brion James President Lindberg: Tommy ``Tiny'' Lister Jr. Directed by Luc Besson. Written by Besson and Robert Mark Kamen. Running time: 127 minutes. Rated PG-13 (for intense sci-fi violence, some sexuality and brief nudity). By Roger Ebert ``The Fifth Element,'' which opened the Cannes Film Festival on Thursday, is one of the great goofy movies--a film so preposterous I wasn't surprised to discover it was written by a teenage boy. That boy grew up to become Luc Besson, director of good smaller movies and bizarre big ones, and here he's spent $90 million to create sights so remarkable they really ought to be seen. That's not to say this is a good movie, exactly. It's more of a jumble that includes greatness. Like ``Metropolis'' or ``Blade Runner,'' it offers such extraordinary visions that you put your criticisms on hold and are simply grateful to see them. If Besson had been able to link those sights with a more disciplined story and more ruthless editing, he might have really had something. The movie begins in ``Egypt, 1914,'' that birthplace not only of civilizations but of countless horror and occult films. Inside an ancient tomb, scientists gather at the site of an event that took place (we learn) centuries earlier. Four crucial stones, representing the four elements, had been kept here until a spaceship, looking something like a hairy aerodynamic pineapple, arrived to take them away, one of its alien beings intoning in an electronically lowered voice, ``Priest, you have served us well. But war is coming. The stones are not safe on Earth anymore.'' Deep portentous opening omens almost invariably degenerate into action sequences. But ``The Fifth Element'' cuts quickly to another extraordinary scene, New York City in the mid-23rd century. The futuristic metropolis, constructed at enormous cost with big, detailed models and effects, is wondrous to behold. It looks like Flash Gordon crossed with those old Popular Mechanics covers about the flying automobiles of the future. Towers climb to the skies, but living conditions are grungy, and most people live in tiny modular cells where all the comforts of home are within arm's reach. Meanwhile, Earth is threatened by a giant pulsating fiery object that is racing toward the planet at terrific speed. ``All we know is, it just keeps getting bigger,'' one scientist reports. Ian Holm plays an astrophysicist who significantly observes, ``It is evil--evil begets evil.'' What is this object? What rough aliens are slouching toward Earth in its wake? And how to stop it? Man's hopes may lie with Leeloo (Milla Jovovich), cloned from a single unworldly cell, who comes into existence with flaming red hair already dark at the roots (those cells remember everything). Leeloo is clad in a garment that looks improvised from Ace bandages but gets no complaints from me (the costumes are by French couturier Jean-Paul Gaultier, whose favorite strategy as a designer is to start by covering the strategic places, and then stop). Military-industrial types want to employ Leeloo for their own ends; they observe her from behind unbreakable glass. She breaks the glass, grabs a general's privates, and dives through what looks like a wall of golden crumpled aluminum foil, racing outside to a ledge high in the clouds. She leaps, but is saved from dashing her genes out on the pavements far below by crashing through the roof of a taxi driven by Korben Dallas (Bruce Willis), who seems to have been ported directly here from the cab in ``Pulp Fiction.'' Leeloo holds unimaginable powers, but she needs help, and Korben befriends her. Soon the future of the universe is in their hands, as the movie unfolds the rest of the story. The ``fifth element'' of the title, we learn, is the life force itself--that which animates the inanimate (the other four elements are earth, air, fire and water). Leeloo represents this element. Arrayed against her is a vast anti-life force, a sort of black hole of death. Every 5,000 years, a portal opens between the universes where these two forces live; the evil force can slip through unless the five elements are correctly deployed against it. The pulsating fireball in space is the physical manifestation of the dark force. Involved with mankind in this approaching battle are two alien races: the Mondoshawan, who live inside great clunky armored suits (that was their hairy pineapple), and the Mangalores, whose faces can be pictured by crossing a bulldog, a catfish and an alderman. The Mangalores are in the hire of the sinister Zorg (Gary Oldman), who supports the evil force despite the fact that (as nearly as I can figure) it would destroy him along with everything else. Now if this doesn't sound like a story dreamed up by a teenager, nothing does. The ``Star Wars'' movies look deep, even philosophical, in comparison, but never mind: We are watching ``The Fifth Element'' not to think, but to be delighted. Besson gives us one great visual conceit after another. A concert, for example, starring a towering alien diva whose skin shines with a ghostly blue light, and who has weird ropes of sinew coming out of her skull. And a space station that seems to be a sort of intergalactic Las Vegas, in which a disc jockey (Chris Tucker) prances about hosting an endless TV show. And spaceship interiors that succeed in breaking the ``Star Wars''/``Trek'' mold and imagining how an alien race might design its command deck. The movie is a triumph of technical credits; the cinematographer is Thierry Arbogast, the production designer is Dan Weil, and the special effects are by Digital Domain, which created the futuristic Mars in ``Total Recall.'' And remember that Besson conceived of these sights, and had the audacity to believe his strange visions could make a movie. For that I am grateful. I would not have missed seeing this film, and I recommend it for its richness of imagery. But at 127 minutes, which seems a reasonable length, it plays long. There is way too much of the tiresome disc jockey character late in the movie, when the plot should be focused on business. Sequences are allowed to drag on, perhaps because so much work and expense went into creating them. The editor, Sylvie Landra, is ultimately responsible for the pacing, but no doubt Besson hovered over her shoulder, in love with what he had wrought. A fierce trimming would preserve what makes ``The Fifth Element'' remarkable, and remove what makes it redundant. There's great stuff here, and the movie should get out of its own way. Copyright Chicago Sun-Times Inc.
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Goofs and Trivia for Back to the Future 1 strana, bezveze... bttf.txt
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T R A I N S P O T T I N G Released by Miramax Films Screenplay by John Hodge, based on the novel by Irvine Welsh. Starring Ewan McGregor ("Mark Renton"), Ewan Bremner ("Spud"), Jonny Lee Miller ("Sick Boy"), Kevin McKidd ("Tommy"), Robert Carlyle ("Begbie"), and Kelly MacDonald ("Diane"). Perhaps you've heard some of the buzz regarding the British film, "Trainspotting". Shot on a shoestring budget of just over 2-and-a-half million dollars, it's one of those pictures that's garnered early positive word-of-mouth. "Trainspotting" had its beginnings in 1993 as a cult-favorite novel by Irvine Welsh; not long after that it was a London-based stage play, and now, it's been transformed into a motion picture. Set in Edinburgh, Scotland, sometime in the 1980's, "Trainspotting" (whose title has nothing to do with the film that I can detect, other than it's the name of one of the picture's background tunes by the group "Primal Scream") is the story of a group of what most people would call losers. They're a handful of anti-middle-class, foul-mouthed junkies, and thieves... with names like MOTHER SUPERIOR, SPUD, SICK BOY, and BEGBIE. Much screen time is spent either getting high on their drug of choice, Heroin, or coming down off of one. Exceptionally profane, disturbing, and at times, breathtakingly appalling, the question is... why would anyone want to see a picture like "Trainspotting"? The answer is... because it takes us somewhere we've never been before. Perhaps it's cathartic to spend 94 minutes seeing just how different and complex that life can be for these individuals. But more often than not, "Trainspotting" is riveting, funny, and quite clever. Making no effort to glorify it's drug culture subject matter, the film actually shows us the depths to which some users travel. Unfortunately, the only problem I had with the picture was the dialogue. I wish I could say that it was easy to follow, but it's not. The Scottish brogue is so thick you need a chainsaw to cut it, but "interpretation" becomes a bit easier as the picture progresses. The performances are terrific; perhaps even Academy Award-worthy. I've never heard of any of these performers before (Robert Carlyle, who plays a real psycho-creep of a guy named "Begbie" in the film, has previously acted in the films "Go Now" and "Priest"). But I think it's safe to say... with the exposure they've received from "Trainspotting", we'll be hearing from this cast again. Jim Alexander, WEVV-TV
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Pulp Fiction: Plakat pulp_1.jpg
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Pulp Fiction: Džon i Kventin se domundjavaju pulp_2.jpg
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Trainspotting: Mark i Spud beže... trainsp1.jpg
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Trainspotting: Omot Knjige trainsp2.jpg
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Trainspotting: Mark izranja iz WC šolje. trainsp3.jpg
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Trainspotting: Spud, sav zbunjen, drži u ruci posteljinu punu g. :) trainsp4.jpg