Aquí os dejo (tal cual) un e-link que apareció ayer en FH cortesía de scylla. El video es dual con la cadena de audio original en inglés y otra cadena con los comentarios del director, Peter Bogdanovich.
scylla también se acordó de nosotros y ha extraído la cadena de audio en español con lo que se puede fabricar un curioso dual (o incluso trial, jeje)
Los subs en español vienen tanto como para la película como para los comentarios:
scylla escribió:<table align="center" width="640" cellspacing="5" cellpadding="5"><tr><td align="center">Poster:
Links:
IMDb
All Movie Guide
Senses of Cinema
DVD Savant
DVDBeaver
Eccentric Cinema
HorrorDVDs
Audio revolution
The Cinema Laser
Cinefania (in Spanish)
Crime Library
The Biography Project
(Various documents,
including the letters
Charles Whitman wrote
after killing his mother and wife)
Movie-info:
Runtime: 90 min
Country: USA
Language: English
Color: Color (Pathécolor)
Sound Mix: Mono
Cinematographic process: Spherical
Printed film format: 35 mm
Aspect ratio: 1.85:1
Directed by Peter Bogdanovich
Frank Marshall (assistant to director)
Writing credits:
Polly Platt (story) and
Peter Bogdanovich (story)
Samuel Fuller (co-screenwriter) uncredited
Cast:
Tim O'Kelly .... Bobby Thompson
Boris Karloff .... Byron Orlok
Arthur Peterson .... Ed Loughlin
Monte Landis .... Marshall Smith (as Monty Landis)
Nancy Hsueh .... Jenny, Orlock's Secretary
Peter Bogdanovich .... Sammy Michaels, Director
Tagline:
"I just killed my wife and my mother. I know they'll get me. But before that, many more will die..."
Introduction:
As the 60's became the 70's, horror shifted from the screen and into reality. Screen villains like Dracula and Frankenstein were replaced in the public eye by real-life killers like Lee Harvey Oswald and Martin Luther King assassin James Earl Ray. Boris Karloff, one of the most prolific screen villains, dealt self-consciously with this cultural shift in film geek auteur Peter Bogdanovich's first film, Targets. Made on a shoe string budget for Roger Corman, this came and went without notice upon its release in 1968, but over the years it has gained a notable following.
The Story:
After observing a personal screening for his dismal new film, Byron Orlok (Boris Karloff in his final role) declares his intentions to retire from acting. Pointing out the headline "Six Shot Dead in Grocery Store," Orlok observes that the real horror lies no longer in his films, but within everyday reality. A diligent and aspiring filmmaker (Bogdanovich himself) tries to convince Orlok otherwise, but his mind seems entirely made up. Orlok agrees to make his final farewell at a drive-in theatre, where he will make a speech after a screening of his movie, The Terror.
In a story thread seemingly apart from Orlok's, an everyday suburbanite Bobby Thompson (Tim O'Kelly) is shopping for a rifle to take hunting with his father. Bobby lives an average mundane life, cookie cut with the perfect working wife, and a solid family unit. One day, without a hint of foreshadow, he decides to up and kill his family. He neatly tucks them back into bed, and then heads off to the freeway to continue his killing spree.
Bobby's travels end at the drive-in theatre where Orlok is making his final experience. Propping himself up behind the projection screen, Bobby sits there awaiting his next victim. Who will be next, and will it end up being Orlok's final appearance in both life and on screen?
Targets is a masterful directorial debut by Peter Bogdanovich, arguably one of the most important directors of the New Wave of American cinema in the 1970's. Bogdanovich would make a career of throwback films that would homage the great films of the past with fantastic vintage pictures like Paper Moon and The Last Picture Show. Targets however remains a distinct entity in his body of work, in its contemporary setting and relevant social commentary. Instead of homaging the work of his favorite directors like Howard Hawks and Orson Welles, Bogdanovich instead used the knowledge he gained from them to tell his own unique story.
And what a story it is. Bogdanovich manages to intertwine the two distinct stories of Byron and Bobby very skillfully, using linking establishing shots like those of a clock or of the drive-in marquee. The genius of it lies however, with the subject matter itself. With the Summer of Sam and Vietnam still resonant in everybody's memory, Bogdanovich's observation that real horror lies in everyday headlines is brutal and honest. Given the task of including Boris Karloff's previous Corman effort, The Terror into his film, Bogdanovich strikes an interesting point of commentary. It looks terribly dated and out of place, despite it being shot at roughly the same time as Targets. The film points out the predicament that aging horror stars like Karloff were in, and thus works as a great swan song for Mr. Frankenstein himself.
Bogdanovich motivates Bobby Thompson's killing spree by the numbing serenity of everyday life. Unlike the obtrusive scores of Hammer films past or Karloff's own The Terror, Targets functions entirely without a score. There is nothing to dictate the emotions, only the background noise of the film itself. Bobby, so bored by his routine life, with gentle radio jingles and late night sitting of watching talk shows with the family, is driven to murder. Not because he has been beaten or because he lives in poverty, but instead the opposite, because his life is too perfect. Bogdanovich offers a biting insight into what may form the new killer of the contemporary world.
Another interesting setup that Bogdanovich develops is having Bobby assassinate moviegoers from behind the projection screen. Film is oft seen as a powerful and subversive medium, and is often criticized for the power it has over its viewers. Theoretical terms like the "magic bullet," which describes the way a film's content directly penetrates the vulnerable viewers by influencing their future actions, take on a literal meaning with Bobby shooting people from behind the screen. Viewers, unbeknownst to them, are killed literally by the screen in the final act. Considering the horror film is one that is often criticized for the way it can negatively influence its audience, Bobby's setup is a biting bit of social commentary.
The climactic scene, which I wouldn't dare reveal, skillfully combines both film and reality in the confrontation between Byron and Bobby. The power of the images on the drive-in screen is also very important, both in the film and in context with Bogdanovich's career. Peter Bogdanovich was one of the first of the second wave of movie directors like Spielberg and Scorsese, raised not on books but on the first generation of films. People like Alfred Hitchcock and John Ford were their teachers, and the power and influence of film remains a huge part of the careers of Bogdanovich and other 70's filmmakers.
Targets is a dated film, but that grounds it in its late-60's context, of which is should always be remembered. Knowing the time in which it was released is vital in understanding themes that Bogdanovich tackles throughout Targets. Save for some awkward moments with Bogdanovich's Sammy character, the acting is solid, with a typically strong performance by Karloff and an even better one by the unknown Tim O'Kelly. The cinematography by Laszlo Kovacs (who would work on Easy Rider the year following) has beautiful film noir expressionism and nice interplay with the contrasting colors that Bogdanovich uses with the Byron and Bobby characters. It is a low budget cheapy, but one of both style and significance. In an era where the vintage Hammer films were becoming increasingly outdated and social issues increasingly important, Targets remains one of the best and most important horror films of the 1960's.
Specs:Screenshot:Código: Seleccionar todo
Name........: Targets.1968.DVDRip.XviD-TeamRPM Size........: 697 MB (or 714,710 KB or 731,863,040 bytes) Runtime.....: 01:26:24 (129,609 fr) 25.000 FPS Video Codec.: XviD-1.0.1-05062004 Video Bitr..: 960 kb/s (0.170bpp) Frame Size..: 640x352 (1.82:1) [=20:11] Audio Codec.: 0x0055(MP3) ID'd as MPEG-1 Layer 3 audio Bitr.1: 96 kb/s, monophonic CBR LAME3.90 ™ (48000 Hz) audio Bitr.2: 64 kb/s, monophonic CBR LAME3.90 ™ (44100 Hz)
Notes:
Celebrating the return of fleheaven, here's a personal favorite of mine. Bogdanovich's first picture. Classic but relatively unknown, and one of the last performances of Boris Karloff, more or less playing himself. It's also an important picture, together with 'Bonny & Clyde' and 'Easy Rider' marking the beginning of a director's decade, A Decade Under the Influence (2003). I've added a second audio stream, the commentary by Peter Bogdanovich himself. For the Spanish dudes, I extracted the Spanish audio. Enjoy this great movie, it's one of the best.
Movie:
Targets.1968.DVDRip.XviD.Dual.Audio.EN.Dir.Com-TeamRPM.avi
Subs:
[/size](Arabic, Bulgarian, Czech (Ceske), Dansk, Deutsch, English, Espanol, Greek, Francais, Hebrew, Hrvatski, Islenska, Italiano, Magyar, Nederlands, Norsk, Polski, Portugues, Romanian, Slovenian, Serbian, Suomi, Svenska and Turkish)
(Subs for the Director's commentary include Deutsch, English, Espanol, Francais and Italiano)
Spanish Audio:
:cheers:
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Subs español para la película y los comentarios del director (formato srt):
Targets.1968.DVDRip.XviD.Dual.Audio.EN.Dir.Com-TeamRPM.Spanish.rar
Targets.1968.DVDRip.XviD.Dual.Audio.EN.Dir.Com-TeamRPM.Director's Commentary.Spanish.rar
Avisados quedáis.
Targets.1968.DVDRip.XviD.Dual.Audio.EN.Dir.Com-TeamRPM.Spanish.rar
Targets.1968.DVDRip.XviD.Dual.Audio.EN.Dir.Com-TeamRPM.Director's Commentary.Spanish.rar
Avisados quedáis.
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