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The Seashell and the Clergyman torrent reviews
Mark L (fr) wrote: Didn't like the movie until Arkin showed up. Al Pacino really hasn't been good in a role in quite a while.
Simon T (nl) wrote: As with so much of David Lynch's output, this isn't an easy watch. It's long, incoherent and a test of the viewer's stamina. What narrative there is revolves around a Hollywood actress (producer-star Laura Dern, excellent) apparently trapped in a waking nightmare that features violence, prostitution, long dark corridors and a sitcom starring a family of rabbits. It's a film that is hallucinatory, self-indulgent and entirely held together by Laura Dern's performance and Lynch's brooding camerawork.
Avishek C (au) wrote: Messed up stuff, this movie can easily make the whole world vegetarian
Justin A (es) wrote: Silly, sometimes boring, but mostly watchable.
Cameron J (ca) wrote: I just had the privilege of seeing this in authentic film projection at the Cinma Odysse here in Strasbourg (first time I've been to that cinema), and man was it a unique experience. They show a lot of other classic films, so I'll definitely be going back there many times in the future."Cabaret" looks great, with some of the best lighting effects I've seen in a film. The Oscar-winning cinematography is astounding, with intimate close-up shots and epic wide shots framed underneath the performers at the Kit Kat Klub to give them a sense of grandiosity. No wonder this film's cinematographer was Geoffrey Unsworth, the guy who shot "2001: A Space Odyssey".My favorite technical aspect of "Cabaret" is the editing, with an assault of fast cuts during the musical numbers to show the expressions on people's faces in the crowd as well as the entertaining and somewhat scary faces that the emcee (Joel Grey) pulls. On pure speed and energy alone, it's the most impressively edited film I've seen since "Whiplash".Its best scenes are certainly the dance numbers at the Kit Kat Klub, in which the emcee and the film's main character Sally (Liza Minnelli) perform weird and wonderful ditties set to annoyingly catchy music. Both won Oscars for their performances; Minnelli absolutely deserved it and I can see the love for Grey too.The actual story has very little to with the Klub, though the musical numbers are loosely linked to the story's themes. The movie, like the stage play it's based on, is set in Germany in the 1930s, on the eve of the rise of the Nazis.Central character Sally is a dancer at the Klub who aspires to be an actress, who falls in love with Brian (Michael York), a professor staying in the same building as her. She teaches the stiff Englishman how to love while he teaches his two young German students (Fritz, played by Fritz Wepper, and Natalia, played by Marisa Berenson) how to speak English. Fritz and Natalia of course become romantically involved as well, but their relationship is complicated since she's Jewish and everyone around them seems to be repeating Nazi propaganda like a mantra.There are, of course, complications with Sally and Brian's relationship, also. She's wooing a rich baron, Maximilian von Heune (Helmut Griem), and Brian is afraid she's being unfaithful. Things only get more complicated when Brian, too, falls for the Baron, leading to one of the most intimate shots in film history as the three, drunken and dancing, gather around and touch their heads together in a circle.The story is intricate and full of themes that were ahead of their time such as bisexuality and abortion, but everything gets a bit too dry after a while and the film takes far too long to wrap things up. The musical numbers are certainly more exciting and deftly paced than the dramatic scenes, and had the film been a little less indulgent with all of its themes and character arcs it could've been half an hour shorter and even more effective.The often strange juxtaposition of the songs and the drama is also a bit confusing at times, and I kinda felt like I did while watching "Inherent Vice", except this time I knew what was going on, but couldn't quite figure out why it was being included. Like "Inherent Vice", this film might benefit from another watch at some point in the future to see things from a better perspective. This isn't too big a complaint, though, and I think this is a film that any fan of musicals and/or of great cinematography should see.
John O (gb) wrote: So bad it's good, these kind of flicks are always a good way to spend a Friday night.