I cannot tell you how much I loathe this film: its crass chauvinism in particular. The scenes set in Italy are worth watching, but only because almost anything set in Italian cities attracts my interest. I wonder what Daniele thinks of it. Cameron's use of Caine and his laddish paraphrasing only added to my sense of nausea. And that fucking tune!!
Agreed, I watched it a few years ago and found the portrayal of criminals as ultra-sophisticated somewhat farcical; I don't look down on criminals, nor do I look up to them. Discounting that the film left me distinctly unimpressed.
Swinging London? no thanks. As some other scholarly contributors and I agreed on another thread recently, the 60s went downhill after around 65.
It's a caper movie for fuck sake, it's supposed to be glamorous!
I repeat, I wonder what Daniele thinks of it. Witty Brits versus Funny Old Johnny Foreigner.
Hype-busting is good for the soul. I had a shock when my dear old Dad told me he didn't much like Charlie Parker.
We agreed that Wardell Grey is better.
My old man knows more about jazz than most of us have forgotten. He can tell you what colour Mulligan's undershorts were the day the cops unearthed his stash.
Strange, I even like him with strings and all...
I'm not a "fan" of anyone... "fan" in this case meaning that I've collected every single note of the esteemed person... but with Charlie Parker it's something else.... yes, he played very fast sometimes, but I don't think he played too much...
He was a giant if there ever was one...
and why for Chrisakes are we talking about him in the Italian Job thread?
His father was a Milanese baker.
Parker works with strings, as it was one of the few times he was recorded well, plus it was the first time strings were paired with be-bop.
Who can not enjoy Noel Coward's regal gangster in the Italian Job, superb. Also great music by Quincy Jones.
Afraid I can't. Poor Quincy. Still, it's a living.