| Where in the world is Luis Bunuel? |
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| written by THyde |
November 29, 2012 - 1:39 PM PST |
| This is pretty much your standard studio product, albeit a competently-directed musical. Don't look for the surrealist Bunuel here -- he is apparently getting his hand back in after not having directed a feature for 15 years or so. All that said, there are a few memorable elements. The singing of the two leads is quite good, there are a couple of comic moments, and then -- right in the middle of a conventional dialogue scene of Jorge Negrete wooing his love, Bunuel cuts gratuitously to a couple of closeups of some icky, black gooey oil tar that Negrete is stirring around with a stick(?!?). |
| Two films challenging convention - Beware DVD misprinting |
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| written by awehman |
July 29, 2008 - 12:51 PM PDT |
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1 out of 3 members found this review helpful
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A highlight from Gran Casino was the trio of back-up singers who appear in many creative roles. The central theme was that good people can come from jail and evil people can come from high places. For me, this film was less of a revelation than The Young One.
The Young One was probably a very risky film for 1960. The most compelling character is the black jazz musician Traver on the run from a false rape charge. The film is very racially charged and the white men say many shocking things including the dehumanization of Traver. It reminded me of the scene in Schindler's List where the Nazi tells the Jew "I realize that you are not a person in the strictest sense of the word". There are two characters with more temperate racial views, including the young girl raised on an island who is oblivious to issues of race and a visiting preacher who sounds like he's reading lines out of a textbook on temperance. |
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