Four Horsemen of the Apocalypse Valentino Film Reviews

The Four Horsemen of the Apocalypse

From Ibanez' immortal classic, Metro-Goldwyn-Mayer presents an unforgettable motility moving picture

Karl from Germany and Marcelo from French republic emigrated to Argentina and became brothers-in-police force. Karl before long returned to Germany to serve in the ground forces. Marcelo and his children Julio and Chichi became Argentinean citizens but afterward returned to Paris. Karl became a general with a son (Heinrich) in the SS and in WWII he got a loftier job within the occupation administration in France.

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Culling Titles

Los cuatro jinetes del apocalipsis, Les quatre cavaliers de l'apocalypse

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War and historical run a risk Ballsy history and literature nazi, war, wwii, hitler or jewish war, wwii, combat, armed services or duty war, soldiers, gainsay, fought or military historical, royalty, sumptuous, lavish or drama historical, epic, battle, celebrated or fought Bear witness All…

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Arn Anderson was my favorite
those brief experimental flourishes w/ the four horsemen in telescopic tho

side note: the watermelons lying around in the offset scene are some of the nearly cute props ive ever seen on film
Em honra de André Previn (1929 - 2019).
Levei tanto tempo para ver esse filme porque gosto imensamente da versão muda do Ingram east não queria conspurcar aquilo, de fato, este não é apenas um Minnelli menor, como está bem aquém practice filme com Valentino, e, cá entre nós, qualé do fetiche do Paul Henreid como corno de guerra?
DVDRip no MakingOff.
Ce north'est pas united nations moving picture très réputé dans la filmographie de Minelli et il dure 2h30 alors je grand'attendais à vivre united nations moment assez pénible, et pas du tout.
Minnelli a un immense talent de metteur en scène et ça s'illustre parfaitement dans ce film où il y a une rigueur impressionnante dans le cadre mais sans jamais être rigide, la mise en scene reste souple et fluide. C'est un moving picture à la réalisation élégante mais teintée de moments baroques et flamboyants avec ces expérimentations formelles liées aux 4 cavaliers de 50'Apocalypse. Ces moments me semblaient en trop et je me disais que Minnelli avait un peu pété un plomb mais pas du tout, la réalisation est à l'prototype du…
Like Two Weeks in Another Boondocks, information technology'southward hard to imagine at that place existence any kind of audience for The Iv Horsemen of the Apocalypse in 1962, simply its this resolute ignorance of commercial trends that makes this such a fascinating example of Minnelli'southward talents. Minnelli'due south style was wedded to the MGM firm mode, and this means that his films were more often than not designed as crowdpleasers, with more experimental moments similar the An American in Paris ballet tucked into a pretty conventional work. But the sprawling structure and visual extravagance of The Four Horsemen has more than in common with the Italian arthouse films of this era, I call up. Minnelli himself claimed that this film was an influence on Visconti and Bertolucci and their…
There's a brief shot of Ingrid Thulin coming out of Notre Dame. Whether this is Paris (where Four Horsemen was originally supposed to be filmed) or Hollywood (where it was mostly shot, when it turned out the locals were still understandably queasy nigh reenacting the occupation) is incommunicable to determine: there's the doorway and wire fencing to the side, but no wider view to provide clues equally to whether it'south soundstage or actuality. At frame left are three women, extras chatting soundlessly. Because this scene comes after the first French soldiers have gone to the front, normal Hollywood storytelling logic dictates that all onscreen should share one common tone—these women should look concerned, fretful about the time to come. But they're not:…
Vincente entendió que Hollywood está llegando a su fin y realizó su primer película conscientemente anti-todo. Es difícil pensar que este es el mismo autor que hizo "Meet me in St. Loui Louis", pero no sé si incluso me llama más la atención personalmente este tipo de films, más pesimistas y directos.
Peliculón.
My Roku stick booted me out of FilmStruck with eight minutes left of this moving-picture show, in what I'one thousand interpreting equally a final-ditch effort to save me. I finished information technology on my telephone, and thus can ostend that this movie is, overall, not great!

I watched the first adaptation of Vicente Blasco Ibáñez'south novel, directed by Male monarch Ingram in 1921, a few months ago; information technology's a superb, heartrending anti-war melodrama that had me wiping abroad tears at the end. I went into Vincent Minnelli's remake wary from the get-go. Here, the war which tears the French and High german sides of the Madariaga family unit apart is the Second World War instead of the first ane. These incredibly tense people managed to keep…
Le lien de parenté entre ce film et Les Damnés de Visconti est frappant. On y retrouve ce traitement de la seconde guerre mondiale (et de la guerre en général) à travers le prisme d'une famille bourgeoise qui va s'entredéchirer au fur et à mesure que le conflit avance (ou arrive dans le cas de Luchino). La guerre a une donnée quasi maladive, elle s'insinue et gangrène tout ce qu'elle touche. Pareil que chez l'italien, la mise en scène très théâtrale (quasi Shakespearienne) à l'esthétique baroque sert parfaitement de miroir à la folie contaminatrice qui s'empare du monde. Plus l'on avance, plus le vernis de la bourgeoisie (et de la paix) se craquelle pour laisser place à des actes et…
"Come and see."

In Minnelli'due south kaleidoscopically colorful vision of our globe, Red is for Repression, the manner nosotros rage underneath, the way it finally bubbles over, effervescing, manifesting itself in all nosotros meet, turning, saturating all to its vibrant color of violence, torment, and every last subconscious passion. As ane of the Old Kings of Melodrama, Minnelli has fared more potently, precisely, provocatively elsewhere, finding more than tightly crafted, wildly realized displays of American dreams and American realities clashing, blurring indistinguishably, inseparably until the dangers of the former overtake, overwhelm, shape the latter with Faustian abandon until the flick and its characters akin give way at the seams as Minnelli'southward camera still inexplicably manages to capture the climbing, roaring fire.

Hither,…
"Poor Humanity, crazed with fear, was fleeing in all directions on hearing the thundering step of the Plague, War, Hunger and Death." ― Vicente Blasco Ibáñez, The Four Horsemen of the Apocalypse

This movie is only too darned long ... and miscast.

flickersintime.com/1962/four-horsemen-apocalypse/
Para los que hubiesen leído la obra de Blasco Ibáñez decir que seguramente les defraudará, ya que no sólo se obvian varios pasajes de gran fuerza en la novela, sinó que hacia la mitad de la película y hasta el last ya poco tiene que ver con ella.
Personajes tan importantes como el padre de Julio se diluyen incomprensiblemente, escenas vitales como por ejemplo la llegada del frente de guerra hasta el pueblo francés donde la familia tiene su mansión, simplemente desaparecen, las actuaciones flojean (Lee J. Coob resulta ridículo como el abuelo Madariga, Glenn Ford, que a mi juicio fue un player justito por no decir malo, naufraga en el papel de Julio, Ingrid Thulin sobreactuada...)
La película me ha decepcionado. Además, es demasiado larga.