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Nastyman posted:Can't it be both? Landa above all LOVED to toy with his prey as much as he possibly could, in the creepiest way possible if the italian scene is any indication, although this bit from the opening sequence has me leaning mostly towards the latter interpretation. Absolutely. In the Italian scene, look at the way he coaxes out the proper pronunciation and praises them when they get it right. The funny part about that scene is that Omar speaks the least amount of Italian, that is none, yet he only repeats once and gets a "Bravo" out of Landa. The interactions between Landa and the rest of the cast is amazing. He enjoys watching peoples' reactions.
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Mar 15, 2013 16:16
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Ninja Gamer posted:I would guess that it is because that's how was done in stage production and the film was made by the director of the state version. They don't have too many extras in smaller stage shows like that. That's a really good point, I would have never thought of that
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Mar 15, 2013 17:08
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MichiganCubbie posted:Absolutely. In the Italian scene, look at the way he coaxes out the proper pronunciation and praises them when they get it right. The funny part about that scene is that Omar speaks the least amount of Italian, that is none, yet he only repeats once and gets a "Bravo" out of Landa. The interactions between Landa and the rest of the cast is amazing. He enjoys watching peoples' reactions. I'm not sure how much was intentional and how much this is just me twisting the movie to fit my own interpretation, but the sense I get is that Landa knows everything. No matter which scene he's in, he is acutely aware of every secret that's being held from him, and he's just letting things play out for his own entertainment. He doesn't really care about furthering the Nazi cause because he's not ideologically a Nazi, in the same sense that Heinrich Muller wasn't ideologically a Nazi - he's employed by the regime, but it's just a job that he's very good at and enjoys doing. He meets his downfall going up against the Basterds because even though they're part of the big plan, they're completely unpredictable and don't follow the social rules that he manipulates to such great effect against everyone else. Landa is victorious all the way up until Raine decides to carve the swastika in his forehead, because up until that point the Basterds were still following somebody else's plan, and Landa was able to predict and foil the whole thing and turn it to his advantage.
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Mar 15, 2013 17:28
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All of this IB talk has me remembering my all-time favourite moment in film; the moment Landa is introduced to Shoshanna. The incredibly tense and over-the-top-but-fitting music sells it perfectly. That, Mr. Tarantino, is a bingo.
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Mar 15, 2013 17:52
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Ez posted:I'm not picking anything apart I'm just curious. I don't think any other movie has done that before. I love Rocky Horror, it's so unique I would actually disagree and say that it did have some significance. The story in a lot of ways is about the pent up sexual energy underneath the surface of white collar America. We see this in the way that both Brad and Janet shed the silly and false personally of the wedding scene throughout the movie, and become sexual people. It makes sense than that Riff, Magenta, Columbia, and even Frank as the priest appear in the wedding scene. The world of sexuality that they represent in the castle is what's under the surface of the characters in the wedding scene, and an appropriate metaphor for the general message of the movie.
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Mar 15, 2013 18:17
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OurIntrepidHero posted:I would actually disagree and say that it did have some significance. The story in a lot of ways is about the pent up sexual energy underneath the surface of white collar America. We see this in the way that both Brad and Janet shed the silly and false personally of the wedding scene throughout the movie, and become sexual people. It makes sense than that Riff, Magenta, Columbia, and even Frank as the priest appear in the wedding scene. The world of sexuality that they represent in the castle is what's under the surface of the characters in the wedding scene, and an appropriate metaphor for the general message of the movie. I think that's finding meaning that really isn't there. I love it when people do it, really I do. But I think you're reaching. It's entertaining though. And an entertaining falsehood beats a boring truth any day in my book. As pointed out above, for the stage show, the cast is relatively small, there isn't a lot in the way of musical numbers that require a full chorus, and a lot of live shows have the same character play Dr. Scott and Eddie, so that gives you ~9 actors and maybe one song that involves everyone depending on production. It's just a call back to the stage show.
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Mar 15, 2013 23:10
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MichiganCubbie posted:One of my favorite little moments comes from Inglorious Basterds. In the scene where Landa and Shoshanna are in the restaurant, Landa orders strudel for them both. This is rather innocent. However, before she can take a bite, Landa suddenly remembers that he forgot to order the whipped cream for the topping. He orders it and won't let Shoshanna eat until it comes. We get a heavy-handed shot of the cream being put onto the strudel, and then Landa eats. After watching her eat, he asks her about it, and you see her kinda grimace and swallow. Something I liked about the end of that scene is that Landa puts his cigarette out in his strudel. Compare that to earlier in the film when he downs the entire glass of milk at the farm. It can be viewed as a way of showing that in the time since the first scene of the film he has gotten somewhat tired/bored with his job and doesn't enjoy it quite as much, which fits in well with what he does after discovering the Basterd's plan.
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Mar 15, 2013 23:23
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Not so much a subtle moment but a subtle realisation, Landa kills Bridget von Hammersmark not because she's a traitor to Germany but because she'd ruin his retirement cover story.
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Mar 15, 2013 23:31
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I never got the point of that Landa scene. Yes, in terms of cinematic language it is heavily implied that he knows. But in terms of plot, that makes absolutely no sense. He's a detective, not a magician. He has no way of knowing Shoshana's origins. He may have some generic suspicion, but pinpointing it with such specific accuracy is absolutely impossible. And if he does figure it out, why doesn't he do anything at all about it?
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Mar 16, 2013 03:15
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Xander77 posted:I never got the point of that Landa scene. Yes, in terms of cinematic language it is heavily implied that he knows. But in terms of plot, that makes absolutely no sense. He's a detective, not a magician. He has no way of knowing Shoshana's origins. He may have some generic suspicion, but pinpointing it with such specific accuracy is absolutely impossible. And if he does figure it out, why doesn't he do anything at all about it? Figuring out who Shoshanna is, who knows. He could have just suspected. Maybe he got a whiff and remembered the scent. As to why not do anything about it - because he understands the war is lost, wants to live in comfort, and to do so he needs the German high command to die, preferably in a way he could demonstrably prove that he could have stopped? Such as at this blondes movie premiere. OHH. Boobski. Hans Landa is the best Nazi ever.
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Mar 16, 2013 04:26
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Supreme Allah posted:Figuring out who Shoshanna is, who knows. He could have just suspected. Maybe he got a whiff and remembered the scent. quote:As to why not do anything about it - because he understands the war is lost, wants to live in comfort, and to do so he needs the German high command to die, preferably in a way he could demonstrably prove that he could have stopped? Such as at this blondes movie premiere.
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Mar 16, 2013 04:34
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Xander77 posted:Eh. That's my main point here, so "who knows" isn't much of an answer. Whenever did he get the chance to, uh, smell her? Getting the high command killed would have also 'feathered his nest' as long as he waited for the right circumstance. Which he did. The Shoshanna thing I am chalking up to instinct. Something intangible about her is familiar to him, I feel. The scene is perfectly ambiguous about it. You are fine to think he had no idea who she was and just wanted to bully her. Others are fine to think he somehow recognized her in a way the movie didn't show.
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Mar 16, 2013 04:56
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Supreme Allah posted:Getting the high command killed would have also 'feathered his nest' as long as he waited for the right circumstance. Which he did.
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Mar 16, 2013 11:56
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It's from a TV show so I hope it's okay to post in this thread, but I was rewatching Mad Men for the first time and there's a Season 2 scene in which Don, Roger, and Freddy Rumsen are wasted and trying to get into an illegal casino. Roger introduces he and Freddy using obviously fake names(Dick Dollars and Mike Moneybags), then turns to Don. Don calls himself "Tilden Katz," which is the name of the boring Jewish guy Rachel Menken marries after her affair with Don collapses. Don barely reacted when he met the guy, but that little throwaway line hinted that the resolution of that situation bothered him a lot more than he let on. It was a neat touch.
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Mar 17, 2013 00:22
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I must've watched Big Trouble In Little China a thousand times as a kid. But when I watched it on weed I saw something at the beginning when Jack and Wang are gambling and Wang loses, he bets that he can slice the bottle in half, he doesn't the bottle goes flying. It seems like he does that intentionally to hit Jack in the face with a bottle so he won't have to pay him. Maybe it was supposed to be like that and I just hadn't seen it that way, but it changed the whole way I see that movie now.
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Mar 17, 2013 07:40
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I like Landa's welp reaction when Shoshanna gets away at the start, he really is the best Nazi. Landa is so plotting and that conversation is so tense, and then he just watches her leave.
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Mar 17, 2013 07:57
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Solid Oak Acorn posted:I must've watched Big Trouble In Little China a thousand times as a kid. But when I watched it on weed I saw something at the beginning when Jack and Wang are gambling and Wang loses, he bets that he can slice the bottle in half, he doesn't the bottle goes flying. It seems like he does that intentionally to hit Jack in the face with a bottle so he won't have to pay him. Maybe it was supposed to be like that and I just hadn't seen it that way, but it changed the whole way I see that movie now. WANG IS A GOOD MAN AND A LOYAL FRIEND. THE BOTTLE DID NOT SLICE BECAUSE HE WAS NERVOUS ABOUT PICKING UP HIS CHILDHOOD SWEETHEART. HIS SPIRIT WAS GOING NORTH AND SOUTH! LET'S ALL JUST CALM DOWN!!
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Mar 17, 2013 08:59
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Oppenheimer posted:I like Landa's welp reaction when Shoshanna gets away at the start, he really is the best Nazi. Landa is so plotting and that conversation is so tense, and then he just watches her leave. To him it's not about exterminating the Jews, it's about being the smartest guy in the room. Hence the flaunting of the massive Sherlock pipe as soon as the farmer pulls out his little corncob.
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Mar 17, 2013 12:46
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I always figured Landa got a brief glance of Shoshanna as she was fleeing. We don't see this, but maybe she turned her head briefly while running. Or perhaps he had a photograph of her family. There are plenty of possibilities that the director didn't bother beating us over the head with, and it still demonstrates Landa's awesome instincts to pick up on her identity years after his brief encounter with her.
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Mar 17, 2013 15:05
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OilSlick posted:I always figured Landa got a brief glance of Shoshanna as she was fleeing. We don't see this, but maybe she turned her head briefly while running. Or perhaps he had a photograph of her family. There are plenty of possibilities that the director didn't bother beating us over the head with, and it still demonstrates Landa's awesome instincts to pick up on her identity years after his brief encounter with her. There's a difference between "beating you over the head" and "Nothing to support it at all". The strudel scene I always took as Landa just loving with her the way he fucks with everyone. He has to be in control of every encounter, of every situation. In a funny way he's not dissimilar to his character in Django Unchained who has the same propensity for needing to be in control. You can argue the scene is maybe ambiguous. But at best I'd say that Landa knows she isn't as innocent as she seems. The whole scene is sizing her up and once it's done he disregards her as a threat and doesn't even interact with her again.
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Mar 17, 2013 15:50
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The brilliance of the scene is that Tarentino gives you just enough to suspect that he may know her identity but not nearly enough to confirm it, thus leaving it up to your own interpretation. I think it's best left at that.
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Mar 17, 2013 18:26
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Ez posted:The brilliance of the scene is that Tarentino gives you just enough to suspect that he may know her identity but not nearly enough to confirm it, thus leaving it up to your own interpretation. I think it's best left at that. Exactly. The ambiguity plays perfectly into experiencing the whole scene from Shoshanna's perspective. She knows exactly who he is, but has to keep cool because in her mind there's no logical way he would know her... But what if he just does? Landa ordering milk for her was such a perfect moment. Was he just making a cold-read guess at what she'd like to drink with dessert, or was he sending a message? Shoshanna trying to hold it together the whole time and breaking down the second he left was perfectly done. I interpreted it like this: Landa knows something's off with her story when she says she owns a theater, but never figures out anything beyond that because we never see him follow up on Shoshanna and Marcel's plot. Once he figures out what the Basterds are up to, he gets way out in front of it, but he never interacts with Shoshanna again. All the stuff in the restaurant is Landa trying to cold-read her for clues, but she holds it together long enough for him to go away. She could've snapped at all the maybe-intentional dairy stuff, or protested running the projector herself, but she never gave Landa any reason to suspect she was more than a movie star's crush way out of her depth. Although I do like reading other people's interpretations that are completely different. The fact that it can't be settled conclusively proves that scene accomplished exactly what it set out to do.
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Mar 17, 2013 21:18
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I'm going to throw in Shutter Island. The first time through, you are constantly questioning the truth of the situation, and the end seems rather ambiguous. Once you know most of the plot details though, watching the film a second time is like watching a completely different movie. All the early scenes of DiCaprio and Ruffalo interviewing patients and staff are full of strange moments, like the staff laughing off most of the questions asked, or the patients mentioning how awesome the absent doctor is, since he's really sitting right in front of them. It becomes really apparent that everyone is just loving with them, and can't take the whole role play thing seriously. Hell, they even cut to Ruffalo every time the doctor is mentioned. My favorite bit though is when they first meet Ben Kingsley's character, and he starts describing various barbaric thereputic treatments throughout history, and ends the whole thing by saying some patients even used to drown. Then he just stares at DiCaprio for a good long while, hoping he remembers what happened to his kids. The first time through, that just looked like a strange, creepy stare.
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Mar 17, 2013 21:50
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I just figured that Landa realizes she's a escaped jew in general, not that she's this one particular escaped jew from one farm in France. In fact if you look he never gets a look at her face in the first scene of the movie. So he does the whole Streudel and cream thing whenever he meets non Germans to see if they're a jew or whatever, I don't think he had some sort of intricate plot planned to find Shoshannah personally, it's just one of his "jew hunting" techniques.
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Mar 17, 2013 22:03
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edit: actually this was pretty dumb.
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Mar 18, 2013 04:22
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Max posted:I'm going to throw in Shutter Island. The first time through, you are constantly questioning the truth of the situation, and the end seems rather ambiguous. Once you know most of the plot details though, watching the film a second time is like watching a completely different movie. All the early scenes of DiCaprio and Ruffalo interviewing patients and staff are full of strange moments, like the staff laughing off most of the questions asked, or the patients mentioning how awesome the absent doctor is, since he's really sitting right in front of them. It becomes really apparent that everyone is just loving with them, and can't take the whole role play thing seriously. Hell, they even cut to Ruffalo every time the doctor is mentioned. For me, it was the line "It's about you and Laedis. It's always been about you." One simple change in syntax alters the meaning entirely.
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Mar 18, 2013 14:45
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Abu Dave posted:I just figured that Landa realizes she's a escaped jew in general, not that she's this one particular escaped jew from one farm in France. In fact if you look he never gets a look at her face in the first scene of the movie. So he does the whole Streudel and cream thing whenever he meets non Germans to see if they're a jew or whatever, I don't think he had some sort of intricate plot planned to find Shoshannah personally, it's just one of his "jew hunting" techniques. I mean, clearly the Nazis would want to research as much as they can about the theater, right? It's implied they know about the theater when Landa talked about the black man she worked with. They must know something about her history as well.
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Mar 18, 2013 15:42
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In Momento, Leonard says that he's learned to trust his own handwriting. His handwriting changes over the course of the film.
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Mar 18, 2013 18:05
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Ghostbusters This movie is filled with a lot of subtle moments, many of which were covered in the Ghostbusters thread in CD (Not sure if it is still around). Some highlights: When Ray has Egon turn on the power pack for the first time in the elevator and mentions how he has an untested nuclear accelerator strapped to his back, Egon and Peter back away as much as they can in the elevator. After bagging Slimer they confront the hotel Manager and go over details of the bill, while Peter is tallying up numbers, Egon is holding up fingers to indicate how much money to charge the Hotel behind the manager's back. Lewis is the ill fated "Key master" who keeps getting thwarted by locked doors There's probably a ton that I'm forgetting.
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Mar 18, 2013 18:14
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This thread is awesome, and am loving trying to catch up with it. I apologize if my only contribution is a comedy film, but I think it's great. I actually didn't particularly like the movie Stuck On You(which is odd because I love most Farrelly brothers movies), there's one very subtle joke that, when I saw the movie in theaters, I was busting out laughing and no one else in the theater got it (when I explained it to my wife, she laughed hysterically, though). There's a very subtle/brief scene where one of the brothers is doing a crossword puzzle, and he asks the brother "what's a four letter word for snatch?" to which the brother replies "grab". The guy doing the crossword puzzle proceeds to use his pencil eraser. I think if the joke was more obvious or in-your-face it wouldn't have been nearly as funny, but the way they performed it and made it just seem like random dialogue and not even a joke just had me dying in laughter. Sort of like the old Simpsons episodes; they assumed the viewer was smart enough to get it and didn't cram a joke down your throat.
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Mar 18, 2013 18:28
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Its a pretty minor one, but I have a favorite bit of acting from Australian horror movie The Tunnel. Its a fake-documentary/found-footage film centering a group of TV journalists going into the subways beneath Sydney. Horror ensues. About halfway through, the first kill happens. They are trying to take footage of an old WWII alarm bell but each time the female lead (who is responsible for leading the team into the tunnels and various other gently caress-ups) bangs the bell, it overloads the sound guy's recording equipment. So he goes alone down a nearby corridor to hopefully lower the sound level and get a clean recording. The video guy stays in the bell room to listen to the recording and make sure it comes out clean. Obviously, the first kill happens here with the sound guy getting nabbed and the video guy hearing it on the microphone. However, at this point, you don't hear the audio. The movie then cuts to the present-day interview with the female reporter and a caption pops up saying this is the first time that she has heard the audio from the bell room. As she takes the headphones to listen, her hands slightly but distinctly shake since she obviously doesn't want to hear the last moments of the guy she indirectly killed. Its a really lovely touch of physical acting.
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Mar 18, 2013 19:00
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S-Alpha posted:This is more a general Lord of the Rings thing, but Gimli asking for one hair from Galadriel's head is a reference from Tolkien mythology, expanded upon in Unfinished Tales. In it, another elf, Feanor, asked three times for a strand of hair from Galadriel, and he was denied all three times. When Gimli asks, though, he gets three strands. Now up to here it's all in-book stuff that's irrelevant here. I suppose Legolas' look may have been intentional, but there's a scene in the extra stuff where Peter Jackson is saying it would have basically been impossible to film Gimli receiving his gift, because hairs aren't going to show up on camera in the first place. So they decided instead to have him relate the story to Legolas. That's why he's the only one not shown getting his gift directly.
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Mar 18, 2013 19:14
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CzarChasm posted:Ghostbusters Couple more: Venkman is disgusted by the ectoplasm in the library, remarking "Someone sneezes and you want to keep it." So of course he's the one slimed in the hotel. When they're dealing with the ghost in the library Ray's master plan is, of course, "Get her!" Venkman gives him poo poo about it afterwards. When dealing with Gozer in the climax Venkman yells "Go get her, Ray!" and gives him a poo poo eating grin, busting his balls about it weeks later.
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Mar 18, 2013 19:30
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Miyamotos RGB NES posted:This thread is awesome, and am loving trying to catch up with it. I apologize if my only contribution is a comedy film, but I think it's great. The joke is that he thought it was "oval office", right? I remember that line was in all the commercials for that movie and I never got it (because I was early teens when that came out, and that word wasn't really in my vocab). Totally forgot about it until your post.
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Mar 18, 2013 19:42
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CzarChasm posted:Ghostbusters I liked that in the first scene in Dana's kitchen one of the items she puts on the counter prior to the eggs cooking is a Stay Puft Marshmallow bag. The tinkling piano keys "They hate this" is repeated a few times as the Ghostbusters are looking for ghosts and clues.
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Mar 18, 2013 19:45
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Ninja Gamer posted:In Momento, Leonard says that he's learned to trust his own handwriting. I don't know if his handwriting changes, but I do know that there's one moment when Teddy coerces Leonard into writing down a note to himself, but Leonard doesn't believe that Teddy is telling the truth. Leonard deliberately writes the note in a different script, so that when he sees it later, he will distrust it.
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Mar 18, 2013 20:53
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Something to consider: he does some of his tattoos himself, but he still gets people to do others. He uses tattoos for notes, but they would be in someone else hand writing in a sense.
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Mar 18, 2013 20:58
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One thing I like is how Teddy constantly makes the same jokes and says the same things a lot. He knows Leonard won't remember so he doesn't even really have to try to come up with new stuff. Also the scene where Leonard talks about how police investigate stuff and Teddy just starts rolling his eyes since unknown to Leonard he was a cop.
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Mar 18, 2013 21:59
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I'm not sure if this has been mentioned, but early in Re-Animator we see a poster for The Talking Heads on one of the walls. Talking heads of course, become part of the plot.
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Mar 19, 2013 04:29
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Here's the thing though: nobody is going to throw away their lives to avoid eating a loving strudel. Sometimes a film does stuff independent of any character in it choosing to do that thing as part of their grand plan, you know? Especially in a film that calls attention to itself as metafilmic.
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Mar 19, 2013 04:43
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