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#Elliot gould
389 · 7 months
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this clip of Isabelle Adjani saying Jaws
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A Long Goodbye (Robert Altman, 1973)
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mudwerks · 5 months
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(via JHALAL DRUT: Bob & Carol & Ted & Alice (1969))
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nexttopbadbitch · 8 months
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Barbra Streisand with husband Elliott Gould, 1963
Margot Robbie (Barbie) with co-star Ryan Gosling (Ken), 2022
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lisamarie-vee · 9 months
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citizenscreen · 6 months
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Sutherland and Gould clown around during a promotional photo shoot for Altman’s M*A*S*H (1970)
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candymay · 5 months
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amycvdh · 8 months
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“Editor: You get those photos of Elliott Gould and Grover?
Photographer: Sure did boss, real fuckin sexy just like you asked.
Editor: what”
Chris Thorburn via Blue Sky
This is what we lost per the “Everyone Is Beautiful and No One Is Horny” article “
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watchmorecinema · 3 months
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The Long Goodbye is a fantastic deconstruction of the noir film, and it helped me finally click into place what noir really is.
The hardboiled detective that is cynical as hell is only that way because he's the last man alive with any decency or humanity. The other people he interacts with during the case, or perhaps at all, don't follow any code. They lie, cheat, steal and do anything and everything to enrich themselves regardless of the cost of others. That's why he's so tired all the time: doing the right thing is exhausting if you know you're only going to be punished for it.
Philip Marlowe in this movie exemplifies that fully. He gives a friend a ride to Mexico, and the next day police are at his door asking questions. Do they simply respect his right to be silent? No, they assault him and imprison him until he talks (he never does, but they let him out anyways when they don't need his testimony anymore). Gangsters are after him for money he doesn't have and had no idea even existed. Everyone lies to him, abuses him or just uses him as a plaything.
What does he do in return? Stay honest and loyal at every turn. He helps his friends, he listens to people that beg him for help. At one point he notices a low level gang member is tailing him. His response is to give him advice on how to better stay hidden, and even tells him where he's going in case he gets lost on the way. He's messing with him, but he's also just straightforwardly helping a person that is actively trying to harm him.
The movie begins with Marlowe trying to feed his cat. His cat wants only one brand of cat food, and he doesn't have it. The store doesn't have it either, so he tries to put other food into an empty can and pretend it's the same. The cat scratches him for his deception and leaves. The cat has the same moral code as Marlowe, the difference being that cats are proud and Marlowe is a complete and utter loser. He's a cat in a world of vicious dogs, including multiple scenes where he is literally chased by a dog.
Most other noir films, especially before this one, doesn't have the hardboiled detective be quite so pathetic. That archetype was created for the 40's and 50's. This film takes Marlowe to the 70's, where he's a man out of time. The world has moved on without him, and his only response is to rage against this change. For Marlowe, that means trying to put on a happy face and uphold his own values no matter what anyone else thinks.
I really thought this was going to be a fun murder mystery (and it still is, the plot is fantastic here) but it's actually a great character study of not just Philip Marlowe but noir protagonists as a whole. Pretty amazing film.
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gatutor · 5 months
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Elliot Gould-Brenda Vaccaro "Amo a mi esposa" (I love my wife) 1970, de Mel Stuart.
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thecupsmith · 1 year
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mudwerks · 5 months
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(via JHALAL DRUT: Al Hirschfeld)
1973: Robert Altman's THE LONG GOODBYE with Elliot Gould, Nina Van Pallandt, & Sterling Hayden
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gotankgo · 1 year
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«Los Angeles, California - March 1973.»
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mogwai-movie-house · 11 days
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Little Murders (1971)
Black comedy about an emotionally vacant New York photographer falling in love with an optimistic girl amidst the violence and madness of the city.
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I tried watching this once, years ago, and it just didn't grab me at the time, so I moved along and filed it away in the back of my mind as one of those quirky-but-dated-and-forgettable turn-of-the-seventies hippie-era things, like Who Is Harry Kellerman and Why Is He Saying Those Terrible Things About Me? or Bob & Carol & Ted & Alice.
I took another look at it today and found it to have a lot more depth and originality than I'd registered the first time round. It might be the most interesting and lifelike Elliot Gould performance, and this elevates the film to something more comparable to The Graduate or Harold & Maude.
It's patchy, and often playfully amateurish, but there are some brilliant stretches, like the wedding scene above, and a lot of the stuff about alienation, numbness and anxiety in the big city feels startlingly up-to-date and beautifully observed.
6.7/10
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