Tema: -Antología del Diálogo-

Una de mis escenas más preciadas, con más tensión verbal y psicológica que he visto:



Vicent Coccoti (Christopher Walker) Vs Clifford Worley (Dennis Hopper):

<blockquote>Quote:<hr>
COCCOTTI
I'm the Anti-Christ. You get me in a vendetta kind of mood, you will tell the angels in heaven that you had never seen pure evil so singularly personified as you did in the face of the man who killed you.

My name isVincenzo Coccotti. I work as a counsel for Mr. Blue Lou Boyle, the man your son stole from. I hear you were once a cop so I assume you've heard od before. Am I correct?

CLIFF
I've heard of Blue Lou Boyle.

COCCOTTI
I'm glad. Hopefully that will clear up the how-full-of-shit-I-am question you've been asking yourself. Now, we're gonna have a little Q and A, and, at the risk of sounding redundant, please make your answers genuine. (taking out a pack of Chesterfields) Want a Chesterfield?

CLIFF
No.

COCCOTTI
(as he lights up)
I have a son of my own. About you boy's age. I can imagine how painful this must be for you. But Clarence and that bitch-whore girlfriend of his brought this all on themselves. And I implore you not to go down the road with 'em. You can always take comfort in the fact that you never had a choice.

CLIFF
Look, I'd help ya if I could, but I haven't seen Clarence -

Before Cliff can finish his sentence, Coccotti slams him hard in the nose with his fist.

COCCOTTI
Smarts, don't it? Gettin' slammed in the nose fucks you all up. You got that pain shootin' through your brain. Your eyes fill up with water. It ain't any kind of fun. But what I have to offer you. That's as good as it's ever gonna get, and it won't ever get that good again. We talked to your neighbors. They saw a Mustang, a red Mustang, Clarence's red Mustang, parked in front of your trailer yesterday. Mr. Worley, have you seen your son?

Cliff's defeated.

CLIFF
I've seen him.

COCCOTTI
Now I can't be sure of how much of what he told you. So in the chance you're in the dark about some of this, let me shed some light. That whore
your boy hangs around with, her pimp is an associate of mine, and I don't just mean pimpin', in other affairs he works for me in a courier capacity. Well, apparently, that dirty little whore found out when we're gonna do somebusiness, 'cause your son, the cowboy and his flame, came in the room blastin' and didn't stop till they were pretty sure everybody was dead.

CLIFF
What are you talkin' about?

COCCOTTI
I'm talkin' about a massacre. They snatched my narcotics and hightailed it outta there. Wouldda gotten away with it, but your son, fuckhead that he is, left his driver's license in a dead guy's hand. A whore hiding in the commode filled in all the blanks.

CLIFF
I don't believe you.

COCCOTTI
That's of minor importance. But what's of major fuckin' importance is that I believe you. Where did they go?

CLIFF
On their honeymoon.

COCCOTTI
I'm gettin' angry askin' the same question a second time. Where did they
go?

CLIFF
They didn't tell me.

Coccotti looks at him.

CLIFF
Now, wait a minute and listen. I haven't seen Clarence in three years Yesterday he shows up here with a girl, sayin' he got married. He told me he needed some quick cash for a honeymoon, so he asked if he could borrow five hundred dollars. I wanted to help him out so I wrote out a check. We
went to breakfast and that's the last I saw of him. So help me God. They never thought to tell me where they were goin'. And I never thought to ask.

Coccotti looks at him for a long moment. He then gives Virgil a look. Virgil, quick as greased lightning, grabs Cliff's hand and turns it palm up. He then whips out a butterfly knife and slices Cliff's palm open and pours Chivas Regal on the wound. Cliff screams.

Coccotti puffs on a Chesterfield.

Tooth-pic Vic returns to the trailer, and reports in Italian that there's nothing in the car.

Virgil walks into the kitchen and gets a dishtowel. Cliff holds his bleeding palm in agony. Virgil hands him the dishtowel. Cliff uses it to wrap up his hand.

COCCOTTI
Sicilians are great liars. The best in the world. I'm a Sicilian. And my old man was the world heavyweight champion of Sicilian liars. And from growin' up with him I learned the pantomime. Now there are seventeen different things a guy can do when he lies to give him away. A guy has
seventeen pantomimes. A woman's got twenty, but a guy's got seventeen. And if you know 'em like ya know your own face, they beat lie detectors to hell. What we got here is a little game of show and tell. You don't wanna
show me nothin'. But you're tellin' me everything. Now I know you know where they are. So tell me, before I do some damage you won't walk away from.

The awful pain in Cliff's hand is being replaced by the awful pain in his heart. He looks deep into Coccotti's eyes.

CLIFF
Could I have one of those Chesterfields now?

COCCOTTI
Sure.

Coccotti leans over and hands him a smoke.

CLIFF
Got a match?

Cliff reaches into his pocket and pulls out a lighter.

CLIFF
Oh, don't bother. I got one.
(he lights the cigarette)
So you're a Sicilian, huh?

COCCOTTI
(intensly)
Uh-huh.

CLIFF
You know I read a lot. Especially things that have to do with history. I find that shit fascinating. In fact, I don't know if you know this or not, Sicilians were spawned by niggers.

All the men stop what they were doing and look at Cliff, except for Tooth-pic Vic who doesn't speak English and so isn't insulted. Coccotti can't believe what he's hearing.

COCCOTTI
Come again?

CLIFF
It's a fact. Sicilians have nigger blood pumpin' through their hearts. If you don't believe me, look it up. You see, hundreds and hundreds of years ago the Moors conquered Sicily. And Moors are niggers. Way back then, Sicilians were like the wops in northern Italy. Blond hair, blue eyes. But,
once the Moors moved in there, they changed the whole country. They did so much fuckin' with the Sicilian women, they changed the blood-line for ever, from blond hair and blue eyes to black hair and dark skin. I find it absolutely amazing to think that to this day, hundreds of years later,
Sicilians still carry that nigger gene. I'm just quotin' history. It's a
fact. It's written. Your ancestors were niggers. Your great, great, great,
great, great-grandmother was fucked by a nigger, and had a half-nigger kid.
That is a fact. Now tell me, am I lyin'?

COCCOTTI
I haven't killed anybody since 1974. Goddamn his soul to burn for eternity in fuckin' hell for makin' me spill blood on my hands! Go to this comedian's son's apartment and come back with somethin' that tells me where that asshole went so I can wipe this egg off of my face and fix this fucked-up family for good.<hr></blockquote>


Siento no tener dvd en el pc para capturar el momento y que esté en VO.

Saludos.







You said I´m funny, funny how? Do I amuse you, like a clown?..............</p>Editado por: <A HREF=http://pub132.ezboard.com/upojavi.showPublicProfile?language=ES>pojavi</A>* fecha: 9/15/02 8:38:31 pm

Un momento absolutamente genial en una película más bien flojita. Walken y Hopper se salen.

</p>

Completamente de acuerdo.

El dialogo en sí es genial y todos los actores que interpretanm la escena están sublimes.

Yo me quedo con la imagen (es un segundo) en que Clifford Worley da la última calada al cigarro, sabiendo que va a morir.

La música es perfecta también.







</p>

</p>

Gracias por la captura Swetsister.

Hombre, a mi la peli no me parece flojita, es una peli de acción con muy buenos diálogos. No es Murnau, Wilder, etc, pero sin lugar a dudas es una de mis pelis preferidas. Típicas pelis que no son obras maestras, pero con las que disfrutas tremendamente.

Saludos.

You said I´m funny, funny how? Do I amuse you, like a clown?..............</p>

A mí más que nada me la estropea lo poco que me gusta Christian Slater como protagonista.

</p>

En mi primer post, cuando decia 'completamente de acuerdo', me refería a tu primer mensaje, Pojavi, no a la respuesta de Nandokin.

A mi TODA la peli me parece muy buena.

Saludos.

</p>

Hey:

Amor a Quemarropa es MUY buena, o al menos lo es el recuerdo que guardo de las dos veces que la he visto: es frenética, tensa, dura, salvaje, romantica, y brillante en todos los aspectos. Una peli de culto.

Como secuencia que para mi pasó a los anales (je) de la historia: aquella en la que el maton va a por la chica, y la tira contra la bañera, y la mete de hostias, hasta que ella coje cierto objeto.... de lo mas impactante que he visto en un film comercial...


saludos

</p>

</p>

Sweetsister, tienes razón, ha sido un malentendido, es que he redactado mal la respuesta. Lo primera iba a tí, y lo sengundo era respodiendo a Nandokin.

Otro brillante diálogo que recordéis con agrado?.

Saludos.



You said I´m funny, funny how? Do I amuse you, like a clown?..............</p>

El que tienes de firma, por ejemplo. Escena improvisada entera por Pesci y Liotta, ambos geniales.

Otro que he descubierto hace poco en "Traidor en el infierno" es cuando un soldado que lleva mucho tiempo prisionero lee una carta de su mujer en voz alta y era algo así:
-....cariño, no te vas a creer lo que me ha pasado, me encontré un bebé en la puerta de casa y he decidido quedármelo, no te lo vas a creer pero se parece muchísimo a mí...
Entonces se detiene y dice: ¿porqué no para de decir que no me lo creo? Me lo creo.... me lo creo...

Bueno así escrito queda mal pero cuando lo ves es tronchante.

</p>

Nandokin, me has leido el pensamiento, la escena de Uno de los Nuestros entre Pesci y Liotta es sublime, la tensión es brutal. Recomiendo que sea vista en VO en la que puede apreciarse la peculiar voz de Joe Pesci, chiquitito, matón y con una voz ridícula, lo aumenta el contraste entre su apariencia y su mala leche.

En casa tengo el guión, cuando llegue, pongo esa parte.

Oye, no me suena nada la peli de la que has hablado, quienes actuan, quién dirige.......

Saludos.

You said I´m funny, funny how? Do I amuse you, like a clown?..............</p>

Traidor en el infierno (Stalag 17), dirigida por Billy Wilder, protagonizada por William Holden (ganó el oscar), Otto Preminger y Don Taylor.

De Goodfellas también magistral el comienzo, cuando Pesci acuchilla al mafioso en el maletero y hay un zoom a la cara de Ray Liotta y se escucha en voz en off:
"Que yo recuerde, siempre quise ser un ganster" y entra la música. Perfecto.

</p>

Vaya, de Wilder, pues tendré que ponerme a buscarla, gracias por la info.

El título de la canción de Goodfellas que entra en ese momento es "rag to riches", la tenía puesta en el pc cada vez que iniciaba una sesión. Tuve hace poco esa frase también como firma.

Saludos.


You said I´m funny, funny how? Do I amuse you, like a clown?..............</p>

Cualquiera de las pelis del gran Billy Wilder, pero en especial, la antológica "Uno, dos, tres".

_____________________
¿Por qué debería preocuparme por la posteridad? ¿Qué ha hecho la posteridad por mí?</br>
<a href=http://www.dvdprofiler.com/mycollection.asp?alias=xavigali>mis dvd's</a></br></p>

En mi opinión, "AMOR A QUEMARROPA" es una magnífica película tremendamente divertida, con personajes estrambóticos delirantes y diálogos impagables.
Como bien dices, pojavi, el diálogo entre Walken y Hopper es extraordinario, acompañado por el grandioso tema extraído de la Ópera "Lakme", que beneficia en mucho a la trascendencia que adoptan las palabras.
En fin, que tiene muchos aspectos interesantes, entre ellos un gran reparto y un brillante guión de Tarantino, cómo no.
Probablemente, la MEJOR película de Tony Scott hasta la fecha.

Otra cosa: el final de esta película y el final de "KILLING ZOE" son prácticamente idénticos. Recordemos que el director de "KILLING ZOE" es Roger Avary, socio de Tarantino y co-guionista no acreditado de "AMOR A QUEMARROPA". Supongo que de ahí viene la copia del final.



<img src=http://www6.gratisweb.com/davebowman/image2.jpg></p>Editado por: <A HREF=http://pub132.ezboard.com/bmundodvd43132.showLocalUserPublicProfile?login=da vebowman>Dave Bowman</A> fecha: 9/16/02 1:58:42 pm

No he visto Killing Zoe, así que ya tengo excusa para verla. Con el final que te refieres al argumento, porque también trata el tema de las drogas, un atraco o algo así; o a la escena de la playa. Mira que he tenido ocasiones de verla, pero como tampoco me hablaron muy bien de ella..........

Saludos.

You said I´m funny, funny how? Do I amuse you, like a clown?..............</p>

A mi Killing Zoe me pareció una estupidez de proporciones bíblicas, estúpida, aburrida... (añadir lo que queráis). Por cierto Roger Avary y Tarantino no se hablan desde los tiempos de Pulp Fiction, por lo visto el guión es entero de Tarantino pero Avary alegó que la idea de la historia del boxeador era suya y obligó a que su nombre apareciera como guionista. Si puedo esta tarde os copio lo que viene en uno de los libros del Dirigido.


-----------------------------------------------------------------------
The report read "Routine retirement of a replicant."
That didn't make me feel any better about shooting a woman in the back.
-----------------------------------------------------------------------
</p>

Tengo entendido que el autor del argumento de la historia El reloj de oro fue Avary, y Tarantino se la compró, para reescribirla e integrarla en las otras historias. No creo que quedara mucho de la historia original ni que Avary merezca mucho crédito, pero Tarantino podía por lo menos haberlo acreditado como autor parcial de esa historia.

El propio Avary expone su opinión sobre Tarantino en su página. Si pulsas su nombre enlaza a una canción de Jesucristo Superstar, cantada por Judas. Muy sutil, si señor.

www.avary.com/theskinny/theskinny.html

</p>Editado por: <A HREF=http://pub132.ezboard.com/unandokin.showPublicProfile?language=ES>Nandokin</A> fecha: 9/16/02 3:26:39 pm

De "All about Eve"

<blockquote>Quote:<hr> Addison and Eve stand before the theater admiring her photo
on a lobby display. None of the actors are starred.

ADDISON'S VOICE
To the Theater world - New Haven,
Connecticut, is a short stretch of
sidewalk between the Shubert
Theater and the Taft Hotel,
surrounded by what looks very much
like a small city. It is here that
managers have what are called out
of-town openings - which are
openings for New Yorkers who want
to go out of town...

They start for the hotel - Eve's arm through Addison's.

EVE
What a day - what a heavenly day...

ADDISON
D-day.

EVE
Just like it.

ADDISON
And tomorrow morning you will have
won your beachhead on the shores of
Immortality...

EVE
(grins)
Stop rehearsing your column...
Isn't it strange, Addison?
I thought I'd be panic-stricken,
want to run away or something.
Instead, I can't wait for tonight
to come. To come and go...

ADDISON
Are you that sure of tomorrow?

EVE
Aren't you?

ADDISON
Frankly - yes.

They've arrived in front of the hotel.

EVE
It'll be a night to remember. It'll
bring to me everything I've ever
wanted. The end of an old road -
and the beginning of a new one...

ADDISON
All paved with diamonds and gold?

EVE
You know me better than that.

ADDISON
Paved with what, then?

EVE
Stars.

She goes in. Addison follows her.

INT. CORRIDOR - TAFT HOTEL - DAY

Addison accompanies Eve along the corridor to her door.

EVE
What time?

ADDISON
Almost four.

EVE
Plenty of time for a nice long nap -
we rehearsed most of last night...

ADDISON
You could sleep, too, couldn't you?

EVE
Why not?

They've arrived at her door. She opens it.

ADDISON
The mark of a true killer.
(he holds out his hand)
Sleep tight, rest easy - and come
out fighting...

EVE
Why'd call me a killer?

ADDISON
Did I say killer? I meant champion.
I get my boxing terms mixed.

He turns to go. After a few steps-

EVE
(calling)
Addison-
(he pauses)
- come on in for just a minute,
won't you? There's... I've got
something to tell you.

Addison turns curiously, and enters behind her.

INT. EVE'S SUITE - TAFT HOTEL - DAY

Old-fashioned, dreary and small. The action starts in the
living room and continues to the bedroom.

Addison closes the door, crosses to a comfortable chair.

ADDISON
Suites are for expense accounts.
Aren't you being extravagant?

EVE
Max is paying for it. He and Lloyd
had a terrific row but Lloyd
insisted... well. Can I fix you a
drink?

She indicates a table elaborately stocked with liquor,
glasses, etc. Addison's eyebrows lift.

ADDISON
Also with the reluctant compliments
of Max Fabian.

EVE
Lloyd. I never have any, and he
likes a couple of drinks after we
finish - so he sent it up...

ADDISON
Some plain soda.
(Eve starts to fix it)
Lloyd must be expecting a record
run in New Haven...

EVE
That's for tonight. You're invited.
We're having everyone up after the
performance.

ADDISON
We're?

EVE
Lloyd and I.

She carries the soda to him, sits on an ottoman at his feet.

ADDISON
I find it odd that Karen isn't here
for the opening, don't you?

He sips his soda and puts away, carefully avoiding a look at
Eve. As he looks back-

EVE
Addison...

ADDISON
(blandly)
She's always been so fantastically
devoted to Lloyd. I would imagine
that only death or destruction
could keep her-

EVE
(breaks in)
Addison, just a few minutes ago.
When I told you this would be a
night to remember - that it would
bring me everything I wanted-

ADDISON
(nods)
- something about an old road
ending and a new one starting -
paved with stars...

EVE
I didn't mean just the Theater.

ADDISON
What else?

Eve gets up, crosses to look out over the Common.

EVE
(her back to him)
Lloyd Richards. He's going to leave
Karen. We're going to be married.

For just a flash, Addison's eyes narrow coldly, viciously.
Then they crinkle into a bland smile.

ADDISON
So that's it. Lloyd. Still just the
Theater, after all...

EVE
(turns; shocked)
It's nothing of the kind! Lloyd
loves me, I love him!

ADDISON
I know nothing about Lloyd and his
loves - I leave those to Louisa May
Alcott. But I do know you.

EVE
I'm in love with Lloyd!

ADDISON
Lloyd Richards is commercially the
most successful playwright in
America-

EVE
You have no right to say such
things!

ADDISON
- and artistically, the most
promising! Eve dear, this is
Addison.

Eve drops her shocked manner like a cape. Her face lights up -
she crosses back to the ottoman.

EVE
Addison, won't it be just perfect?
Lloyd and I - there's no telling
how far we can go... he'll write
great plays for me, I'll make them
be great!
(as she sits)
You're the only one I've told, the
only one that knows except Lloyd
and me...

ADDISON
... and Karen.

EVE
She doesn't know.

KAREN
She knows enough not to be here.

EVE
But not all of it - not that Lloyd
and I are going to be married.

ADDISON
(thoughtfully)
I see. And when was this unholy
alliance joined?

EVE
We decided the night before last,
before we came up here...

ADDISON
(increasingly tense)
Was the setting properly romantic -
the lights on dimmers, gypsy
violins off stage?

EVE
The setting wasn't romantic, but
Lloyd was. He woke me up at three
in the morning, banging on my door -
he couldn't sleep, he told me -
he's left Karen, he couldn't go on
with the play or anything else
until I promised to marry him... we
sat and talked until it was light.
He never went home...

ADDISON
You sat and talked until it was
light...

EVE
(meaningly)
We sat and talked, Addison. I want
a run of the play contract.

ADDISON
(quietly)
There never was, there'll never be
another like you.

EVE
(happily)
Well, say something - anything!
Congratulations, skol - good work,
Eve!

Addison rises slowly, to his full height. As Eve watches him,
as her eyes go up to his, her smile fades-

ADDISON
What do you take me for?

EVE
(cautiously)
I don't know what I take you for
anything...

ADDISON
(moving away)
It is possible - even conceivable -
that you've confused me with that
gang of backward children you've
been playing tricks on - that you
have the same contempt for me that
you have for them?

EVE
I'm sure you mean something by
that, Addison, but I don't know
what...

ADDISON
Look closely, Eve, it's time you
did. I am Addison deWitt. I'm
nobody's fool. Least of all -
yours.

EVE
I never intended you to be.

ADDISON
Yes, you did. You still do.

Eve gets up, now.

EVE
I still don't know what you're
getting at. Right now I want to
take my nap. It's important that I-

ADDISON
(breaks in)
- it's important right now that we
talk. Killer to killer.

EVE
(wisely)
Champion to champion.

ADDISON
Not with me, you're no champion.
You're stepping way up in class.

EVE
Addison, will you please say what
you have to say plainly and
distinctly - and then get out so I
can take my nap!

ADDISON
Very well, plainly and distinctly.
Although I consider it unnecessary -
because you know as well as I, what
I am about to say.
(they are now facing each
other)
Lloyd may leave Karen, but he will
not leave Karen for you.

EVE
What do you mean by that?

ADDISON
More plainly and more distinctly? I
Have not come to New Haven to see
the play, discuss your dreams, or
to pull the ivy from the walls of
Yale! I have come to tell you that
you will not marry Lloyd - or
anyone else - because I will not
permit it.

EVE
What have you got to do with it?

ADDISON
Everything. Because after tonight,
you will belong to me.

EVE
I can't believe my ears...

ADDISON
A dull cliche.

EVE
Belong - to you? That sound
medieval - something out of an old
melodrama...

ADDISON
So does the history of the world
for the past twenty years. I don't
enjoy putting it as bluntly as
this, frankly I had hoped that you
would, somehow, have known - have
taken it for granted that you and
I...

EVE
... taken it for granted? That you
and I...

She smiles. Then she chuckles, then laughs. A mistake.
Addison slaps her sharply across the face.

ADDISON
(quietly)
Remember as long as you live, never
to laugh at me. At anything or
anyone else - but never at me.

Eve eyes him coldly, goes to the door, throws it open.

EVE
Get out!

Addison walks to the door, closes it.

ADDISON
You're too short for that gesture.
Besides, it went out with Mrs.
Fiske.

EVE
Then if you won't get out, I'll
have you thrown out.

She goes to the phone.

ADDISON
Don't pick it up! Don't even put
your hand on it...

She doesn't. Her back is to him. Addison smiles.

ADDISON
Something told you to do as I say,
didn't it? That instinct is worth
millions, you can't buy it, cherish
it, Eve. When that alarm goes off,
go to your battle stations...

He comes up behind her. Eve is tense and wary.

ADDISON
Your name is not Eve Harrington. It
is Gertrude Slescynski.

EVE
What of it?

ADDISON
It is true that your parents were
poor. They still are. And they
would like to know how you are -
and where. They haven't heard from
you for three years...

EVE
(curtly)
What of it?

She walks away. Addison eyes her keenly.

ADDISON
A matter of opinion. Granted. It is
also true that you worked in a
brewery. But life in the brewery
was apparently not as dull as you
pictured it. As a matter of fact,
it got less and less dull - until
you boss's wife had your boss
followed by detectives!

EVE
(whirls on him)
She never proved anything, not a
thing!

ADDISON
But the $500 you got to get out of
town brought you straight to New
York - didn't it?

Eve turns and runs into the bedroom, slamming the door.
Addison opens it, follows close after her... he can be seen
in the bedroom, shouting at Eve who is offscene.

ADDISON
That $500 brought you straight to
New York - didn't it?

INT. BEDROOM - DAY

Eve, trapped, in a corner of the room.

EVE
She was a liar, she was a liar!

ADDISON
Answer my question! Weren't you
paid to get out of town?

Eve throws herself on the bed, face down, bursts in tears.
Addison, merciless, moves closer.

ADDISON
Fourth. There was no Eddie - no
pilot - and you've never been
married! That was not only a lie,
but an insult to dead heroes and to
the women who loved them...
(Eve, sobbing, puts her
hands over her ears;
Addison, closer, pulls
them away)
... Fifth. San Francisco has no
Shubert Theater and North Shore,
you've never been to San Francisco!
That was a stupid lie, easy to
expose, not worthy of you...

Eve twists to look up at him, her eyes streaming.

EVE
I had to get in, to meet Margo! I
had to say something, be somebody,
make her like me!

ADDISON
She did like you, she helped and
trusted you! You paid her back by
trying to take Bill away!

EVE
That's not true!

ADDISON
I was there, I saw you and heard
you through the dressing room door!

Eve turns face down again, sobbing miserably.

ADDISON
You used my name and my column to
blackmail Karen into getting you
the part of "Cora" - and you lied
to me about it!

EVE
(into the bed)
No-no-no...

ADDISON
I had lunch with Karen not three
hours ago. As always with women who
want to find out things, she told
more than she learned...
(he lets go of her hands)
... do you want to change your
story about Lloyd beating at your
door the other night?

Eve covers her face with her hands.

EVE
Please... please...

Addison get off the bed, looks down at her.

ADDISON
That I should want you at all
suddenly strikes me as the height
of improbability. But that, in
itself, is probably the reason.
You're an improbable person, Eve,
and so am I. We have that in
common. Also a contempt for
humanity, an inability to love or
be loved, insatiable ambition - and
talent. We deserve each other. Are
you listening to me?

Eve lies listlessly now, her tear-stained cheek against the
coverlet. She nods.

ADDISON
Then say so.

EVE
Yes, Addison.

ADDISON
And you realize - you agree how
completely you belong to me?

EVE
Yes, Addison.

ADDISON
Take your nap, now. And good luck
for tonight.

He starts out.

EVE
(tonelessly)
I won't play tonight.
(Addison pauses)
I couldn't. Not possibly. I
couldn't go on...

ADDISON
(smiles)
Couldn't go on? You'll give the
performance of your life.

He goes out. The CAMERA REMAINS on Eve's forlorn, tear
stained face. Her eyes close... she goes to sleep.

<hr></blockquote>

_____________________
¿Por qué debería preocuparme por la posteridad? ¿Qué ha hecho la posteridad por mí?</br>
<a href=http://www.dvdprofiler.com/mycollection.asp?alias=xavigali>mis dvd's</a></br></p>

No, no me refiero a lo de la playa, pojavi. Si te digo exactamente cuál es la parte idéntica, te reventaré el final.

Pero bueno, si a pesar de todo, lo quieres saber, te lo diré:
SPOLIER.....................SPOILER............... .......SPOILER DEL FINAL DE KILLING ZOE
Resulta que la escapada de Slater y Arquette del lugar del tiroteo se repite exactamente en KILLING ZOE, siendo sustituidos por Eric Stoltz y Julie Delpy. Es decir, salen de la masacre con el chico malherido y la chica ayudándole, pero los polis creen que ambos han sido víctimas de los atracadores y por eso les dejan marchar. Es lo mismito que ocurre en AMOR A QUEMARROPA. Así pues, el personaje masculino sale de rositas gracias a la ayuda del femenino y a la confusión creada por la matanza y la destrucción.
Ya dije que esa copia se habrá debido a que Avary colaboró en el guión de AMOR A QUEMARROPA, posiblemente siendo él mismo el que ideó la escapada de los amantes.
FIN DEL SPOILER........................................... .................................................. ............................

KILLING ZOE no es una gran película, eso está claro. PERO tiene su encanto al mostrar con una inmoralidad y crudeza pocas veces vista las andanzas de una banda de atracadores marginales. Estos tipos no son tíos enrollados, ni gente guay que caiga bien. No, ellos son pura escoria, pura basura, tipos de una brutalidad sin límite.
El líder es un psicópata terrorífico completamente desequilibrado y bestialmente interpretado por Jean Hugues Anglade y el protagonista (Eric Stoltz) es una americano que viaja a Paris para unirse a esa banda y atracar un banco. Por su parte, Delpy es una prostituta que se enrolla con Stoltz.
La noche previa al atraco todos se van de charanga al underground parisino: un lugar oscuro, deprimente, inquietante, sucio y desagradable. Consumirán todo tipo de drogas y demás, y al día siguiente cometerán un atraco absolutamente violento y sanguinario.
Naturalmente, las pinceladas de humor negro son numerosas, lo que contribuye a quitar un poco de hierro al asunto.
Durante el robo del banco, la demencia de los personajes y las situaciones va a más, desencadenando en un baño de sangre.

KILLING ZOE no es una película despreciable completamente. Tiene aspectos de interés, principalmente porque se podría definir como una película dirigida por un Tarantino "colocado" hasta las cejas.
Personalmente, no me disgustó, aunque entiendo que posee muuuuuuuuchos defectos.

A propósito, Tarantino es productor ejecutivo de KILLING ZOE. Es probable que algo tenga que ver en ella.



<img src=http://www6.gratisweb.com/davebowman/image2.jpg></p>Editado por: <A HREF=http://pub132.ezboard.com/bmundodvd43132.showLocalUserPublicProfile?login=da vebowman>Dave Bowman</A> fecha: 9/16/02 4:46:48 pm

Eastwood entrando en el FINAL de la película "Unforgiven" y preguntando:

"¿ QUIEN ES EL DUEÑO DE ESTA POCILGA ?... Tú, BOLA DE GRASA, CONTESTA!!" Su "conversación" con Hackman y sus frases hasta que se va del pueblo... mientras afuera la lluvia cae....

"lo importante es mantener la cabeza fría y el gatillo caliente"</p>

Me encantan los rótulos que aparecen al final de Sin Perdón cuando pone lo de que la madre de Claudia no encontró nada en la lápida que le dijera porqué su hija se había casado con un hombre notoriamente violento e inmoral (algo así, lo digo de memoria).
Vaya pedazo de final perfecto, te deja una sensación de esas veces que dices: he visto una obra maestra. Por cierto que próximamente habrá una edición especial con muchas horas de extras y una pinta cojonuda.

</p>Editado por: <A HREF=http://pub132.ezboard.com/unandokin.showPublicProfile?language=ES>Nandokin</A> fecha: 9/16/02 5:38:09 pm

Los diálogos entre el frío astronauta Dave Bowman y el avanzado ordenador HAL 9000 son históricos. En ellos, es posible apreciar que la máquina es casi más humana que el propio ser humano: otra de las "puyas" que Kubrick solía "regalar" a nuestra especie.

Por un lado, tenemos el angustioso "asesinato" de HAL 9000:
<blockquote>Quote:<hr> [HAL's shutdown]
HAL: I'm afraid. I'm afraid, Dave. Dave, my mind is going. I can feel it. I can feel it. My mind is going. There is no question about it. I can feel it. I can feel it. I can feel it. I'm a...fraid. Good afternoon, gentlemen. I am a HAL 9000 computer. I became operational at the H.A.L. plant in Urbana, Illinois on the 12th of January 1992. My instructor was Mr. Langley, and he taught me to sing a song. If you'd like to hear it I can sing it for you.
Dave Bowman: Yes, I'd like to hear it, HAL. Sing it for me.
HAL: It's called "Daisy."
[sings while slowing down]
HAL: Daisy, Daisy, give me your answer do. I'm half crazy all for the love of you. It won't be a stylish marriage, I can't afford a carriage. But you'll look sweet upon the seat of a bicycle built for two. <hr></blockquote>

y, por otro lado, la negativa de HAL a abrir las compuertas que permitan entrar en la nave a Bowman y a su compañero, rescatado por aquél:
<blockquote>Quote:<hr> Dave Bowman: Hello, HAL do you read me, HAL?
HAL: Affirmative, Dave, I read you.
Dave Bowman: Open the pod bay doors, HAL.
HAL: I'm sorry Dave, I'm afraid I can't do that.
Dave Bowman: What's the problem?
HAL: I think you know what the problem is just as well as I do.
Dave Bowman: What are you talking about, HAL?
HAL: This mission is too important for me to allow you to jeopardize it.
Dave Bowman: I don't know what you're talking about, HAL?
HAL: I know you and Frank were planning to disconnect me, and I'm afraid that's something I cannot allow to happen.
Dave Bowman: Where the hell'd you get that idea, HAL?
HAL: Dave, although you took thorough precautions in the pod against my hearing you, I could see your lips move.

--------------------------------------------------------------------------------
[HAL won't let Dave into the ship]
Dave Bowman: All right, HAL; I'll go in through the emergency airlock.
HAL: Without your space helmet, Dave, you're going to find that rather difficult.
Dave Bowman: HAL, I won't argue with you anymore! Open the doors!
HAL: Dave, this conversation can serve no purpose anymore. Goodbye. <hr></blockquote>

¿Por qué se niega HAL a obedecer las órdenes de Bowman?... Porque, posiblemente, sabe que si la misión continuara CON EL HUMANO, Bowman lograría evolucionar hacia otro nivel superior, momento en el que la existencia de HAL sería inútil. El hombre ya no necesitaría a las máquinas.



<img src=http://www6.gratisweb.com/davebowman/image2.jpg></p>Editado por: <A HREF=http://pub132.ezboard.com/bmundodvd43132.showLocalUserPublicProfile?login=da vebowman>Dave Bowman</A> fecha: 9/16/02 6:14:30 pm

Dave, definitivamente si puedo veré Killing Zoe, aunque sea pa criticarla.

Sobre la relación entre Hal y Bowman: ésta parte parece menos críptica que el resto de la peli, será porque somos creadores y objetos creados. Hace bastantes años que no la veo, pero el viaje sideral de final me dejó en su momento bastante descolocado, aquí ya no trata el tema de la inteligencia artificial, sino pasa a dimensiones, tocando los límites del universo, no sé, muy metafísico.

Saludos.

You said I´m funny, funny how? Do I amuse you, like a clown?..............</p>