Gli Intoccabili Full Movie Hd
CLICK HERE >>>>> https://bltlly.com/2t7drz
Girato soprattutto a San Francisco e Las Vegas, ma anche a Los Angeles e poche ulteriori scene a New York, con la presenza di alcuni attori americani di richiamo, quali John Cassavetes, Peter Falk e Gena Rowlands, con il sonoro registrato in presa diretta[3] Gli intoccabili resta una produzione totalmente italiana, nei finanziamenti e nei ruoli tecnici.
I can't hate a film that gives me both a casino heist and John Cassavetes talking about loving the tawdry neon lights of Vegas. The 9 minutes of this movie when Gena Rowlands is onscreen though? 10/10
Technology within the film industry has advanced greatly over the last century, allowing movies to tell greater, more realistic stories than ever before. The cinema has evolved from black-and-white silent films edited by physically cutting film strips to 3D digital content spliced together on computers. The digital age has allowed for better quality, color, sound, and even computer-generated imagery (CGI).
When most rock critics compare music to Ennio Morricone's scores-- and they compare things to him a lot-- they're speaking of one very specific corner of his long career as a film composer. It's the big, echo-ing spaghetti Western sound he popularized in his work with director (and fellow Italian) Sergio Leone, full of twanging guitar and high lonesome ambiance. The comparison is often apt, but it only captures a sliver of what the man did for film music, the part most of us know and love. Crime & Dissonance, a new double-disc compilation from Mike Patton's Ipecac label digs beyond his Western work and his 1980s experiments with early digital synthesizers for films like the Untouchables (a score I actually think is awful, at least in terms of how it matches with the film) to his music for 1960s and 70s Italian crime and exploitation movies.
The music unearthed here is a minor revelation, among the oddest produced by a true auteur and frequently quite innovative for its era. Alan Bishop curates the tracklist (no less an avant garde legend than John Zorn provides limited liner notes), and he's chosen some wonderfully dark and bizarre stuff that careens from musique concrete, melodramatic church organ pieces and free jazz to wah-drenched psychedelia, stiff funk, and abstract avant-gardism.
Track Listing: 1. Lunare Primo (1:37), 2. Eresia Defunta Sia (1:43), 3. Sogno Primo (1:42), 4. Galileo Nel Circo (1:48), 5. Lunare Secondo (1:14), 6. Meditazione Prima (2:45), 7. Meditazione Seconda (2:17), 8. Sogno Secondo (1:20), 9. Sogno Terzo (0:55), 10. Lunare Terzo (2:46), 11. Galileo (2:37), 12. Eresia Defunta Sia (0:34), 13. Sogno Secondo (0:52), 14. Sogno Primo (1:06), 15. Galileo (2:03), 16. Lunare Secondo (2:30), 17. Galileo (2:11). Digitmovies CDDM-256, 30 minutes 01 seconds.
Perhaps the main drawback to the score is the rather muffled-sounding archival recording, and the fact that the score comprises seventeen unnamed cues. The score has been released many times over the years, always in the same format; the one I own is the one released by Digitmovies in 2008.
Track Listing: 1. Ruba Al Prossimo Tuo (Seq. 1) (2:30), 2. Ruba Al Prossimo Tuo (Seq. 2) (1:27), 3. Ruba Al Prossimo Tuo (Seq. 3) (2:14), 4. Ruba Al Prossimo Tuo (Seq. 4) (2:10), 5. Ruba Al Prossimo Tuo (Seq. 5) (3:17), 6. Ruba Al Prossimo Tuo (Seq. 6) (2:18), 7. Ruba Al Prossimo Tuo (Seq. 7) (2:31), 8. Ruba Al Prossimo Tuo (Seq. 8) (2:18), 9. Ruba Al Prossimo Tuo (Seq. 9) (2:15), 10. Ruba Al Prossimo Tuo (Seq. 10) (2:39), 11. Ruba Al Prossimo Tuo (Seq. 11) (2:38), 12. Ruba Al Prossimo Tuo (Seq. 12) (3:16), 13. Ruba Al Prossimo Tuo (Seq. 13) (1:36), 14. Ruba Al Prossimo Tuo (Seq. 14) (1:39), 15. Ruba Al Prossimo Tuo (Seq. 15) (1:46), 16. Ruba Al Prossimo Tuo (Seq. 16) (2:55), 17. Ruba Al Prossimo Tuo (Seq. 17) (3:44). Digitmovies CDDM-109, 41 minutes 13 seconds.
It's a moment of quick, brutal improvisation, and it has an energy that's lacking during most of "The Untouchables." Here is a movie about an era when law enforcement resembled gang warfare, but the movie seems more interested in the era than in the war. "The Untouchables" has great costumes, great sets, great cars, great guns, great locations and a few shots that absolutely capture the Prohibition Era. But it does not have a great script, great performances or great direction.
The script is by David Mamet, the Pulitzer Prize-winning playwright, but it could have been by anybody. It doesn't have the Mamet touch, the conversational rhythms that carry a meaning beyond words. It also lacks any particular point of view about the material and, in fact, lacks the dynamic tension of many gangster movies written by less talented writers. Everything seems cut and dried, twice-told, preordained.
The performances are another disappointment. The star of the movie is Kevin Costner as Eliot Ness, the straight-arrow federal agent who vows a personal struggle against the Capone mob. Costner is fine for the role, but it's a thankless one, giving him little to do other than act grim and incorrigible. The script doesn't give him, and he doesn't provide, any of the little twists and turns of character that might have made Ness into an individual.
But the big disappointment is Robert De Niro's Al Capone. All of the movie's Capone segments seem cut off from the rest of the story; they're like regal set-pieces, dropped in from time to time. De Niro comes onscreen with great dramatic and musical flourish, strikes an attitude, says a line, and that's basically the whole idea. There isn't a glimmer of a notion of what made this man tick, this Al Capone who was such an organizational genius that he founded an industry and became a millionaire while still a young man.
The best performance in the movie is by Sean Connery, as an Irish-American cop who signs on as Ness's right-hand man and seems, inexplicably, to know everything about the mob and its liquor business. Connery brings a human element to his character; he seems to have had an existence apart from the legend of the Untouchables, and when he's onscreen we can believe, briefly, that the Prohibition Era was inhabited by people, not caricatures.
What's good about the movie is the physical production itself. There's a shot of Chicago's La Salle Street canyon, all decked out with period cars and extras, that's sensational. And there are a lot of other nice touches, like Capone's hotel headquarters and the courtroom where his trial is held.
Chicago's bootlegging battles were already a legend by the 1930s, when Warner Bros. turned them into the gangster movie industry. Directors have been struggling ever since to invest them with life, and free them from cliches. The best film about the era remains the uncut original version of Sergio Leone's "Once Upon a Time in America." De Palma's "Untouchables," like the TV series that inspired it, depends more on cliches than on artistic invention.
Gli intoccabili (sh. Nedodirljivi), u svijetu distribuiran pod naslovom Machine Gun McCain (sh. Mitraljez McCain), je italijanski gangsterski film snimljen 1969. godine u režiji Giuliana Montalda. Predstavlja ekranizaciju Candyleg, romana američkog pisca Ovida Demarisa. Protagonist, koga tumači John Cassavettes, je Hank McCain, okorjeli profesionalni kriminalac koji izlazi na slobodu nako dvanaest godina zatvora zbog oružane pljačke. Radnja prikazuje kako promatra kako se u međuvremenu svijet i kriminalni milje, značajno promijenili, a čemu se on, kao "stara škola", ne može prilagoditi, ali i kako je njegovo puštanje izmanipulirao mladi i ambiciozni mafijaš (čiji lik tumači Peter Falk) koji ga namjerava angažirati za drsku pljačku kazina koje njegovi pretpostavljeni drže u Las Vegasu.
Gli intoccabili je sniman dijelom u Italiji, a dijelom na američkim lokacijama, uključujući i zloglasni zatvor San Quentin koji se pojavljuje u uvodnim scenama. Kritika mu, usprkos izuzetno mračnog i pesimističnog tona, nije bila previše sklona, zamjerajući Montaldu previše konvencionalni i staromodni stil. Cassavettes, koji se u filmu pojavljuje zajendo sa suprugom Genom Rowlands, je kasnije tvrdio da je pristao nastupiti jedino kako bi honorarom mogao financirati vlastite, umjetnički ambicioznije, projekte. Na samom setu se, pak, sprijateljio sa Falkom koji će kasnije postati čest suradnik u njegovim filmovima. 2b1af7f3a8