Went to MFAH to watch Little Buddah by Bernardo Bertolucci. Kuong and his date sat near me. By the subject of their conversation, I knew that it was their "first date". This Prick inconsiderate was cordial to the woman. His embellishment to the process of his job, to his facial expressions, to his voice, to the reason why he chose to be the manager of Sundance Houston Cinema, namely it is the service to the community, was repulsive. It was equally repulsive to think that the "sweet-talks" or "pitch" (I forgot the Fr. word for it) will disappear as soon as he obtains what he wants from the woman, whatever it is.
I did not watch the entire Little Buddah because of its Disney dialogue, Disney editing, Disney cinematography. Also because of the most usual insult to intelligence, i.e. the listing of the most elementary knowledge on Buddhism and the most elementary questions on Philosophy. It was nothing but mental masturbation. Also, Tibetan monks's dialogue and Indian character's dialogue were in English because Hollywood movies always must appease audiences who dislike to read subtitles. In my opinion, it is because they are too stupid or arrogant to learn second language because they think that, if you learn US English, there needs to be no more concern about another language because it is the only one that exists in their arrogant minds. One does not think or gain more knowledge about humanity or this universe after watching this movie. It is mental masturbation. (Is it the reason why Kuong brought his female company to the "first date" to this movie? Why didn't he bring her to Last Tango in Paris? Her reaction showed that she enjoyed the movie, which Kuong possibly predicted.)
The Italian professor of UH made a short lecture before screening. Did he do it because he found this juvenile and arrogant depiction of Buddhism "exotic"?
I hope Beseiged is better movie than Little Buddah.
A film is by definition a visual medium. What the fuck was Bertolucci thinking?
The difference between Last Tango in Paris and Little Buddah
The scene which made the deepest impresison on me in Last Tango in Paris is where 'Paul' reveals his history about parents and hometown for the first time. Camera stays with Marlon Brando's torso. He talks. It made deep impression on me because the dialogue is accurate and, more importantly, the shadow is accurate, id est, the character of Maria Schneider walks around 'Paul' while he is talking. And during the change of light on Marlon Brando's face, the shot does not change to Maria Schneider and does stay on Marlon Brando. It is why it evokes the memories of (past experience of audience).
Suppose during the monologue of 'Paul', the editing changes to Maria Schneider who interjections short sentences. It would have broken the emotion created by the change of light.
Little Buddah's editing. Change of cut whenever someone starts talking in a conversation. It is 'uncinematic' as Steven Soderberg put it.
The reason why this type of editing is uncinematic. If an audience sees only the moments when someone is talking, it is the equivalent of reading a novel which consists of nothing but dialogues, which is the worst kind. An audience cannot see expression of listener, expression of speaker, change of light, (the subjective opinion of space) of the filmmaker, (the subjective opinion of time) of the filmmaker.
I still cannot forgive the insult to my intelligence.
I did not watch the entire Little Buddah because of its Disney dialogue, Disney editing, Disney cinematography. Also because of the most usual insult to intelligence, i.e. the listing of the most elementary knowledge on Buddhism and the most elementary questions on Philosophy. It was nothing but mental masturbation. Also, Tibetan monks's dialogue and Indian character's dialogue were in English because Hollywood movies always must appease audiences who dislike to read subtitles. In my opinion, it is because they are too stupid or arrogant to learn second language because they think that, if you learn US English, there needs to be no more concern about another language because it is the only one that exists in their arrogant minds. One does not think or gain more knowledge about humanity or this universe after watching this movie. It is mental masturbation. (Is it the reason why Kuong brought his female company to the "first date" to this movie? Why didn't he bring her to Last Tango in Paris? Her reaction showed that she enjoyed the movie, which Kuong possibly predicted.)
The Italian professor of UH made a short lecture before screening. Did he do it because he found this juvenile and arrogant depiction of Buddhism "exotic"?
I hope Beseiged is better movie than Little Buddah.
A film is by definition a visual medium. What the fuck was Bertolucci thinking?
The difference between Last Tango in Paris and Little Buddah
The scene which made the deepest impresison on me in Last Tango in Paris is where 'Paul' reveals his history about parents and hometown for the first time. Camera stays with Marlon Brando's torso. He talks. It made deep impression on me because the dialogue is accurate and, more importantly, the shadow is accurate, id est, the character of Maria Schneider walks around 'Paul' while he is talking. And during the change of light on Marlon Brando's face, the shot does not change to Maria Schneider and does stay on Marlon Brando. It is why it evokes the memories of (past experience of audience).
Suppose during the monologue of 'Paul', the editing changes to Maria Schneider who interjections short sentences. It would have broken the emotion created by the change of light.
Little Buddah's editing. Change of cut whenever someone starts talking in a conversation. It is 'uncinematic' as Steven Soderberg put it.
The reason why this type of editing is uncinematic. If an audience sees only the moments when someone is talking, it is the equivalent of reading a novel which consists of nothing but dialogues, which is the worst kind. An audience cannot see expression of listener, expression of speaker, change of light, (the subjective opinion of space) of the filmmaker, (the subjective opinion of time) of the filmmaker.
I still cannot forgive the insult to my intelligence.
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