ABCs at the Movies: The Doubles Round!

[oilgun]

aka: Jonah Who will be 25 in the Year 2000



==COMMENT==
I just discovered that "Number in Title" is an IMDb keyword..

[MaineWriter]

[Fran]

[oilgun]

Dir:  Wim Wenders

[Meryl]

1900 (original title Novecento) is a 1976 epic film starring Robert De Niro, Gérard Depardieu, Dominique Sanda, Donald Sutherland, Alida Valli and Burt Lancaster, directed by Bernardo Bertolucci. Set in Bertolucci's ancestral region of Emilia, the film chronicles the lives of two men during the political turmoils that took place in Italy in the first half on the 20th century.

[MaineWriter]

[Fran]

[youtube=425,350]http://www.youtube.com/watch?v=BBsOeLcUARw[/youtube]
Time: 9:02

From IMDb:

This is a really interesting film about how large the universe is and how powers of ten become so drastically distant.

It starts out by showing a couple at a picnic in Chicago. It then shows an overhead shot a meter up of the man lying down on the picnic blanket. It then proceeds to zoom out by increasing the distance by a power of ten every ten seconds; 10 to the first meters, 10 to the second meters, 10 to the third meters, and so on.

Before long the viewer is above the earth, then the solar system, then the galaxy, then much of the visible universe. The viewer is projected back forward by decreasing the powers of ten every two seconds.

After a while the picnic scene is displayed again, but it doesn't stop there. The view returns to the regular speed and goes into the negative powers; ten to the negative first meter, ten to the negative second meter, and so on. The viewer is zoomed into the man's hand, and ends up zooming into a single proton in an atom.

[oilgun]

[MaineWriter]

I still have that image of handsome Laurence Olivier in my mind from the other day, so here he is again!

[southendmd]

IMDb user comment:

Put simply, not only the greatest silent film ever made, but one of the 10-15 perfect films. Sunrise, to me, is the definitive moment in silent cinema. Not only is sound unnecessary, but so are words -- indeed, there are remarkably few title cards. Instead, Murnau trusts in the ability of his images to convey his story; he doesn't need words. The story itself is simple, archetypal. It functions primarily as a frame onto which Murnau fastens scene after scene of breathtaking splendor. In particular, the first shots of the City are dizzyingly complex and layered. Additionally, it's impossible to come away unimpressed by the Storm which tosses the characters during their return journey. Murnau is one of the few filmmakers, and perhaps the first, to truly embrace the possibilities of film as its own medium, rather than as a novelty or, alternatively, a convenient way to preserve a stage play. Though he is better remembered for other films, most particularly Nosferatu, Sunrise is his crowning achievement.