Vincente Minnelli [10/02/2007] (Director)

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Vincente Minnelli [10/02/2007] (Director)

Mensaje por bluegardenia » Mar 12 Jul, 2005 00:16

VINCENTE MINNELLI
28 Febrero 1903
Chicago, Illinois, USA
25 Julio 1986
Beverly Hills, California, USA


Imagen
ImagenQ. [tape starts up] "more general questions about general themes in your films and then maybe get to more specific"
A. Sure, okay fine, just ask the questions [laughs].

Q. Your films seem very psychoanalytically oriented, in that the main character, at least after a certain point, is in a position of neurotic obsession he has to work his way through. This seems very consistent from The Cobweb (1955) forward. I’m sure it’s very conscious, but I was wondering why this became so particular at this time. Or did it?
A. I don’t know. It’s intuitional, I guess. It’s the story that counts. I work with the writer on the story. Having started as a designer I have a lot to do with settings and costumes, because I think they relate to the story and character, explain it.

Q. Your films do rely much more on visuals than dialogue. You say you rely on the writer. You’ve worked with Alan Jay Lerner [1918-1986] many times. I’m interested that On a Clear Day You Can See Forever (1970) is so different as a film than as a play. One of Daisy’s personas, the American one, was dropped, and the movie depends on the persona Melinda. Was Lerner at the point where he knew what you wanted?
A. Yes. We worked carefully on that. I felt that was what was wrong with the play. It was white wigs and writing with feathers which gets to be very boring. I wanted to make it Regency, because the world was more inviting. That’s particularly why we changed it. Then I wanted to come in on a climax where she didn’t know what was happening and it was explained later on. Whereas it couldn’t matter less in the play.
Are you sure you won’t have coffee? I always have coffee without sugar, you know. Just cream. Barbra Streisand didn’t take sugar towards the end [of production]. Then she saw in an antique store a tray and coffee pot and a few mugs, but no sugar [bowl], it was missing [laughs]. So she inscribed it with, "You’re the cream in my coffee."

Q. On a Clear Day seems like such a very personal film of yours, and I was wondering if you would consider it one of your more personal projects, one that you were happier with from the beginning,
A. It was mystical and Lerner has been interested in that since he was a child. He was trying to say something, I dug into the story and that was what came out.

Q. In your autobiography [I Remember It Well, 1974] you mention that one of the films you were interested in doing but unhappy in the way it was presented was Four Horsemen of the Apocalypse (1962)…
A. Yes, I preferred to have it in the original war [World War I] because times were different then. Argentina was very Nazi. With the Second World War, all you could do was have [the protagonist] as someone who blows up bridges.

Q. Well, it seems if you’d been developing the theme where an individual must develop a free will, then you do place it in a political context for the first time, or a pronounced political context for the first time. The whole film seems to be concerned with what is a free will worth without a political context.
A. Yes, well, he starts out as a playboy and couldn’t care less about politics – he gets involved because of a woman. From then on he’s part of the action.

Q. Another film I’d like to talk about is a very early one, Madame Bovary (1949). If some films can be regarded as a summing up, this one seems to be an anticipation. There’s really no liberation for Madame Bovary…
A. No! She fantasized everything! Her dreams were so much more realistic than reality. She dreamed so big and wanted everything to be beautiful. And everything was hideous, starting with the farm, the convent and all that. Disillusion about her husband.

ImagenQ. In your autobiography again, when you talk about Home From the Hill (1960), you talk about the operatic sense of the boar hunt. That operatic sense also seems present in the ballroom scene in Madame Bovary, almost a building hysteria.
A. Yes, that’s the one time that the dream came up to the reality. She saw herself as wanted and beautiful; the belle of the ball, so to speak. Then it ended bitterly. Illusion.

Q. Your camera style has always been – and you mention this right off when you talk about Cabin in the Sky (1943) in your autobiography – is you went for a very fluid camera that moved a great deal. This seems linked to your thematic preoccupations; it’s a peering style.
A. I was very influenced by the movies of Max Ophüls, who moved the camera all the time. That made much more sense to me than to catch each composition as it appeared.

Q. Did you ever meet Ophüls?
A. No, by the time I got over there, he was quite sick and died shortly thereafter.

Q. Well, since we’re on the subject right now, would you feel any empathy, as opposed to just admiration, for any other directors?
A. Von Stroheim. I lived in New York, so I saw the European movies much more than the domestic ones. I was influenced by them a great deal.

Q. You mentioned [dir. Jacques Feyder’s] Carnival in Flanders [La Kermesse heroique] (1935) and [cinematographer] Harry Stradling (1902-1970)…
A. He just happened to be there…
Q. In France at the time…
A. He was an American. He happened to be in France. He got his start in France and England. When I came to work with him – I describe that in the book – he didn’t have any artistic sense about him. He would stumble through the thing; he’d say, "Anyone up there? It’s dark down here." I’d think, "Oh, Christ." But when I saw the rushes, they were fantastic.

Q. You must have developed quite a relationship, since you worked until quite recently [On a Clear Day You Can See Forever].
A. Oh, yes.

Q. You also worked with John Alton, who must have been quite different to work with.
A. Oh, yes. I got Metro to let me use him on Father of the Bride (1950). Up till that time he’d just done B movies off the lot. The cameramen hated him. I don’t wonder, because he was so egotistical. He didn’t mean to be. When I was on the sequel, Father’s Little Dividend (1951), we hadn’t shot the ballet yet, and I insisted on him shooting it, because he would take chances. It needed somebody who would take enormous chances and do things that were crazy.

Q. You seem to take many chances in the painterly aspects of your films, even when it comes to the aspect ratios you use. You’ve mentioned the Flemish influences on the interiors in Brigadoon (1954) and the time you spent on copying Sem in Gigi (1958).
A. Colette (1873-1954) had written about actual people in Gigi. She considered it one of her minor things, not to be compared to Vagabond or Cheri. It’s had a life of its own.

Q. Gigi was another collaboration with Lerner…
A. That was written for the screen.

ImagenQ. There was a play, but you didn’t like it.
A. The play went to farce. It used the mother. [Colette] had worked on the French movie [Gigi, dir. Jacqueline Audry, 1948 or '49] and that was a farce also. But she created the character, Honoré, Chevalier [would] play [in the Minnelli version]. It was right to use Chevalier.
Q. In terms of your themes, Gaston (Louis Jourdan) is the figure undergoing the most change. In a way, he’s the protagonist and Gigi is the goal he works towards. It’s been suggested that you look upon Gigi and Brigadoon as perhaps fairy tales or wish-fulfillments with happy endings.
A. That [the ending of Gigi] is supposed to be quite abrupt, because he’s the last man to marry anybody. But in Brigadoon it’s a surprise that he goes back to Brigadoon, reach back into his consciousness and create it all over again out of time.
Q. In your comedies, with a few exceptions, people seem drawn to their antitheses. In The Reluctant Debutante (1958), an upper class girl to a jazz drummer; in Designing Woman (1957) the sportswriter and the designer; in Goodbye Charlie (1964), well,…
A. That’s a real fairy tale!

Q. It’s not only the lady killer becoming a lady but becoming attracted to a former friend, I wondered, do you depend on this structure to build your comedy?
A. No. I seem to be drawn to things that actually happen. For instance, Meet Me in St. Louis (1944), Sally Benson was writing about her own family in St. Louis at the time. The Long, Long Trailer (1954) actually happened and the man wrote a book about it. Father of the Bride, same thing; a banker wrote that who had never written anything else. Designing Woman was written for the screen. I just got back from Deauville and Greg [Peck] was there. He sat behind me and they ran an early picture of his, To Kill a Mockingbird (1962). He leaned over and said, "Why don’t we run Designing Woman and get a few laughs in here! This is a dour subject!"

Q. You mention in the autobiography that he was an under-player but you brought out his lighter quality.
A. He sparkled.

ImagenQ. I’d like to discuss The Bad and The Beautiful (1952). In the book you seem, with good reason, to be puzzled by the reaction, which was so mixed. You quote Bosley Crowther as complimenting it and then saying it just didn’t seem to turn out that well.
A. It was very successful. Mostly I liked the picture very much. But it was the point of view of three people. When I wanted to do this picture, instead of Lili [dir Charles Walters, 1953; musical set in France starring Leslie Caron], which I’d already done [referring to just completed An American in Paris] Dore Schary [head of production at MGM, 1948-1956] said, "What do you want to do that for?" Even my agent said, "That’s the story of a heel." Ahh, I didn’t think so. He’s got to have an awful lot of charm. He just is crazy about movies; he’d kill his mother to make a good movie. He’d have to have such charm. Well, Kirk Douglas has strength, you know. It doesn’t have to be there, it’s there. So he played it completely for charm. When he came off a scene he’d say to me, "I was very charming in that scene!" We played it completely for charm when he stepped on people’s necks. But he was always correct. The director wasn’t ready to do that fine picture, but he was with the producer’s help. The writer’s wife was driving the writer crazy. So he was correct in all those things. But he had the strength to go through with it and hurt the people he loved.
And he did get the after-film blues. It’s a let-down. "What the hell is so important about that ?" We work so hard, and then suddenly it stops.

Q. To talk about The Bad and the Beautiful almost inevitably brings up Two Weeks in Another Town (1962). I saw you in Chicago two years ago at the film festival and you mentioned that the final cut of the picture was not…
A. No the man that was in charge of Metro in New York recut the picture. He took two whole sections out. He ruined the orgy and took out a long scene that Cyd [Charisse] had with a reporter in a bar in a hotel. She explained why she was the way she was. Without those scenes, the picture was ruined. [Producer John] Houseman was in Europe at the time so I immediately wired him and talked to him on the phone. He came rushing over but it was too late. The negative had been cut. There were too many prints in the theaters.

Q. Is there any way at all to see your cut?
A. No. I don’t think so. Too much water has gone under the bridge at Metro.

Q. The car scene, where the character Jack Andrus, Kirk Douglas, drives down the hill reliving the experiences of the past, recalls Lana Turner’s in The Bad and the Beautiful…
A. Yes.

Q. Stuart Byron wrote a long essay on On a Clear Day You Can See Forever, I don’t know if you ever saw it…
A. No! I didn’t!

Q. He says this is an example of the cathartic scene you can find in so many of your pictures. Now, structurally, do you look for this to put this in your pictures.
A. No, no. It’s always the story that interests me.

Q. How much…
A. What does the story mean, how do the characters fit into it, how are they eloquent enough to talk about it in the way it should be talked about.

Q. When you’re presented with a story when a project begins to develop, do you go in for extensive re-writing.
A. Yes, we work together, the writer and I. I con him or charm in into re-writing an awful lot.

Q.You seemed to have a brief problem with writers during The Pirate (1948), when they wanted to reverse the situation, and make Gene Kelly a pirate who wanted to be a good actor rather than an actor pretending to be a pirate.
A. [Loud laughter] Well, that wasn’t a problem because everybody was surprised by that! We couldn’t wait to see what they had done, they said, "Look at this, it’s so funny, so terribly funny." We sat there with gloom on our faces and the next day we hired someone else.

Q. That is one of the most beautiful pictures I have ever seen. How much trouble do you have to go through to achieve…
A. It’s exotic. That happened on an island in the West Indies in the 1830s. In those times the islands were free ports, so you had a mixture of Creoles, Spanish, Chinese, French, and so forth. So it was a natural to be exotic.

Q. Do you allow for improvisation.
A. I prepare as much as possible. I allow an area for improvisation because the chemical things actors bring to stories make it not work. So it has to be worked upon. Lust for Life (1956) was completely done over while in Europe. Fortunately, John Houseman is a marvelous writer and he sat in on so many story conferences. He worked with Welles, you know, and he’s a marvelous man.

Q. I’d like to ask about Lust for Life. Is that picture presented the way you cut it and finished it.
A. Oh, yes.

Q. There was no interference.
A. It follows the pattern of his life absolutely.

Q. In the essay that Byron wrote, he uses a phrase in describing the end of Van Gogh, "the joyful suicide of release." Do you see it as that?
A. No. It was very sad, because his madness caught up with him and he couldn’t go on. Just couldn’t go on.

Q. So you would say he didn’t achieve a breakthrough in his personality?
A. He sold only one painting and for something like 35 francs. And his brother was an art dealer. The big reward came after he died.

Q. You don’t feel that in the sanitarium he achieved tranquility.
A. When we went to that sanitarium, which was the actual one he was incarcerated in, the man read – very literally and very straight – [unintelligible] he’d had a bad time. I glommed on to that. I said, "John, we have to write it that way."

ImagenQ. I would like to talk a little bit about Yolanda and the Thief (1945). First of all, how did the studio react to surreal sequences? Did it stand them on their heads?
A. Well - yes. It wasn’t successful with the audiences. It got its money back and showed a small profit, but any picture did in those days. [MGM production unit head and producer Arthur] Freed (1894-1973) did that and Freed brought me together with [Madeleine author Ludwig] Bemelmans (1898-1962). It was the kind of thing that Bemelmans would write: A con man posing as a guardian angel – which shocked most of the critics at the time. Nowadays it wouldn’t matter if he were a murderer.
But surrealism is present in most of my pictures.

Q. Would you care to elaborate?
A. Sure. In the Thirties, when I was in New York, I did the first surrealistic ballet in a show of mine. The choreography was done by Balanchine. Dali was the great painter then and surrealism was a way of life.
It followed a long time later – Freud, dreams, the inconsistency of dreams. It struck me that it was the sensation of life. I used it whenever I could.

Q. In Yolanda, the whole film has an airy, dream-like quality where you’d be willing to believe, or that it is not illogical to believe, that Fred Astaire could be, a guardian angel.
A. She was raised in a convent with nuns and so forth and didn’t know how to take care of her vast wealth and prayed to her guardian angel for guidance. And he [the con man] overheard her.

Q. How did Astaire react to the exoticism.
A. He was marvelous about it. He liked it very much.

Q. In An American in Paris, you would say the surrealism came in the end.
A. Well, that’s a ballet of emotions. He had lost his girl and that mattered terribly, he was a painter. It was all mixed up together.

Q. You mentioned Freud. Have you read a great deal by him?
A. Yes.

Q. When working with a writer do you bring up Freudian interpretations and motivations.
A. No, I stick to the point of the story.

Q. In the films with Gene Kelly, did he choreograph all his dances?
A. Yes. The ballet was a collaboration with both of us. I seemed to be the moving factor in that. But sometimes he would be. So it went. I did many films with him and we always got along wonderfully because we both knew there 20 ways to do a scene.

Q. Do you mean one of you say, block out a scene and the other would…
A. No, it would be more specific. We’d be more specific. We’d say, "Get the crowd over there and do that little…" While he was blocking out the choreography of the first part, for instance, I took the assistants and got the running through the traffic. The camera is doing this and so forth and the light is changing.
The Pirate is surrealism and so, in a curious way, is Father of the Bride.

Q. I love the walk down the [church] aisle.
A. It all stuck to what had happened the night before in that miserable scene in the rain. His walking down the aisle is his inability to get there.

Q. You have such a personal interest in the set design, your sensibility of it. Did you find yourself having much trouble with [department chief] Cedric Gibbons of the [MGM] art department.
A. No. Cedric Gibbons was the grand cardinal of the art department. He would be in meetings. And not with the designers themselves, because they were great art directors. But with the interpretation of Cedric, because finally he did things a certain way and I insisted on not doing it that way. Finally he let me alone.

Q. But there was a little working out for a while.
A. Yes. Naturally on Cabin in the Sky (1943).
Q. Do you have the idea for the sepia tones on that film?
A. No, that was Arthur Freed’s idea. Have you seen it that way?
Q. Yes.
A. I haven’t seen it that way in a long time.

Q. Just briefly, the musicals. Musicals are "supposed" to be joyous, bouncy, exciting and brash but a lot of yours seem meditative. The beginning of The Band Wagon (1953), for example, when Astaire gets off the train all by himself.
A. He was such a sport to do that and play the part of a man whose career was dying, when his was never better. What was the question again?

Q. Instead of being happy and bouncy, it starts…
A. Well, I consider, that those things – even farce – should be played for blood. Then it’s funny. But not if you’re going to poke the audience in the ribs and say, "Watch this." It’s got to be real.

Q. Jack Buchanan made so few films, I was wondering how he came to appear in The Band Wagon.
A. That was a very difficult thing to do. The character was obviously Orson Welles and the kind of people who do the things he does – Shakespeare one night, "Oedipus Rex" the next, then a farce by Oscar Wilde. We had a hard time deciding on who to do it, and thank God we got Jack Buchanan because he was marvelous.
Q. Do you know if Welles ever saw it?
A. I know Welles but I never talked to him about it.
Imagen
Q. Would you care to talk about the conditions under which you did Tea and Sympathy (1956)? Was that something you very much wanted to do or was it a project that just came by.
A. It was the first film on homosexuality, but it wasn’t real homosexuality, it was the way a boy [John Kerr] thought people looked on him. We had great trouble with the Johnson Office [de facto industry censor]; they kept looking over our shoulder and worrying about it and biting their nails. They made [Robert] Anderson, who wrote the play as well as the screenplay, put on the prologue as well as the epilogue, where she [character played memorably by Deborah Kerr] had died to atone for her sin. He hated to do it.

Q. What kind of pressure would the studio use to accomplish that? Just say, "You do it or we’ll get someone else to"?
A. Oh, no, no. They’d knew we’d have a lot of trouble with the Johnson Office and they let us alone. Our troubles were all with the Johnson Office.

Q. Tea and Sympathy is very compressed. The scenes are very charged, there’s a lot of movement even in dialogue scenes. Did you emphasize that on purpose?
A. Noooo… I learn new things all the time.

Q. Again, what I mentioned before about progression through illusions. I’m referring to the scene with the town whore, where he can’t make it with her.
A. Oh, yes, yes.

Q. He’s unhappy with the image he presents, he’s trying to abandon it for another one that’s equally false…
A. But he’s in love with Laura [Deborah Kerr] at that point. He can’t make it with the whore because the cheapness of her, the squalor bothers him. That scene was not in the play.

Q. Yes, I read the play. Whose idea was it?
A. Partly mine. I had a hard time convincing Sherwood. But then he became adjusted to it and fought like hell for it.

Q. Even when you deal with a specific framework like the Caribbean in the 1830s or the France of Flaubert – and this is a description you used about Brigadoon – "you enveloped it all with romantic mist." [About Brigadoon composer Frederick] Lowe said how if he didn’t Scottish music he relied on Brahms. Even though you draw on these historical realities, let’s say, you tend to place it in, not a dream world, but your own very personal world. Do you just look at these historical situations as inspiration?
A. I tried my best to make that look as if it happened in Scotland in the days when the Scottish people were very primitive.

Q. How do you feel about never having done Green Mansions after all the work you seem to have put into it? [The movie, a fantasy about an enchanted bird girl and a hunter, was eventually directed by Mel Ferrer starring Audrey Hepburn and released in 1959].
A. I’m terribly glad now. When you have a girl who dresses in spider web clothing – which is woven by a spider – and sits in trees and talks bird languages, you aren’t sitting pretty, you know? But I went down to Venezuela and spend a few weeks going through jungles. It’s fantastic looking.

ImagenQ. Home From the Hill (1960) and Some Came Running (1959) seem to go together in that they examine American society very closely. Both are concerned with the individual, one with the artist. In both there really has to be a killing. Shirley MacLaine must die and Wade seems to have to die. In Home From the Hill, I wonder if you consider there’s a homoerotic relationship between George Peppard and George Hamilton.
A. No, it never occurred to me. Because they were, as far Hamilton was concerned, they were brothers, and he wanted the other recognized. And Peppard was used to it [a lack of recognition] and didn’t care.

Q. What would you consider your most personal films, the ones that you were able to bring the most to, the ones you had to adapt yourself least to.
A. I always liked the Van Gogh story because I was terribly involved in that. We shot that in all the real places where Van Gogh worked. His letters are reflected in that, the five volumes of letters he wrote to Theo. He was eloquent and discursive on a subject in the affirmative and then he would turn right around and knock it down in the negative. And that character is like Emma Bovary. That’s the type of character I like the best.

Q. Now the mirrors in the Madame Bovary ballroom scene; those must be very consciously placed to emphasize her narcissism.
A. Yes. She looks up and sees herself with men and officers asking her to dance. That is the dream she recognizes. I use mirrors all through that. The cracked mirror in the horrible establishment she rents in Rouen. The thing she looks into to put her make-up on in the last scene. In the convent. People don’t realize how many mirrors there are in that.

Q. Same for Gigi.
A. No. Madame Bovary is where I started out to use them to help the story.

Q. You use, particularly in Brigadoon and On a Clear Day, blue sky a lot. Particularly at the end On a Clear Day they’ve been inside for the whole film almost, then all of a sudden, there’s the blue sky. Then there’s such a contrast between the smoke-filled bar Gene Kelly leaves to return to Brigadoon. You hold back on the use of exteriors purposely?
A. Not particularly. It’s just the way the story goes.

Q. In Yves Montand’s office, are you focusing on the window in his office in any particular way in developing the scenes in any particular way – in terms of having it opened and closed in human relation terms.
A, Not consciously.

Q. It’s almost cliché right now to say in your films that the décor reflects the personality? [I was going to say of the characters, but Minnellli cuts in]
A. Yes, but people don’t realize that the décor, what they hold and the surroundings, tell an awful lot about the character. That’s what I’m concerned with, the character.

Q. In Band Wagon at one point, we’re in a house. One room is red, another room blue, another room is green – there’s a monochromatic effect. Is that a stylistic shock?
A. No, no. I use colors to bring fine points of story and character. It’s intuitional there.

Q. You’d much rather work in color than black-and-white.
A. Oh, yes.
Q. Do you feel like you’re restricted in terms of depth of focus in color or that you can more than make up for it with the color itself and its shadings.
A. Color can do anything that black-and-white can.

Q. On a Clear Day You Can See Forever seems such a summing-up and such a change from other films – say Some Came Running, where the Frank Sinatra character doesn’t want to place himself above his friends, yet doesn’t want to be trapped by them. And this whole conflict of who he and trying to work himself out. And it takes someone else’s death – as in so many of your films it seems…
A. Well, originally, Frank was killed in that. It was his idea to kill Shirley, which I thought was marvelous.

Q. Do actors frequently contribute that much?
A. Oh, yes. I listen to them very carefully. And if they’re wrong, I tell them they’re wrong. We discuss that an awful lot.

Q. Robert Mitchum must bring an lot more than he cares to admit.
A. He’s a dream to work with. He’s so helpful. He worked with George Hamilton. It was only his third picture. He’d made Crime and Punishment U.S.A., which was an arty picture, so he needed a lot of work.

Q. Once Sinatra works his problems out in Some Came Running or Kirk Douglas does in Two Weeks in Another Town, they’ve done it more or less by themselves and mostly through observation. But in On a Clear Day, the doctor and Daisy work together, unconsciously. It’s the first time two characters achieve liberation mutually in one of your films.
A. Don’t forget that she’s unconscious when she makes those statements and he has to draw it out of her. And he’s amazed at how many lives she’s lived.

Q. You put that picture of Einstein sticking his tongue out on his desk.
A. That was Yves Montand’s favorite picture!
Q. It seems you're mocking him, saying he has a mock scientific objectivity, that he can’t deal with people as people. In his classroom, when he talks about people he has a diagram of the brain, he’s reduced it to such cold facts.
A. That’s a good observation, but he’s a wonderful doctor. That’s one approach.

Q. As far as Daisy being unconscious, there’s the great line Streisand gets to deliver, "He wasn’t interested in me, he was interested in me." When she does realize this, when she does begin to accept her ESP, this whole mystical thing, the whole film seems maybe allegorical or almost on the level of a parable. The way they’re going to be married in 2038 in their next lives. Do you feel this was a conscious moving away [on your part].
A. No, it was the way it was written. Lerner had read all these books and followed the fantasy as he saw it completely. I didn’t subscribe to it, not at all.

Q. Lerner and you must think a great deal alike or share world views.
A. Well, I appreciate Lerner, he has such a wonderful mind. We argue, trying to convince each other.

Q. The ending of Four Horsemen is almost apocalyptic and it seems like the whole world is being destroyed. Is that the impression you were trying to convey?
A. Yes, the senselessness of war.

Q. You have Julio in such personal situation at the beginning of the film when everything just concerns the family. Then it moves towards a more political context, then, at the end, the political context has been brought back down to a personal level again.
A. In which way does it come to the personal?

Q. When there are just two of them in the room and the Nazi character says to Julio, "You did this? You?"
A. He asks because he’s only known him as a playboy.
Q. Not to dwell on Four Horsemen too much, but you dwell on the figures riding through the sky a great deal.
A. They were there in the original.

Q. Is that a source of worry to you, though, that people might not be able to accept those images, that they want more naturalism?
A. That’s the reason I had the andirons in the fire with the same figures. Otherwise Julio wouldn’t be able to have seen them.

ImagenQ. Now Goodbye Charlie; was that your first picture away from MGM?
A. Yes.
Q. What were the circumstances?
A. At first I didn’t want to do it because I thought the idea was vulgar. But the idea of a man being killed during an episode of love and coming back as a woman started to impress me more and more and more.

Q. The casting – Debbie Reynolds has that kind of…
A. I thought [Tony] Curtis was wonderful. It should be Marilyn Monroe, a woman with all that charm. And a man who was a he-man, a man who was now burdened with all those things he had always loved.

Q. Did George Axelrod [who wrote the source play] write the screenplay?
A. No, Harry Kurnitz.
Q. Axelrod wasn’t involved?
A. No.

Q. Now, Cabin in the Sky(1943). How in the Forties did someone go about making a [Hollywood] picture that was all-Black.
A. The only picture that had been all-Black was made about 15 years before that, [King Vidor’s] Hallelujah. It was a wonderful story, the Devil and an angel of the Lord fighting over a man’s soul. It was beautiful on the stage and I had seen it on the stage before I came out [to Hollywood]. So I loved it immediately.

Q. It’s so non-condescending, say compared to Green Pastures (1939). But you wonder why more didn’t come of it. Why Lena Horne didn’t become a bigger star, for instance.
A. According to her book [Horne wrote two memoirs, In Person (1951) and Lena (1965)], I did the first numbers before I became a director. They were carefully so they could be taken out bodily in the South. I think the time hadn’t come when the Blacks were stars.

Q. Just a social condition.
A. Yes.

Q. I’m sure you’ve read the Cahiers du Cinema group’s analyses and the way they’ve said your characters are continually making a choice between a fantasy world and a real world in your films.
A. Yes [laughs] – I don’t know why!

Q. So you would disagree with that assessment.
A. Well, it’s marvelous that they… When I first went over, it was during Lust for Life, I was surprised to find out there was a Cahiers du Cinema, when they gave a luncheon for me. Lo and behold they’d written about me every so often. I felt that when a picture was through it was through.

Q. How do you feel about Godard’s tribute in which he mimics the scene from Some Came Running of Dean Martin in the bath with his hat on?
A. I wasn’t conscious of it.
Q. Have you seen many Godard films?
A. Oh yes, I love him! I think he’s marvelous.

Q. They also say that the café dance scene in Godard’s Band a Part (1964) is a tribute to you.
A. Oh! I didn’t see that picture. I was so busy out here and many of those pictures didn’t play here. But most of Godard’s did and I saw them.

Q. Do you follow the critical waves, the emphasis these days, which is fairly recent in America, on the director, the auteur school…
A. No…

Q. Do you agree that the director would be the most important author of the picture?
A. No. I agree to this extent. Somebody said, if you give a script to five different famous directors, you’d get five different pictures. And I believe that. But as far as the actual [production], it’s a culminative [sic] arrangement. I depends on the writer, the cameraman, the art director and so forth.

Q. If someone did – and I think I do see – common threads running through all your films. And what I said, the Freudian interpretation of obsession working through to liberation, you would say that would still be unconscious.
A. Yes, it would still be according to the story and they way it’s done. The way it’s felt.

Q. So you would say you’re giving shades of emphasis.
A. Yes. If anybody reads a story in a magazine or book, different pictures compete in their minds.

Q. For various reasons, I wasn’t able to see A Matter of Time (1976), so I can’t ask any intelligent questions about it. But I wondered if there’s anything you’d like to say about it.
A. I’ve given it up, disclaimed it. It’s a completely different story than what I shot.

Q. It was recut?
A. Recut? A completely different story! I had an epilogue about [star] Liza [Minnelli] becoming a star, which was unimportant; it was in the [source] book. But they put it on the beginning. That made everything tend to make her a movie star. That was Warner Brothers 1903 or something. This was the story a real person Ingrid Bergman played. She gave parties and was a character – enormously successful. The little chambermaid is obsessed with her and does everything the way she would do it. That’s the story as Maurice Druon wrote it.

Q. What studio did it by the way?
A. AIP, and they had an Italian partner. There’s been an awful lot of trouble at AIP, which I didn’t know. How they would deliberately sink their own picture, I don’t know.

Q. You work with the same performers more than once, besides just Astaire and Kelly. There’s Charles Boyer, Kirk Douglas.
A. I made three films with Douglas, two with Charles Boyer. I’ve worked with an awful lot of people. Katy Hepburn, Spencer Tracy.

Q. Tracy seems so natural an actor…
A. Oh, my God, he’s marvelous…

Q. Did he just walk on and turn it on?
A. Just like that [snaps fingers]. But he arrived at the school of acting – when he ended up he was the antithesis of Marlon Brando. He never had an acting lesson. He just acted.

Q. It seemed so easy for him. You see other people sweat at it. Mitchum also.
A. Yes.
Q. I know that Stradling is the cinematographer you prefer to work with…
A. No, there are many cinematographers. In the MGM days they had them all, they had the best. If one was busy on another picture, you looked down the list and picked the one who was more reasonably connected with the picture.

Q. These would be conditions that you just couldn’t duplicate today.
A. No, no. You go after a person. You have to be a producer nowadays. You have to find the subject, find the writer, find the cameraman, cast it, and then you go to a producer.

Q. After Mayer left MGM, I guess it was Dore Schary and then Sol Siegel as head of production?
A. Yes. I made two films with Siegel.

Q. They both had a reputation for interference I believe.
A. Not as far as I was concerned.
Q. Not even Schary?
A. No. In fact, I made the last picture that Schary did, Designing Woman, and I met him in Europe shortly afterwards.

Q. If you don’t want to name names I understand, but who was the someone in New York that tampered with Two Weeks?
A. Oh, yes, I can never think of his name. But the awful thing is that three weeks later, he was out! I don’t mind naming him.

Q. You enjoyed MGM very much.
A. I was there 26 years and during that time I had no other home. I gave myself completely because they kept so busy.

Q. I guess it was much different there in the Fifties there than it was in the Forties after the divestiture agreement [ed note: the studios sold their theaters, reducing their financial clout].
A. Yes, or the Sixties.
Q. Are you happy with the industry now, would you like to return to any one of those periods?
A. Nowadays the audience has changed. No one can anticipate the audience. They’re absolutely different. They’re so gutted with entertainment on TV and stage and so forth. And violence and sex and so forth. And Star Wars – everyone is trying to get a Star Wars.

Q. You mentioned before talking about surrealism as a movement, how it influenced you, and how Freud influenced everybody in terms of mindset. Do you see yourself as part of a larger artistic movement perhaps in the way a painter in 19th century France might have?
A. I started out to be a painter and was born into the theater. I had given up the theater and everything propelled me into entertainment. And I didn’t resist it.
Q. How do you see the American film historically?
A. American films are terribly popular all over the world and American movie stars are terribly important. I don’t know why. I see wonderful films by Bertolucci, Visconti, and Fellini.

ImagenQ.Visconti has a different sensibility from yours but one that’s as acute.
A. He has an enormous attention to detail, the same as I do. But I don’t compare myself to anybody. I don’t consciously do that. It isn’t my nature. No sense of that. A job is a job to me and when I get a story I become involved in it immediately.

Q. Are they any dream projects you haven’t done you’d like to get to?
A. No, I’m open to anything. I’ve worked on so many things that haven’t come off. The life of Bessie Smith, the life of Modigliani; they’ve fallen through.
Q. Again, On a Clear Day, as Stuart Byron wrote, if you wanted to show someone from Mars a typical musical, you wouldn’t show them that one because there isn’t any dancing and no singing for the first half hour. Why isn’t there any singing?
A. It’s the construction. She sings one song at the very opening and it’s just laid out that way.

Q. Does it reflect the repression of the characters perhaps, or at least of Daisy?
A. No. It’s told as a dramatic story, to set it up.

Q. I think your melodramas are as important and as good as your musicals. I don’t mean to overemphasize the musicals. But I would say that if there’s anybody that knows about them, it’s you. Do you think there is a future for them?
A. The five shows I did in New York [before going to Hollywood] were musicals, so I was accustomed to musicals so, I agree, I was essentially a musical director. And a songwriter [producer Freed was a former songwriter] brought me out. But I grew [sic] every kind of story. My imagination works that way.
But I think musicals are going to have to deal with important subjects. Cabaret was important, with the MC as the Hitler character. West Side Story was terribly important because of the style of the dancing and the gangs of New York. That’s what I think musicals will come to. No backstage stories, nothing of that sort.

Q. I was wondering what your taste in music ran to.
A. All kinds.

Q. It’s just that you mentioned West Side Story.
A. That’s a marvelous score. But Rosamund makes another kind of marvelous score. Incidentally, the waltz from Madame Bovary, which is so important in the book – I got a chance to work for the first time with [composer Miklos] Rozsa before the event. I went up with a stopwatch and told him what Van Heflin was doing in the other room [while Jennifer Jones was dancing in the ballroom]. Three times I went back and forth, back and forth, back and forth. It was recorded and we shot to that. Usually, in a dramatic story or comedy, the composer is brought in at the last moment when they see the rough cut. And they have work terribly hard to do it in that time.

Q. How do you determine the rhythms of your scenes generally.
A. That’s intuitional, too. I approach each sequence as if it’s completely different according to the sequence.

Q. Are you working on anything right now.
A. Yes, three things, but I’m not at liberty to say which three things.

Q. I’ve never seen I Dood It (1943).
A. They had shot several numbers which I didn’t agree with. I was rather disappointed in getting that assignment because it was Buster Keaton, who had been worked over. And it was a terrible script. But they gave me two writers and I ended up liking it very much. With the exception of those several numbers.

Q. In famous interviews John Ford and Howard Hawks have disclaimed any attempt to impose any kind of world view on all the films they’ve done. I’d like to ask if you see yourself as a self-conscious artist or an instigator or active agent.
A. No, I only like whether I like the story or not, essentially see something in it that isn’t completely there. I’m sure that’s the way John Ford and Howard Hawks worked. Then I work very, very hard to bring that drive, to make it like no other picture.

Q. Is it easier or more difficult to make a picture today?
A. Much more difficult. Because you don’t have the people to chose from. They don’t get together automatically.

Última edición por bluegardenia el Mar 12 Jul, 2005 00:20, editado 1 vez en total.

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Mensaje por bluegardenia » Mar 12 Jul, 2005 00:17

Minnelli y la paradoja de la M.G.M.

Imagen
Orson Welles y Vincente Minnelli llegan a Hollywood casi en la misma época: el primero en 1939, el segundo al año siguiente. Uno y otro han dejado Broadway, que les ha valido su celebridad, por la "Meca del cine". Sin embargo, todo separará a estos dos autores. Incómodo en Hollywood, Welles que se complace en definirse como un "Harun-al-Raschid amnésico que ha olvidado la dirección de su palacio", abandonará pronto América, empezando un largo vagabundeo jalonado de películas inacabadas, mutiladas o perdidas...
Minnelli, por el contrario, rodará sus 30 primeras películas -su carrera consta de 34- para la misma firma, la prestigiosa Metro-Goldwyn-Mayer, de la que vivirá, desde 1940 hasta 1963, una parte de la historia (...)

Llegado en abril de 1940, Minnelli realizará su primera película, Cabin in the Sky, dos años más tarde. Entre tanto, será uno de los colaboradores habituales de Arthur Freed; participa en la preparación de las películas, ofrece ideas de puesta en escena y rueda incluso algunas secuencias para películas de otros. Una de sus principales especialidades es así la de rodar los números de Lena Horne, que se lamenta de no ser más en esa época que una "Hedy Lamarr en sepia".
Desde Cabin in the Sky (1942) hasta El noviazgo del padre de Eddie (1962), Minnelli conocerá varios períodos de la historia de la M.G.M.: la omnipotencia de Mayer; la llegada de Dore Schary, convertido en el responsable de la producción de la firma en 1948; la trágica salida de Mayer en 1951, víctima de Nicholas M. Schenck, el presidente de Loews'Inc; la de Schary y Schenck en 1956, y, en fin, al final de los años 50, el principio de la decadencia de la M.G.M.

Gracias a la M.G.M., la personalidad de Minnelli se desarrollará armoniosamente de película en película y el autor de Cautivos del mal no sólo rodará para Arthur Freed, sino también para John Houseman, Pandro S. Berman y Sol C. Siegel. Pasando del drama al musical, de la comedia a la adaptación literaria, del cine negro a la biografía filmada, a la vez que olvidaba algunos de los géneros más caros al cine hollywoodiense pero de los que él se sentía alejado, como el policíaco, el western o el bélico, Minnelli logró construir -al menos en su período M.G.M.- una de las carreras más ejemplares, combinando felizmente sus propios gustos con las exigencias del estudio y creando una deslumbrante ósmosis entre sus temas más profundos y la voluntad de sus productores. Madame Bovary, Cautivos del mal, Melodías de Broadway 1955, Con él llegó el escándalo, Como un torrente y Los cuatro jinetes del Apocalipsis, para no citar más que algunas de sus películas más conseguidas, simbolizan admirablemente el esplendor creativo del arte hollywoodiense.

Como si fuese indiferente -¿lo era?- a las nubes que se cernían sobre la M.G.M. y sobre Hollywood en general, sacudidos por la aplicación de la ley Sherman anti-trust, la llegada de la televisión y la desaparición de quienes habían contribuido a hacer del cine americano el primero del mundo, Minnelli logra afirmarse como un auténtico autor. En efecto, pocas carreras llevan tanto la marca de su creador como la suya y, de una película a otra, los temas reaparecen y se completan. La huida de John Kerr en The Cobweb anuncia la de Ronny Howard en El noviazgo del padre de Eddie, la escena en la que Judy Garland y Tom Drake apagan las velas en Meet Me in Saint-Louis halla su equivalencia en The Clock, Cautivos del mal y Dos semanas en otra ciudad están estrechamente ligadas entre sí y la mirada de Minnelli sobre las "parties" es una de las constantes de su obra. Sin querer ceder a las exageraciones de la "política de los autores", es evidente que las películas de Minnelli poseen entre ellas indefinibles "correspondencias". En lugar de ser la víctima de lo que se ha convenido en llamar el sistema hollywoodiense, Minnelli logrará en la M.G.M. -como tantos otros cineastas, de Tod Browning a Clarence Brown, de Frank Borzage a Richard Brooks- proseguir una obra de una perfecta coherencia y, salvo I Dood It, lamentable película de encargo, todas sus otras realizaciones llevan su marca.

Sin embargo, se contentó a menudo con aceptar proyectos elegidos para él por productores como Houseman y Berman, sin que se tenga jamás la impresión -su autobiografía lo atestigua- de que haya luchado realmente para imponer un tema a los dirigentes de la M.G.M. Sustituyendo a Fred Zinnemann en The Clock, llega mediante algunos toques y algunos detalles a transformar un guión ya escrito en una de sus películas más personales, como si su influencia se ejerciera únicamente al nivel de la puesta en escena y no, como en ciertos autores megalómanos, en la elección de los temas y la escritura del guión.

Imagen
La belleza de la obra de Minnelli es indisociable de la personalidad de Arthur Freed y de la propia atmósfera de la Metro-Goldwyn-Mayer. Sin Arthur Freed, Minnelli, escaldado por su triste experiencia en la Paramount, quizá se habría quedado en Broadway. Sin la Metro, jamás habría encontrado en Hollywood, este entorno creador y esta perfección que necesitaba. Basta con imaginar lo que Minnelli hubiese podido hacer en la Columbia o en la R.K.O. para convencerse de ello...

Apoyado y guiado por Arthur Freed, Minnelli contribuirá a dar una nueva dimensión a la comedia musical, volviendo la espalda a los números acrobáticos imaginados por Busby Berkeley y a las adaptaciones de éxitos de Broadway, para crear un nuevo estilo que alcanza su apoteosis en Melodías de Broadway 1955, donde su forma de filmar el ballet clásico bailado por Cyd Charisse es ya innovadora. La ternura de Meet Me in Saint-Louis y las audacias visuales de El pirata, a propósito de la que Arthur Freed declaraba con razón que la película "llevaba veinte años de adelanto", sorprenden con respecto a las otras comedias musicales de la época. Aunque perteneciera también a la unidad de producción de Arthur Freed, y dirigiendo también a Gene Kelly, Fred Astaire y Judy Garland, Charles Walters no llegará nunca a demostrar una verdadera personalidad y sólo se puede lamentar que Minnelli se haya visto forzado a abandonar Easter Parade y haya rechazado Lili, dos películas a las que evidentemente habría dado otro estilo.

El esplendor de la puesta en escena de Minnelli aparece por lo demás con tanta belleza en los deslumbrantes "números" que constituyen el ballet "Girl Hunt" de Melodías de Broadway 1955 o la secuencia "Limehouse Blues" de Ziegfeld Follies como en esas escenas "fuera del tiempo" en las que los personajes escapan por unos instantes al mundo exterior y se acercan milagrosamente los unos a los otros. El vagabundeo nocturno de Judy Garland y Robert Walker en Riverside Drive (The Clock), el ballet "Dancing in the Dark" de Melodías de Broadway 1955 y el paseo de Glenn Ford e Ingrid Thulin por Versalles en Los cuatro jinetes del Apocalipsis son inolvidables momentos que les permiten a los protagonistas olvidarse del caos que les rodea...

Cautivos del mal, Dos semanas en otra ciudad, Melodías de Broadway 1955 y evidentemente El loco del pelo rojo mostraron la pasión de Minnelli por la creación artística y sus exigencias. Es posible por otra parte preguntarse si el propio Minnelli no se encuentra a mitad de camino entre Jeffrey Cordova, el brillante talento salido de Broadway (Melodías de Broadway 1955) y Jonathan Shields, el genial e implacable Pigmalión de Cautivos del mal de exigencias sin límite.

Para su dicha, Minnelli conoció las dos últimas décadas de esplendor de la Metro-Goldwyn-Mayer y del Hollywood de la gran época.

Brutalmente, la máquina parece desajustarse a partir de 1960. Dos semanas en otra ciudad se monta -por primera vez en la carrera de Minnelli- contra los deseos de sus autores y si El noviazgo del padre de Eddie lleva aún la marca del estilo de Minnelli y de la M.G.M., las películas que seguirán -olvidemos la mediocre Adiós, Charlie- no serán más que decepcionantes esbozos. Castillos en la arena, producida por Martin Ransohoff, productor interesante por lo demás, sufre de ciertas convenciones a la moda de la época y soñamos en lo que habría podido ser Vuelve a mi lado, de tema tan minnelliano, si se hubiese realizado veinte años antes en la M.G.M., bajo el mando de Arthur Freed, con Fred Astaire y Judy Garland, por ejemplo...

Si Nina, simbólicamente realizada por entero fuera de Hollywood, caso único en la carrera del cineasta, es una obra anacrónica con respecto a la producción de los años 70, el propio Minnelli está en las antípodas de estos nuevos autores que han invadido Hollywood, procedentes de la televisión o de la U.C.L.A. y, casi siempre, imbuidos de su persona (...)

F. W. Murnau pertenecía a las últimas horas del cine mudo hollywoodiense; Frank Borzage, Victor Fleming y Clarence Brown a la edad de oro, y Minnelli es uno de los símbolos de la perfección artística de Hollywood, uno de esos creadores a propósito de los cuales se puede citar a Oscar Wilde:

"La belleza reina por derecho divino.
Hace príncipe a cualquiera que la posea."
Patrick Brion, "Minnelli et la paradoxe de la M.G.M", en Patrick Brion, Dominique Rabourdin y Thierry de Navacelle, Minnelli, Ed. Hatier, París, 1985.


Ministerio de Cultura
Última edición por bluegardenia el Mar 12 Jul, 2005 00:23, editado 1 vez en total.

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Mensaje por bluegardenia » Mar 12 Jul, 2005 00:17

Cabin in the SkyCabaña en el cielo, Una.194398'

Dirigida por: Vincente Minnelli
Reparto: Ethel Waters (Petunia Jackson), Eddie 'Rochester' Anderson (Joseph 'Little Joe' Jackson), Lena Horne (Georgia Brown), Louis Armstrong (The Trumpeter), Rex Ingram (Lucifer Jr./Lucius Ferry)

Comentario:
Joe es un jugador profesional que se debate entre dos amores. En el suburbio en el que reside vive una bella mujer por la que se siente tentado. Mientras, su mujer sufre en silencio una existencia llena de desengaños.
Compartida en la web por papitu, ver enlace DXC. Versión DVDRip en DXC2.


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English

I Dood It1943102'

Dirigida por: Vincente Minnelli
Reparto: Red Skelton (Joseph 'Joe' Rivington Renolds), Eleanor Powell (Miss Constance 'Connie' Shaw), Richard Ainley (Larry West), Patricia Dane (Suretta Brenton), Sam Levene (Ed Jackson)

Comentario:
Constance Shaw es una estrella de la danza en Broadway, Joseph Rivington Reynolds es un entusiasta fan suyo.


IMDb
English

Meet Me in St. LouisCita en San Luis.1944'

Dirigida por: Vincente Minnelli
Reparto: Judy Garland .... Esther Smith
Margaret O'Brien.... Tootie' Smith
Mary Astor.... Mrs. Anna Smith
Lucille Bremer.... Rose Smith

Comentario:
Basada en un libro de Sally Benson. En 1903, Alonzo Smith, importante hombre de negocios, está felizmente casado con Anne. Viven en Saint Louis, en una bonita casa, con sus cuatro encantadoras hijas y su único hijo; la familia incluye a un caprichoso abuelo y a la doncella.
Coimpartida en la web, dual, por sosonok, ver enlace DXC.


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Subtítulos en español

Yolanda and the Thief1945108'

Dirigida por: Vincente Minnelli
Reparto: Fred Astaire (Johnny Parkson Riggs), Lucille Bremer (Yolanda Aquaviva), Frank Morgan (Victor Budlow Trout), Mildred Natwick (Aunt Amarilla), Mary Nash (Duenna)

Comentario:
Es una aventura que se desarrolla en un imaginario país sudamericano al que llega un jugador buscando alguna oportunidad. Una ingenua heredera será la presa de este astuto falsificador que se hace pasar por su ángel de la guarda. Sin embargo, no pensaba que sus sentimientos hacia ella cambiasen tan rápidamente.


IMDb | Culturalia
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The ClockReloj, El.1945'

Dirigida por:Vincente Minnelli
Reparto: Judy Garland .... Alice Mayberry
Robert Walker.... Cpl. Joe Allen
James Gleason.... Al Henry

Comentario:
Una chica conoce a un soldado en la Estación Central de Nueva York. El joven tiene un permiso de 24 horas, tiempo suficiente para enamorar a la muchacha y casarse con ella.


IMDb | Culturalia

Ziegfeld Follies1946110'

Dirigida por: Lemuel Ayers, Roy Del Ruth
Reparto: Fred Astaire (Fred Astaire/Raffles/Tai Long/Gentleman in 'The Babbit and the Bromide'), Lucille Ball (Specialty), Lucille Bremer (Princess/Moy Ling), Fanny Brice (Norma), Judy Garland (Specialty)

Comentario:
Florenz Ziegfeld ya muerto y desde el cielo mira hacia abajo para intentar organizar un espectáculo a la antigua usanza, una revista de aquellas que le dieron fama.


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Subtítulos en español
English

UndercurrentCorrientes ocultas.1946'

Dirigida por: Vincente Minnelli
Reparto. Katharine Hepburn .... Ann Hamilton
Robert Taylor.... Alan Garroway
Robert Mitchum.... Michael Garroway

Comentario:
Una mujer decide casarse con un hombre de negocios del que se encuentra totalmente enamorada. Tras la ceremonia, ella comienza a sospechar del oscuro pasado de su esposo, un hombre perverso y lleno de maldad. La misteriosa desaparición del hermano de su marido será el punto de partida de una larga investigación.


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Till the Clouds Roll byHasta que las nubes pasen.1947132'

Dirigida por: Richard Whorf
Reparto: June Allyson (Jane in 'Leave it to Jane'/Specialty), Lucille Bremer (Sally Hessler), Judy Garland (Marilyn Miller), Kathryn Grayson (Magnolia in 'Show Boat'/Specialty), Van Heflin (James I. Hessler)

Comentario:
Biografía del compositor Jerome Kern a través de una serie de números musicales en los que actúan grandes estrellas de la época, incluyendo Frank Sinatra o Cyd Charisse. Entre los números más impresionantes cabe destacar How D’Ya Like To Spoon With Me?, interpretado por Angela Lansbury. Minnelli estuvo al cargo de los números musicales.
Compartida en la web por kioto, ver enlace DXC.


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The PirateEl Pirata194897'

Dirigida por:Vincente Minnelli
Reparto. Judy Garland.... Manuela
Gene Kelly.... Serafin
Walter Slezak.... Don Pedro Vargas

Comentario:
Una joven caribeña sueña con las proezas de un legendario pirata. Con el fin de conquistarla, un trovador errante asume la identidad del bandido. Divert5ido, por momento, musical con la pareja Garland&Kelly


IMDb | Culturalia
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Madame BovaryMadame Bovary.1949120'

Dirigida por: Vincente Minnelli
Reparto: Jennifer Jones.... Emma Bovary
James Mason.... Gustave Flaubert
Van Heflin.... Charles Bovary

Comentario:
Basada en la novela del francés Gustave Flaubert, el filme es una crítica de los falsos valores de la burguesía rural francesa del siglo XIX. Fiel al espíritu de la obra, Minnelli introdujo un prólogo y un epílogo en el que el propio escritor, interpretado por James Mason, se convertía en el narrador de la historia.
Compartida por thelion, ver enlace DXC.


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Father of the BrideEl Padre de la Novia1950100'

Dirigida por: Vincente Minnelli
Reparto: Spencer Tracy.... Stanley T. Banks
Joan Bennett.... Ellie Banks
Elizabeth Taylor.... Kay Banks

Comentario:
Los preparativos de la boda de su única hija son la causa de los innumerables quebraderos de cabeza que sufren los protagonistas de esta sofisticada comedia de enredos en la que el padre de la novia ejerce de simpático narrador.
Compartida en la web por bizien, ver enlace DXC. Noelia comparte un satrip dual en avi.


IMDb | Culturalia | DXC1 | DXC2
ed2k linkEl padre de la novia (1950) (Dual) by Noelia (Divxclasico).avi ed2k link stats


ed2k linkCVD.El.padre.de.la.novia.(1950).satrip.by.bzn.mpg ed2k link stats

An American in ParisUn Americano en París1951113'

Dirigida por: Vincente Minnelli
Reparto: Gene Kelly .... Jerry Mulligan
Leslie Caron.... Lise Bouvier
Oscar Levant.... Adam Cook

Comentario:
Un artista americano que vive en París reparte su corazón entre una mujer adinerada y una pobre huérfana. Uno de los mitos del musical y una reconstrucción parisina en base a estilizados decorados.
Compartida en la web por Cal2_de_Sal2, dvdrip dual, también VHS, por aashbrrkktov, ver enlaces DXC


IMDb | Culturalia | DXC1 |DXC2
ed2k linkUn.Americano.en.Paris.(1951).(DVDRip.Dual DivX.5.0.5).avi ed2k link stats
Subtítulos en español

Father's Little DividendPadre es abuelo, El.195182'

Dirigida por: Vincente Minnelli
Reparto: Spencer Tracy (Stanley Banks), Joan Bennett (Ellie Banks), Elizabeth Taylor (Kay 'Kitten' Dunstan), Don Taylor (Buckley Dunstan), Billie Burke (Doris Dunstan)

Comentario:
Stanley Banks, una vez que ha casado a su hija Kay con Buckley Dunstan, se siente feliz, pues con esta boda acaricia la idea de sentirse libre. Los días transcurren con tranquilidad hasta que llega la noticia de que va a ser abuelo. Esto provoca la rivalidad entre las dos familias.
Compartida por rotondas dvdrip dual, también cvd por bizien, ver enlaces DXC.


IMDb | Culturalia | DXC1 | DXC2
ed2k linkEl.padre.es.abuelo(DVDrip5.1.1_Dual)Rotondas.ogm ed2k link stats


ed2k linkCVD.El.Padre.Ya.Es.Abuelo.(1951).DVDrip.by.bzn.mpg ed2k link stats
English

The Bad and the BeautifulCautivos del mal.1952'

Dirigida por: Vincente Minnelli
Reparto. Lana Turner.... Georgia Lorrison
Kirk Douglas.... Jonathan Shields
Walter Pidgeon.... Harry Pebbel

Comentario:
Un productor de Hollywood sin escrúpulos trata de alcanzar el éxito sin reparar en las personas a las que traiciona o engaña. Actores, directores y otros colaboradores que trabajaron con él narran la experiencia vivida junto al desalmado creador de la industria cinematográfica. Una acertada elección de actores para un excelente drama de perfecta construcción.
Compartida en la web por Paris en dvdrip VOSE y audio español sincro. por Boo R., TVrip por tylerdurden; ver enlaces DXC.


IMDb | Culturalia | DXC1 | DXC2 | DXC3
ed2k linkThe Bad and the Beautiful DVDrip Divx5 CD1.avi ed2k link stats
ed2k linkThe Bad And The Beautiful Dvdrip Divx5 Cd2.avi ed2k link stats
Subtítulos en español
ed2k linkAudio sincronizado.para.Cautivos.del.mal(divxclasico.com).rar ed2k link stats

The Band WagonMelodías de Broadway.1953112'

Dirigida por: Vincente Minnelli
Reparto: Fred Astaire .... Tony Hunter
Cyd Charisse.... Gabrielle Gerard
Oscar Levant.... Lester Marton

Comentario:
Una bailarina de mediana edad es convencida por sus amigos para que vuelva a trabajar en un musical que ellos han creado. Una de las cumbres del musical años cincuenta con la irrepetible pareja de Charysse&Astaire.



IMDb | Culturalia | FH | DXC1 | DXC2
ed2k linkThe Band Wagon (1953) English+comm. (dvdac3-xvid1.1-corbi).avi ed2k link stats
ed2k linkVincente Minnelli - The Band Wagon (1953) English mono 192Kbps DELAY -8ms.ac3 ed2k link stats
ed2k linkThe Band Wagon (1953) Spanish mono 192Kbps DELAY -8ms.ac3 ed2k link stats
Subtítulos en español


ed2k linkmelodias.de.Broadway.(1953),.de.Minelli,.tvrip.by.bzn.cvcd.mpg ed2k link stats

The Story of Three LovesHistoria de Tres Amores1953122'

Dirigida por: Vincente Minnelli, Gottfried Reinhardt
Reparto: Pier Angeli (Nina Burkhardt (segment "Equilibrium")), Ethel Barrymore (Mrs. Hazel Pennicott (segment "Mademoiselle")), Leslie Caron (Mademoiselle (segment "Mademoiselle")), Kirk Douglas (Pierre Narval (segment "Equilibrium")), Farley Granger (Thomas Clayton Campbell Jr. (segment "Mademoiselle"))

Comentario:
Filme construído en sketches de los que Minnelli se encarga del titulado "Mademoiselle"


IMDb
English

BrigadoonBrigadoon.1954'

Dirigida por: Vincente Minnelli
Reparto: Gene Kelly .... Tommy Albright
Van Johnson.... Jeff Douglas
Cyd Charisse.... Fiona Campbell

Comentario:
Brigadoon es una pequeña aldea escocesa, sometida a un encantamiento. Durante un siglo, la ciudad permanece dormida, y una vez cada cien años, tan sólo por un día, recobra la vida. De esta forma, se preserva de la corrupción y maldad exterior, manteniedo su encanto y armonía original. Dos americanos, Tommy Albright y Jeff Douglas, llegan a Brigadoon.
Información en la web por xanios, audio por Boo R., ver enlaces DXC. TVrip de bizien. DVDRip Dual por Koprotkin en DXC4.


IMDb | Culturalia | DXC1 | DXC2 | DXC3 | DXC4
ed2k linkBrigadoon DVDRip Dual Spanish English.avi ed2k link stats
ed2k linkBrigadoon subtítulos en castellano.rar ed2k link stats
ed2k linkBrigadoon escenas suprimidas.avi ed2k link stats


ed2k linkBrigadoon (1954 - widescreen) directed by Vincente Minnelli featuring Gene Kelly, Van Johnson, Cyd Charisse and Elaine Stewart (english).avi ed2k link stats
Subtítulos en español
ed2k linkAudio Sincronizado Para Brigadoon-V Minnelli.mp3 ed2k link stats

The Long, Long TrailerUn Remolque larguísimo1954103'

Dirigida por: Vincente Minnelli
Reparto: Lucille Ball (Tacy Bolton - Collini), Desi Arnaz (Nicholas 'Nicky' Collini), Marjorie Main (Mrs. Hittaway), Keenan Wynn (Policeman), Gladys Hurlbut (Mrs. Bolton)

Comentario:
Nicky and Tacy son dos recién casados, uno emperrado en ahorrar para una casa y otra soñadora y más desprendida. la convivencia en una caravana no será sencilla.


IMDb | DXC
ed2k linkUn.remolque.larguisimo.VHSRip.Divx.by.ancademi.avi ed2k link stats
(No respeta el formato original CinemaScope)
English

The CobwebLa Tela de Araña1955'

Dirigida por: Vincente Minnelli
Reparto. Richard Widmark.... Dr. Stewart McIver
Lauren Bacall.... Meg Faversen Rinehart
Charles Boyer.... Dr. Douglas N. Devanal

Comentario:
Una institucón mental en la que las diferencias entre los internos y los encargados en ocasiones no son apreciables, sin duda como reflejo y extensión de la vida en el exterior.
Información por cirlot en FH, ver enlace.


IMDb | FH | DXC
ed2k linkLa.tela.de.araña.VHSRip.Divx.by.ancademi.avi ed2k link stats
(No respeta el formato original CinemaScope)

[/size]
Última edición por bluegardenia el Sab 10 Feb, 2007 20:28, editado 11 veces en total.

Avatar de Usuario
bluegardenia
Mensajes: 6128
Registrado: Sab 11 Oct, 2003 02:00
Ubicación: El Páramo del Espanto

Mensaje por bluegardenia » Mar 12 Jul, 2005 00:18

KismetExtraño en el paraíso.1955113'

Dirigida por: Vincente Minnelli
Reparto: Howard Keel .... The Poet
Ann Blyth .... Marsinah
Dolores Gray.... Lalume

Comentario:
Un califa decide vivir de incógnito entre los habitantes de su reino para saber lo que piensan realmente. Así conoce a una joven de la que se enamora. Pero las diferencias sociales hacen que éste dude en desvelar su verdadera identidad.

Compartida por el compñaero thelion, ver enlace DXC.


IMDb | Culturalia | DXC
ed2k linkkismet.avi ed2k link stats

Tea and SympathyTé y Simpatía1956122'

Dirigida por: Vincente Minnelli
Reparto: Deborah Kerr.... Laura Reynolds
John Kerr .... Tom Robinson Lee
Leif Erickson.... Bill Reynolds

Comentario:
La "escandalosa" relación (para los parámetros de los tempranos cincuentas) de un estudiante con una mujer adulta podría parecer ridícula en nuestros días si no mediaran tres interpretaciones admirables, de las que hoy ya no se consiguen.


IMDb | DXC
ed2k linkTe y Simpatia(Vincent Minnelli-1956).SatRip.Xvid.mp3.Español.avi ed2k link stats

Lust for LifeLoco del pelo rojo, El.1956122'

Dirigida por: Vincente Minnelli
Reparto: Kirk Douglas .... Vincent Van Gogh
Anthony Quinn.... Paul Gauguin
James Donald.... Theo Van Gogh

Comentario:
Brillante adaptación de la biografía del famoso pintor impresionista, Vincent Van Gogh, que retrata su atormentada vida y su particular infierno a partir de su obra como reflejo de sus ansiedades, experiencias, fracasos, soledades y búsquedas personales que le llevaron finalmente a la locura.
Compartida en la web por gelus, otra versión en Fileheaven, ver enlaces.


IMDb | Culturalia | DXC | FH | DXC DVDRip
ed2k linkLust.for.Life.1956.DVDRip.XviD-SAPHiRE.avi ed2k link stats
ed2k linkLust for Life - Audio en Esp.mp3 ed2k link stats
Subtítulos en español


ed2k linkEl.Loco.del.Pelo.Rojo.(1956).(Kirk.Douglas).VHSRip.by_gelus.avi ed2k link stats


ed2k linkLust For Life (Vincent Minnelli,1956) CD1.avi ed2k link stats
ed2k linkLust For Life (Vincent Minnelli,1956) CD2.avi ed2k link stats

Designing WomanMi desconfiada esposa.1957120'

Dirigida por: Vincente Minnelli
Reparto: Gregory Peck .... Mike Hagen
Lauren Bacall.... Marilla Brown Hagen
Dolores Gray.... Lori Shannon

Comentario:
Un flechazo es el culpable de que un testarudo escritor de deportes y una sofisticada diseñadora de moda se casen al poco tiempo de conocerse. Los problemas y desavenencias matrimoniales no tardan en aparecer debido a las diferencias existentes entre ambos mundos.
TVrip por bizien, ver enlace.


IMDb | Culturalia | DXC
ed2k linkmi.desconfiada.esposa.tvrip.by.bzn.vcd.1.de.2.mpg ed2k link stats
ed2k linkmi.desconfiada.esposa.tvrip.by.bzn.vcd.2.de.2.mpg ed2k link stats


ed2k linkDesigning Woman- Minnelli Vicente (1957) vost.avi ed2k link stats VOSFracés

Some Came RunningComo un torrente.1958137'

Dirigida por: Vincente Minnelli
Reparto: Frank Sinatra (Dave Hirsh), Dean Martin (Bama Dillert (professional gambler)), Shirley MacLaine (Ginny Moorhead), Martha Hyer (Gwen French (schoolteacher)), Arthur Kennedy (Frank Hirsh)

Comentario:
Tras dieciséis años de ausencia, un veterano de la II Guerra Mundial regresa a su ciudad natal acompañado de una prostituta. Allí entablará relaciones con un jugador profesional alcohólico y con una chica de provincias.
VHSrip dual compartido por cricri, DVDBrip en VO por doctor virgin en FH que importó francomapa a la web, ver enlaces DXC.


IMDb | Culturalia | DXC1 | DXC2
ed2k linkComo.un.torrente.(1958.V..Minnelli).(DVBrip.+.VHSrip) (Dual).avi ed2k link stats


ed2k linkSome.Came.Running.(1958).MBCD2000-DVBRiP-XViD.avi ed2k link stats
VO
English

GigiGigi.1958119'

Dirigida por: Vincente Minnelli
Reparto: Leslie Caron .... Gigi
Maurice Chevalier.... Honore Lachaille
Louis Jourdan.... Gaston Lachaille

Comentario:
Una chica francesa, hija ilegítima, es adiestrada por su tía y su abuela para ser la amante de un acaudalado magnate. Ella conoce su misión, pero de momento prefiere seguirse comportando como una divertida señorita.
Información en la web por chonclitos . Dual por Cal2_de_Sal2, ver enlace DXC.


IMDb | Culturalia | DXC1 | DXC2
ed2k linkGigi.(1958).(DVDRip.Dual).(by.Cal2.de.Sal2).avi ed2k link stats
Subtítulos en español


ed2k linkGigi.(esp.eng).(DVDrip).(Divx502).(x.arkania.org).cd1.avi ed2k link stats
ed2k linkGigi.(esp.eng).(DVDrip).(Divx502).(x.arkania.org).cd2.avi ed2k link stats

The Reluctant DebutanteMamá nos complica la Vida195894'

Dirigida por: Vincente Minnelli
Reparto: Rex Harrison (Jimmy Broadbent), Kay Kendall (Sheila Broadbent), John Saxon (David Parkson), Sandra Dee (Jane Broadbent), Angela Lansbury (Mabel Claremont)

Comentario:
Jimmy quiere que su hija debute en la alta sociedad londinense para que pueda conocer jóvenes solteros y ricos. Pero Jane encuentra estos círculos demasiado aburridos y, para el horror de sus padres, empieza a salir con el batería de un grupo de rock.


IMDb | DXC2
ed2k linkMamá nos complica la vida 1958 Shadow10.avi ed2k link stats
(No respeta el formato original CinemaScope)
English

Home from the HillCon él llegó el escándalo.1960150'

Dirigida por: Vincente Minnelli
Reparto: Robert Mitchum (Capt. Wade Hunnicutt), Eleanor Parker (Hannah Hunnicutt), George Peppard (Raphael 'Rafe' Copley), George Hamilton (Theron Hunnicutt), Everett Sloane (Albert Halstead)

Comentario:
Un terrateniente de Texas, aficionado a las mujeres y a la caza, convive con sus dos hijos y su mujer, que no le perdona su actitud.
Compartida en la web por francomapa, ver enlace DXC.


IMDb | Culturalia | DXC
ed2k linkCon.el.llego.el.escandalo.(francomapa-divxclasico).avi ed2k link statsEnglish

Bells Are RingingSuena el Teléfono1960127'

Dirigida por: Vincente Minnelli
Reparto: Judy Holliday .... Ella Peterson
Dean Martin.... Jeffrey Moss
Fred Clark.... Larry Hastings

Comentario:
“El tema de Bells Are Ringing es la manera en que la realidad puede transformarse mediante unos gestos, intervenciones, detalles, cómo puede así adoptar los colores del sueño” (Patrick Brion)


IMDb | DXC
ed2k linkSuena.el.telefono.VHSRip.XviD.mp3.by.ancademi.avi ed2k link stats

Four Horsemen of the ApocalypseCuatro jinetes del Apocalipsis, Los.1961153'

Dirigida por: Vincente Minnelli
Reparto: Glenn Ford .... Julio Desnoyers
Ingrid Thulin.... Marguerite Laurier
Charles Boyer.... Marcelo Desnoyer

Comentario:
Adaptación de la novela homónima de Vicente Blasco Ibáñez. Debido a sus diferencias políticas, dos familias emparentadas, los Desnoyers y los Von Hartrott se enfrentan.Tras la muerte del patriarca, Julio Madariaga, los Hartrott se marchan a Alemania y los Desnoyers a Francia. Ambas familias terminan combatiendo en bandos opuestos.
Compartida en la web por lang VOSE, y por ercole en VO, ver enlaces DXC.


IMDb | Culturalia | DXC1 | DXC2
ed2k linkLos.cuatro.jinetes.del.apocalipsis.satrip.divxclasico.avi ed2k link stats

Two Weeks in Another TownDos semanas en otra ciudad.1962107'

Dirigida por: Vincente Minnelli
Reparto: Kirk Douglas .... Jack Andrus
Edward G. Robinson.... Maurice Kruger
Cyd Charisse.... Carlotta

Comentario:
Una estrella de cine arruinada, que ha pasado tres años en un sanatorio de Nueva Inglaterra, acepta un pequeño papel en una película que va a rodarse en Roma. Repentinamente, tiene que hacerse cargo de dirigir el proyecto ya que el director sufre un ataque cardíaco.


IMDb | Culturalia | DXC
ed2k linkDos.semanas.en.otra.ciudad.1962.Vhsrip.Spanish.avi ed2k link stats

The Courtship of Eddie's FatherNoviazgo del padre de Edie, El.1963118'

Dirigida por: Vincente Minnelli
Reparto: Glenn Ford .... Tom Corbett
Shirley Jones.... Elizabeth Marten
Stella Stevens.... Dollye Daly

Comentario:
Un niño de seis años está harto de que su padre siga viudo y sin compromiso. Decidido a solucionar el problema, el joven Eddie prepara citas para su padre y supervisa la selección de la posible candidata.
Compartida por trila en FH, Información en la web por xaniox, ver enlaces DXC.


IMDb | Culturalia | DXC1 | DXC2
ed2k linkThe Courtship of Eddie's Father 1963GrandDVD-RiPXviD.cd1.avi ed2k link stats
ed2k linkThe Courtship of Eddie's Father 1963GrandDVD-RiPXviD.cd2.avi ed2k link stats
ed2k linkThe Courtship of Eddie's Father 1963GrandDVD-RiPXviD.rar ed2k link stats
ed2k linkAudio Sincronizado El Noviazgo Del Padre de Eddie.mp3 ed2k link stats

Goodbye CharlieAdiós Charlie1964116'

Dirigida por: Vincente Minnelli
Reparto: Tony Curtis .... George Wellington Tracy
Debbie Reynolds.... The Reincarnated Charlie Sorel/Virginia Mason
Pat Boone.... Bruce Minton, the 3rd

Comentario:
“Las últimas películas de los grandes directores son a menudo severamente juzgadas. Minnelli no escapa a la regla: sus últimas películas, a menudo desdeñadas, son de una impresionante gravedad. Goodbye Charlie no es una obra maestra, pero una vez aceptada la debilidad de la historia y la pobreza del guión, se encuentra fácilmente cierta riqueza en la habilidad de la puesta en escena” (Thierry de Navacelle).


IMDb

The SandpiperCastillos de arena.1965117'

Dirigida por: Vincente Minnelli
Reparto: Elizabeth Taylor.... Laura Reynolds
Richard Burton.... Dr. Edward Hewitt
Eva Marie Saint.... Claire Hewitt

Comentario:
Laura Reynolds es una pintora de gran talento y muy inconformista: no ha querido casarse con el padre de su hijo y no desea someterse a las reglas morales imperantes en la sociedad. Junto a su hijo de nueve años, Danny, vive en la costa de California. El pequeño es detenido por matar a un animal y, como anteriormente ya había cometido otros delitos menores, el juez exige que sea internado en un colegio.
Compartida por Luppissimo en FH, información en la web por francomapa, ver enlace DXC.


IMDb | DXC
ed2k linkThe.Sandpiper.1965.DVDRip.XviD-FRAGMENT.avi ed2k link stats
ed2k linkThe.Sandpiper.1965.DVDRip.XviD-FRAGMENT.Spanish.srt ed2k link stats
ed2k linkThe.Sandpiper.1965.DVDRip.XviD-FRAGMENT.English.srt ed2k link stats

On a Clear Day You Can See ForeverVuelve a mi Lado1970129'

Dirigida por: Vincente Minnelli
Reparto: Barbra Streisand (Daisy Gamble), Yves Montand (Dr. Marc Chabot), Bob Newhart (Dr. Mason Hume), Larry Blyden (Warren Pratt), Simon Oakland (Dr. Conrad Fuller)

Comentario:
Daisy Gamble es una mujer un tanto peculiar. Es capaz de predecir cosas tan pueriles como llamadas telefónicas o hacer resucitar flores marchitas. Tiene un pequeño vicio que molesta a su novio Warren, es una empedernida fumadora. Ella acude a un doctor para dejar de furmar, que la hipnotizará. Daisy experimentará una hipnosis regresiva y vivirá diversas personalidades en diferentes épocas.


IMDb | Culturalia
English

The Men who made the Movies, V. MinnelliLos hombres que hacían películas, V. Minnelli197357'

Dirigida por: Richard Schickel
Reparto: Judy Garland .... Herself (archive footage)
Liza Minnelli.... Herself

Comentario:
Documental para televisión, parte de una serie dedicada a los grandes cineastas del periodo del Hollywood clásico, siete en concreto, que recoge comentarios y metraje de archivo del trabajo de Minnelli.
Infomración de la serie y del capítulo de Minnelli en Fileheaven, ver enlace FH.


IMDb | FH
ed2k linkThe Men Who Made the Movies-Vincente.Minnelli.(1973).avi ed2k link stats
Subtítulos en español

A Matter of TimeNina197697'

Dirigida por: Vincente Minnelli
Reparto: Ingrid Bergman .... Countess Sanziani
Liza Minnelli.... Nina
Charles Boyer.... Count Sanziani

Comentario:
Una campesina llega a Roma y consigue trabajo de sirvienta en un hotel de poca categoría. En el mismo hotel vive una aristócrata senil y también venida a menos a la que se conoce como la condesa, que pronto siente interés por la muchacha, a la que convence para que se corte el pelo y se vista con mayor elegancia.


IMDb
[/size]
Última edición por bluegardenia el Sab 10 Feb, 2007 20:29, editado 12 veces en total.

Avatar de Usuario
bluegardenia
Mensajes: 6128
Registrado: Sab 11 Oct, 2003 02:00
Ubicación: El Páramo del Espanto

Mensaje por bluegardenia » Mar 12 Jul, 2005 00:28

Hay alguna película que a pesar de estar publicada en la web se ha quedado sin fuentes, a ver si alguien se naima a reponerlas, una era El noviazgo del padre de Eddie y la otra un ogm de Gigi.
Cualquier información del bueno, del muy bueno, de Minnelli tendrá hueco por aquí.
Hata otra :wink:
Cuadruplico y voy a por más

Avatar de Usuario
xaniox
Mensajes: 2311
Registrado: Vie 02 Ago, 2002 02:00
Ubicación: Sevilla

Mensaje por xaniox » Mar 12 Jul, 2005 00:36

:plas: :plas: :plas:

Enhorabuena blue. Para ser tu primera filmo no ha quedao del todo mal :mrgreen:
bluegardenia disimuladamente escribió:The.Courtship.of.Eddie's.Father.1963.DVDRip.DivX_.avi
Subtítulos en español
Otra que está tiesa de fuentes pero que se podría reponer, ¿eh, pendejo?
Pues sólo tienes que avisar y se repone. Pasó sin pena ni gloria aquí y en FH.

Me he dado cuenta que la url de los subtítulos está mal. Es la antigua que se usaba en extratitles y que cambiaron hace tiempo. La que vale es ésta:

Subtítulos en español

Salu2 y gracias por la filmo :wink:

Koprotkin
Mensajes: 709
Registrado: Sab 13 Nov, 2004 01:00
Ubicación: Barcelona

Mensaje por Koprotkin » Mar 12 Jul, 2005 06:54

Muy buena filmo. :plas: :plas: :plas:

Debo confesar que la tenia en mente para despues del verano asi que me alegro doblemente por el curro que me ahorro. :mrgreen:

Hay un monton de fuentes para "The Band wagon":

ed2k linkThe Band Wagon - Minnelli Vicente (1953) vost.avi ed2k link stats

Pero pasa algo raro con este archivo. Al principio va muy rapido, en apenas 12 horas llegas a los 856 mb pero de ahi no pasas. Ni tu ni nadie ya que solo hay una fuente completa que por lo visto no reparte ni un misero mega y tampoco responde a los mensajes. La imagen es buena pero es una verison con los subtitulos en frances e incrustados. Yo la cancele ante la imposibilidad de completarla.

Gracias por la filmo Bluegardenia.

Avatar de Usuario
bluegardenia
Mensajes: 6128
Registrado: Sab 11 Oct, 2003 02:00
Ubicación: El Páramo del Espanto

Mensaje por bluegardenia » Mar 12 Jul, 2005 14:55

xaniox escribió: Me he dado cuenta que la url de los subtítulos está mal. Es la antigua que se usaba en extratitles y que cambiaron hace tiempo. La que vale es ésta:
Subtítulos en español
Corregido :)

dukeman27
Mensajes: 176
Registrado: Jue 25 Sep, 2003 02:00

Mensaje por dukeman27 » Mar 12 Jul, 2005 15:28

Hola, enhorabuena por la filmografía;la verdad es que Minelli se lo merece, que gran cantidad de buenas peliculas filmó el amigo, y no solo dentro del genero musical.

Yo me apunto a El noviazgo del padre de Eddie,he intentado bajarla varias veces pero sin éxito.

Saludos

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sanpesan
Mensajes: 2776
Registrado: Mié 02 Oct, 2002 02:00
Ubicación: Qué mas da

Mensaje por sanpesan » Mar 12 Jul, 2005 15:31

Bah, otra filmografía de un directorcete desconocido. Qué perdida de tiempo... :roll: :mrgreen:

PD: Cartel original de "A matter of time" (está algo chuchurría, pero igual quieres cambiar esa foto de la Minelli photoshopeada que has puesto... :twisted:):
Imagen

Saludos y gracias por compartir.

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bluegardenia
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Ubicación: El Páramo del Espanto

Mensaje por bluegardenia » Mié 13 Jul, 2005 23:01

Ya ví ese cartel de Nina pero como que no, sanpe, donde esté un buen fotochop :mrgreen:
Sobre The Band Wagon, repito que es una pena que no llegase el archivo a la red ed2k, tengo pensado comprarlo, R1, porque los análisis la ponen todos como una edición magnífica, pero no por ahora porque no es barato que digamos.
Unas "reviews":
DVDBeaver
DVDTalk

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duby
Mensajes: 1501
Registrado: Mié 04 Feb, 2004 01:00

Mensaje por duby » Jue 14 Jul, 2005 10:31

bluegardenia escribió: Sobre The Band Wagon, repito que es una pena que no llegase el archivo a la red ed2k, tengo pensado comprarlo, R1, porque los análisis la ponen todos como una edición magnífica, pero no por ahora porque no es barato que digamos.
Unas "reviews":
DVDBeaver
DVDTalk
Hola,

En zona 2 ha salido ya el DVD. Al menos los extras son los mismos que en la edición de zona 1. No he visto por ahi ninguna review ni nada, pero estaré al tanto. También es una edición especial con discos y tiene la misma pinta. (Creo que debe ser la misma). Está a 18 euros en el FNAC.

Y hablando de otra cosa, recuerdo un texto de Cabrera Infante en "Arcadia todas las noches" titulado ¿Cómo ver una película de Vicente Minnelli? que era muy gracioso y si alguien tuviese escaner podría colgarlo por aquí. Es que era muy bueno. :roll: :D

Gracias por la filmo Blue :plas: :plas: :plas:

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bluegardenia
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Mensaje por bluegardenia » Jue 14 Jul, 2005 11:31

Me da en la nariz que el segundo disco ha llegado a zona2 aligerado de peso respecto al de zona1 :roll: ; tal vez lleven subtítulos porque el segundo disco r1 no lleva ningún extra subtitulado.
Intentaré darle un vistazo, gracias duby :wink:
Cuadruplico y voy a por más

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cricri
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Mensaje por cricri » Jue 14 Jul, 2005 13:06

Hola.

De Gigi también hay este dual que me bajé en su momento:

viewtopic.php?t=20970
Recomiendo tener, por propia experiencia, las tres últimas versiones de VirtualDubMod. Lo que no hace una bien lo hace la otra.8)

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bluegardenia
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Mensaje por bluegardenia » Jue 14 Jul, 2005 19:21

cricri escribió:Hola.

De Gigi también hay este dual que me bajé en su momento:

viewtopic.php?t=20970
Muchas gracias cricri, se me había pasado por completo, aproveché para subir los subtítulos a extratitles :wink:

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bluegardenia
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Mensaje por bluegardenia » Sab 16 Jul, 2005 14:48

*Actualizada* 16-7-2005
Papitu acaba de poner a compartir la primera película de Minnelli Cabin in the Sky Habrá que bajarla.
Gracias :)

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xaniox
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Mensaje por xaniox » Sab 16 Jul, 2005 17:01

[html]Pues trila acaba de publicar en Fileheaven un nuevo ripeo para El noviazgo del padre de Eddie...
trila escribió:New links :

ed2k linkThe Courtship of Eddie's Father 1963GrandDVD-RiPXviD.cd1.avi ed2k link stats

ed2k linkThe Courtship of Eddie's Father 1963GrandDVD-RiPXviD.cd2.avi ed2k link stats

ed2k linkThe Courtship of Eddie's Father 1963GrandDVD-RiPXviD.rar ed2k link stats
(english, french, spanish)

<table width="350"><tr><td>Name.........: The Courtship of Eddie's Father 1963GrandDVD-RiPXviD.cd1.avi
Filesize.....: 699 MB (or 716,384 KB or 733,577,216 bytes)
Runtime......: 00:59:59 (86,301 fr)
Video Codec..: XviD
Video Bitrate: 1434 kb/s
Audio Codec..: ac3 (0x2000) Dolby Laboratories, Inc
Audio Bitrate: 192 kb/s, monophonic CBR
Frame Size...: 640x272 (2.35:1) [=40:17]

Name.........: The Courtship of Eddie's Father 1963GrandDVD-RiPXviD.cd2.avi
Filesize.....: 698 MB (or 714,944 KB or 732,102,656 bytes)
Runtime......: 00:58:25 (84,039 fr)
Video Codec..: XviD
Video Bitrate: 1474 kb/s
Audio Codec..: ac3 (0x2000) Dolby Laboratories, Inc
Audio Bitrate: 192 kb/s, monophonic CBR
Frame Size...: 640x272 (2.35:1) [=40:17]

</td></tr></table>
Al final me libraré de tener que buscar mi CD... :mrgreen: :wink:

Salu2[/html]

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bluegardenia
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Mensaje por bluegardenia » Sab 16 Jul, 2005 17:08

xaniox escribió:Al final me libraré de tener que buscar mi CD... :mrgreen: :wink:
Salu2
Vago :twisted:

cdlvcdlv
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Mensaje por cdlvcdlv » Lun 08 Ago, 2005 21:54

Lástima que la VO de «Mi desconfiada esposa» tenga los subtítulos incrustados. La echaron hace unos meses en TCM, creo.

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duby
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Mensaje por duby » Dom 18 Sep, 2005 12:10

bluegardenia escribió:tal vez lleven subtítulos porque el segundo disco r1 no lleva ningún extra subtitulado.
Hola,

Excepto la cadena de comentarios creo que el resto si viene subtitulado.

He extraído los subs para el documental: The Men Who Made the Movies: Vincente Minnelli (1973). Y los he sincronizado para la copia de la filmo.
El DVD trae subs en otros idiomas que iré extrayendo (y sincronizando) poco a poco.
El documental es muy interresante. No había muchas fuentes y ha costado que bajará, pero ahora lo tengo en PS Lanzamiento. Así que si os interesa no os lo penséis mucho. :D

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