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Post by nutsberryfarm ⛑ on Aug 20, 2019 21:57:10 GMT
epic movie, and scene too!
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rhs6358
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Post by rhs6358 on Aug 21, 2019 8:20:56 GMT
Never saw it. Never thought about seeing it.
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Post by pizzabagel on Aug 21, 2019 9:47:52 GMT
Never saw it. Never thought about seeing it. But it was directed by Bob Rafelson, one of the creators of The Monkees. The Monkees, rhs!
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Post by rhs6358 on Aug 21, 2019 10:37:32 GMT
Never saw it. Never thought about seeing it. But it was directed by Bob Rafelson, one of the creators of The Monkees. The Monkees, rhs! Well, maybe he should have cast Peter Tork in it. I still wouldn't see it, but it would have Peter Tork.
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Post by nutsberryfarm ⛑ on Aug 21, 2019 13:01:49 GMT
Never saw it. Never thought about seeing it. highly rec. nuts recommends.
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Post by rhs6358 on Aug 21, 2019 13:14:25 GMT
Never saw it. Never thought about seeing it. highly rec. nuts recommends. Well...if you're going to pull my leg like that. Hey! Stop pulling! That hurts!
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Post by nutsberryfarm ⛑ on Aug 21, 2019 15:17:39 GMT
highly rec. nuts recommends. Well...if you're going to pull my leg like that. Hey! Stop pulling! That hurts!
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Post by pizzabagel on Aug 21, 2019 15:38:14 GMT
Well...if you're going to pull my leg like that. Hey! Stop pulling! That hurts! "There ain't no cure for the rainy day blues." -- Eddie Cochran
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Post by pizzabagel on Aug 21, 2019 16:10:57 GMT
Never saw it. Never thought about seeing it. highly rec. nuts recommends. Who do you think you are? The chef? Leave the recommendations to the chef, nuts. You're in way over your head.
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Post by snelling on Aug 21, 2019 21:50:45 GMT
"Five Easy Pieces" is great to turn on, and then go out for a two-hour walk. The diner scene is the best part though.
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Post by nutsberryfarm ⛑ on Aug 26, 2019 2:24:20 GMT
"Five Easy Pieces" is great to turn on, and then go out for a two-hour walk. The diner scene is the best part though. 5 stars! www.rogerebert.com/reviews/five-easy-pieces-1970The title of "Five Easy Pieces" refers not to the women its hero makes along the road, for there are only three, but to a book of piano exercises he owned as a child. The film, one of the best American films, is about the distance between that boy, practicing to become a concert pianist, and the need he feels twenty years later to disguise himself as an oil-field rigger. When we sense the boy, tormented and insecure, trapped inside the adult man, "Five Easy Pieces" becomes a masterpiece of heartbreaking intensity. At the outset, we meet only the man -- played by Jack Nicholson with the same miraculous offhandedness that brought "Easy Rider" to life. He's an irresponsible roustabout, making his way through the oil fields, sleeping with a waitress (Karen Black) whose every daydreaming moment is filled with admiration for Miss Tammy Wynette. The man's name is Robert Eroica Dupea. He was named after Beethoven's Third Symphony and he spends his evenings bowling and his nights wearily agreeing that, yes, his girl sings "Stand By Your Man" just like Tammy. In these first marvelous scenes, director Bob Rafelson calls our attention to the grimy life textures and the shabby hopes of these decent middle Americans. They live in a landscape of motels, highways, TV dinners, dust, and jealousy, and so do we all, but they seem to have nothing else. Dupea's friends are arrested at the mental and emotional level of about age seventeen; he isn't, but thinks or hopes he is. Dupea discovers his girl is pregnant (his friend Elton breaks the news out in the field, suggesting maybe it would be good to marry her and settle down). He walks out on her in a rage, has a meaningless little affair with a slut from the bowling alley, and then discovers more or less by accident that his father is dying. His father, we discover, is a musical genius who moved his family to an island and tried to raise them as Socrates might have. Dupea feels himself to be the only failure. The movie bares its heart in the scenes on the island, where Dupea makes an awkward effort to communicate with his dying father. The island is peopled with eccentrics, mostly Dupea's own family, but including a few strays. Among their number is a beautiful young girl who's come to the island to study piano with Dupea's supercilious brother. Dupea seduces this girl, who apparently suggests the early life he has abandoned. He does it by playing the piano; but when she says she's moved, he says he isn't -- that he played better as a child and that the piece was easy anyway. This is possibly the moment when his nerve fails and he condemns himself, consciously, to a life of self-defined failure. The movie ends, after several more scenes, on a note of ambiguity; he is either freeing himself from the waitress or, on the other hand, he is setting off on a journey even deeper into anonymity. It's impossible to say, and it doesn't matter much. What matters is the character during the time covered by the film: a time when Dupea tentatively reapproaches his past and then rejects it, not out of pride, but out of fear. The movie is joyously alive to the road life of its hero. We follow him through bars and bowling alleys, motels and mobile homes, and we find him rebelling against lower-middle-class values even as he embraces them. In one magical scene, he leaps from his car in a traffic jam and starts playing the piano on the truck in front of him; the scene sounds forced, described this way, but Rafelson and Nicholson never force anything, and never have to. Robert Eroica Dupea is one of the most unforgettable characters in American movies.
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Post by pizzabagel on Aug 26, 2019 2:40:53 GMT
"Five Easy Pieces" is great to turn on, and then go out for a two-hour walk. The diner scene is the best part though. 5 stars! www.rogerebert.com/reviews/five-easy-pieces-1970The title of "Five Easy Pieces" refers not to the women its hero makes along the road, for there are only three, but to a book of piano exercises he owned as a child. The film, one of the best American films, is about the distance between that boy, practicing to become a concert pianist, and the need he feels twenty years later to disguise himself as an oil-field rigger. When we sense the boy, tormented and insecure, trapped inside the adult man, "Five Easy Pieces" becomes a masterpiece of heartbreaking intensity. At the outset, we meet only the man -- played by Jack Nicholson with the same miraculous offhandedness that brought "Easy Rider" to life. He's an irresponsible roustabout, making his way through the oil fields, sleeping with a waitress (Karen Black) whose every daydreaming moment is filled with admiration for Miss Tammy Wynette. The man's name is Robert Eroica Dupea. He was named after Beethoven's Third Symphony and he spends his evenings bowling and his nights wearily agreeing that, yes, his girl sings "Stand By Your Man" just like Tammy. In these first marvelous scenes, director Bob Rafelson calls our attention to the grimy life textures and the shabby hopes of these decent middle Americans. They live in a landscape of motels, highways, TV dinners, dust, and jealousy, and so do we all, but they seem to have nothing else. Dupea's friends are arrested at the mental and emotional level of about age seventeen; he isn't, but thinks or hopes he is. Dupea discovers his girl is pregnant (his friend Elton breaks the news out in the field, suggesting maybe it would be good to marry her and settle down). He walks out on her in a rage, has a meaningless little affair with a slut from the bowling alley, and then discovers more or less by accident that his father is dying. His father, we discover, is a musical genius who moved his family to an island and tried to raise them as Socrates might have. Dupea feels himself to be the only failure. The movie bares its heart in the scenes on the island, where Dupea makes an awkward effort to communicate with his dying father. The island is peopled with eccentrics, mostly Dupea's own family, but including a few strays. Among their number is a beautiful young girl who's come to the island to study piano with Dupea's supercilious brother. Dupea seduces this girl, who apparently suggests the early life he has abandoned. He does it by playing the piano; but when she says she's moved, he says he isn't -- that he played better as a child and that the piece was easy anyway. This is possibly the moment when his nerve fails and he condemns himself, consciously, to a life of self-defined failure. The movie ends, after several more scenes, on a note of ambiguity; he is either freeing himself from the waitress or, on the other hand, he is setting off on a journey even deeper into anonymity. It's impossible to say, and it doesn't matter much. What matters is the character during the time covered by the film: a time when Dupea tentatively reapproaches his past and then rejects it, not out of pride, but out of fear. The movie is joyously alive to the road life of its hero. We follow him through bars and bowling alleys, motels and mobile homes, and we find him rebelling against lower-middle-class values even as he embraces them. In one magical scene, he leaps from his car in a traffic jam and starts playing the piano on the truck in front of him; the scene sounds forced, described this way, but Rafelson and Nicholson never force anything, and never have to. Robert Eroica Dupea is one of the most unforgettable characters in American movies. I think you've watched one too many Robert Eroica Dupea movies. Good day, Mr. Ebert.
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Post by rhs6358 on Aug 26, 2019 13:13:16 GMT
5 stars! www.rogerebert.com/reviews/five-easy-pieces-1970The title of "Five Easy Pieces" refers not to the women its hero makes along the road, for there are only three, but to a book of piano exercises he owned as a child. The film, one of the best American films, is about the distance between that boy, practicing to become a concert pianist, and the need he feels twenty years later to disguise himself as an oil-field rigger. When we sense the boy, tormented and insecure, trapped inside the adult man, "Five Easy Pieces" becomes a masterpiece of heartbreaking intensity. At the outset, we meet only the man -- played by Jack Nicholson with the same miraculous offhandedness that brought "Easy Rider" to life. He's an irresponsible roustabout, making his way through the oil fields, sleeping with a waitress (Karen Black) whose every daydreaming moment is filled with admiration for Miss Tammy Wynette. The man's name is Robert Eroica Dupea. He was named after Beethoven's Third Symphony and he spends his evenings bowling and his nights wearily agreeing that, yes, his girl sings "Stand By Your Man" just like Tammy. In these first marvelous scenes, director Bob Rafelson calls our attention to the grimy life textures and the shabby hopes of these decent middle Americans. They live in a landscape of motels, highways, TV dinners, dust, and jealousy, and so do we all, but they seem to have nothing else. Dupea's friends are arrested at the mental and emotional level of about age seventeen; he isn't, but thinks or hopes he is. Dupea discovers his girl is pregnant (his friend Elton breaks the news out in the field, suggesting maybe it would be good to marry her and settle down). He walks out on her in a rage, has a meaningless little affair with a slut from the bowling alley, and then discovers more or less by accident that his father is dying. His father, we discover, is a musical genius who moved his family to an island and tried to raise them as Socrates might have. Dupea feels himself to be the only failure. The movie bares its heart in the scenes on the island, where Dupea makes an awkward effort to communicate with his dying father. The island is peopled with eccentrics, mostly Dupea's own family, but including a few strays. Among their number is a beautiful young girl who's come to the island to study piano with Dupea's supercilious brother. Dupea seduces this girl, who apparently suggests the early life he has abandoned. He does it by playing the piano; but when she says she's moved, he says he isn't -- that he played better as a child and that the piece was easy anyway. This is possibly the moment when his nerve fails and he condemns himself, consciously, to a life of self-defined failure. The movie ends, after several more scenes, on a note of ambiguity; he is either freeing himself from the waitress or, on the other hand, he is setting off on a journey even deeper into anonymity. It's impossible to say, and it doesn't matter much. What matters is the character during the time covered by the film: a time when Dupea tentatively reapproaches his past and then rejects it, not out of pride, but out of fear. The movie is joyously alive to the road life of its hero. We follow him through bars and bowling alleys, motels and mobile homes, and we find him rebelling against lower-middle-class values even as he embraces them. In one magical scene, he leaps from his car in a traffic jam and starts playing the piano on the truck in front of him; the scene sounds forced, described this way, but Rafelson and Nicholson never force anything, and never have to. Robert Eroica Dupea is one of the most unforgettable characters in American movies. I think you've watched one too many Robert Eroica Dupea movies. Good day, Mr. Ebert. You know, "Five Easy Pieces" would be a great title for a jigsaw puzzle documentary.
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Post by Karma_Kramer on Oct 28, 2023 22:22:46 GMT
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rhs6358
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Post by rhs6358 on Nov 3, 2023 10:49:35 GMT
Good scene, but one man could have played it better. pizzabagel: Oh, God! No! Yeah, that's right. Robert Emhardt. He'd make you feel like you were sitting there with him.
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