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Jacob’s Ladder with Tim Robbins is beyond surreal A huge unsuspecting plot twist that you can't see coming which you learn at the very end of the film (no spoilers) but this film is very dark and twisted at throughout it’s one that haunts your mind for years later...

152,715 просмотров • 1 год назад •via X (Twitter)

Комментарии: 7

Фото профиля flynn slicker
flynn slicker1 год назад

Alright tell me a movie that made you stare blankly at a wall for 20 minutes after it finished. One that you couldn’t stop thinking about and made you question everything.

Фото профиля Charlie Mayer
Charlie Mayer1 год назад

@flynnslick Thought I was the only person alive who loved it. Yes - full of disturbing imagery and still haunts me today.

Фото профиля Jim
Jim1 год назад

@flynnslick I was way too young when I saw this and it still haunts my mind. I need to rewatch it to make-sense of the images in my head.

Фото профиля Alexander Boldizar
Alexander Boldizar1 год назад

Preble Jefferson can see 5 seconds into the future. When government agencies become aware of his skill, he'll do whatever it takes to protect his family. “Calling this a thriller is a bit reductive...The most interesting novel I’ve read in a long time.” --JDC

Фото профиля Lisa Klassen
Lisa Klassen1 год назад

@flynnslick Agreed. I saw this movie in the theatre when it was released and it still haunts me from time to time. Such a great flick.

Фото профиля ColourfulSolutions
ColourfulSolutions1 год назад

@flynnslick People ask me my fave film - no hesitation. Left me destroyed.

Фото профиля Samnor
Samnor1 год назад

@flynnslick This has been one of my all time favourites since I first saw it nearly 20 years ago...that hospital scene still gives me chills

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"'Jacob’s Ladder' (1990) came out at a time when it was just not right for that movie to be seen. We were about to go into the Gulf War, and the country did not want to see a movie about a Vietnam veteran involved in drug experiments" --- Tim Robbins Full Excerpt: "There are many different factors determining whether or not a film reaches a mass audience. How much the studio’s behind it, which other movies the studio’s releasing at the same time—I think Disney had nine or ten in release at the same time—how much energy is put into it. Who knows. It’s always been a mystery to me. 'Jacob’s Ladder' (1990) came out at a time when it was just not right for that movie to be seen. We were about to go into the Gulf War, and the country did not want to see a movie about a Vietnam veteran involved in drug experiments when, as the movie’s playing in theaters, we are inoculating Gulf War soldiers with anthrax. I got a letter from one guy that resisted—he got put in a brig because he would not take the drugs. He said, “Thank you, because I saw Jacob’s Ladder before I left, and it gave me the strength to resist.” And now they’ve found out that a lot of these soldiers got sick from these vaccines, with this Gulf War Syndrome. That movie found its audience in video and cable, and it was huge. And then you see movies that somehow hit the zeitgeist, make tons of money, are huge hits, and then you see them a few years later and you go, “What? What did I see in this? Why is this not working?” Certainly you can’t judge the success of a film based on its initial box office. You have to wait ten years, see it again. If it still works, it’s a great film. There’s a lot of great films that didn’t do well in their initial release. 'It’s a Wonderful Life' (1946) was a bomb. 'Citizen Kane' (1941) didn’t do well. 'Shawshank Redemption' (1994)." ('Projection 11: New York Filmmakers on Filmmaking, edited by Tod Lippy, 2000 )

DepressedBergman

69,461 просмотров • 5 месяцев назад

Bernard Herrmann on the importance of music in movies: "Interviewer: You once said that music is called upon to supplement what the technicians have done, and mostly what they have been unable to do. Herrmann: The real reason for music is that a piece of film, by its nature, lacks a certain ability to convey emotional overtones. Many times in many films, dialogue may not give a clue to the feelings of a character. It’s the music or the lighting or camera movement. When a film is well made, the music’s function is to fuse a piece of film so that it has an inevitable beginning and end. When you cut a piece of film you can do it perhaps a dozen ways, but once you put music to it, that becomes the absolutely final way. Until recently, it was never considered a virtue for an audience to be aware of the cunning of the camera and the art of making seamless cuts. It was like a wonderful piece of tailoring; you didn’t see the stitches. But today all that has changed, and any mechanical or technical failure or ineptitude is considered ‘with it’. Music essentially provides an unconscious series of anchors for the viewer. It isn’t always apparent and you don’t have to know, but it serves its function. I think Cocteau said that a good film score should create the feeling that one is not aware whether the music is making the film go forward or whether the film is pushing the music forward. Interviewer: Is the composer, in a sense, an actor with a greater range of ‘voices off’? Herrmann: I always think that film music expresses what the actor can’t show or tell. For example, when Janet Leigh is driving her car in 'Psycho' (1960), all we see is a pleasant young girl driving in the rain with the windscreen wipers going back and forth. From what you see, she might have been going to the supermarket or visiting a friend, but it’s the music that tells you that she has embarked on a very dangerous, horrifying experience. In the very opening of 'Citizen Kane' (1941), the music really tells you what ‘Rosebud’ is. When Kane is dying, all the musical motifs and atmospheres of his childhood are presented and the search for ‘Rosebud’ has really been told to the audience right away. At the end of the film, before the camera discovers the sled, the theme is given out again. And of course it also recurs at key moments of conversation between Kane and all the leading characters." (Bernard Herrmann's interview with Ted Gilling, Sight and Sound, 1971) P.S: Remembering the legendary American composer Bernard Herrmann on his 115th birthday!

DepressedBergman

10,525 просмотров • 17 дней назад