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beelzeebub · 1 year

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Goncharov (1973) dir. Martin Scorsese

“The greatest mafia movie (n)ever made.”

#yeah sometimes i make fake posters ...#goncharov #martin scorsese #al pacino #Robert De Niro #Gene Hackman #Harvey Keitel #john cazale #cybill shepherd #my art

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ducktalk · 1 year

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georgeromeros · 3 months

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Superman: The Movie (1978) dir. Richard Donner

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melis-writes · 1 month

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SCARECROW (1973) dir. Jerry Schatzberg.

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lostwhump · 1 month

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The Quick and the Dead (1995)

#the quick and the dead #russell crowe #gene hackman #raynor scheine #whump #whumpedit #fyeahmovies #moviegifs #filmedit #userfilm #cinematv #cinemapix #filmtvdaily #perioddramasource #perioddramaedit #onlyperioddramas #western

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mirrorhouse · 8 months

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We can make it work, can't we? Can we make it work? 'Cause... God damn it. I just can't make it alone anymore.

GENE HACKMAN & AL PACINO as MAX & LION SCARECROW (1973) dir. Jerry Schatzberg

#scarecrow #scarecrow 1973 #gene hackman #al pacino #filmedit #movieedit #cinematv #fyeahmovies #dailyflicks #*#this fucking movey......#whatever!!! happy saturday

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nautilusopus · 1 year

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okay FIIIIIINE i'll throw my hat into the Goncharov ring

Been a while i've done a proper movie breakdown, may as well be this one.

Rather surprisingly (but perhaps not too surprisingly given the unexpected renaissance of things like the original Dracula and Breaking Bad on this website out of seemingly nowhere and with very little prompting), I'm seeing a lot of new people suddenly interested in Martin Scorsese's seminal film classic Goncharov, originally released in 1973. Obviously a movie like that doesn't make it coming up on 50 years without generating a lot of discussion about the different ways the movie resonates and why, but coming into it in 2022 there's been so much cultural cruft that's collected around Goncharov that (similar to stories like Fight Club and Scarface) it's a little hard to parse what it's actually about with all the mythologising that's gone on around the characters.

Those movies, in one way or another, are about portraying the downfall of their protagonists -- Fight Club's after ironically creating another system of control and dehumanisation and becoming what he sought to destroy, Scarface's after being consumed by the wealth and power he's amassed. A lot of people assume it's that kind of story, because aren't most well-loved movies? However, I think this is ironically an assumption made because of the genre of film it is. All the people that aren't going, "OMG Goncharov is so cool and badass and fucks bitches," are going, "WOW I can't believe Goncharov is a cautionary tale about power corrupting," and in the process people miss that Goncharov is first and foremost about loss, in all its different forms.

I'm both kind of surprised and frustrated people miss this, given how utterly pervasive the movie is with its clock symbolism -- it's the one thing everyone remembers about it, it was in all the tie-ins. I dunno, maybe that got funneled back into the theory where they're meant to reinforce how Goncharov is just a mortal man at the end of the day, which is fine I guess, but the movie overall becomes a lot clearer when you interpret it through the lens of, "These things are gone and you can never get them back; clocks don't go backwards."

One of the most fascinating things about the movie is how every character embodies a different kind of loss. I'm gonna ease into this and start not with Goncharov but with:

Rybak, who is usually associated with loss as we typically think of it, i.e. the loss of loved ones via death. This comes up all the time, either in his trust issues (why he's being such a prick at the wedding), in the card game (he never bothers to bet much money, knowing he's bad at poker, and still loses all the same). Rybak is terrified of loss, cannot manage it, and ultimately is punished by losing what few people he had left and then being spared by Lorenzo who deems him punished enough, and is forced to survive, to grapple with what his life is now without them.

Goncharov's is actually more subtle, and it's loss of small, insignificant things as a result of the larger losses he believes he's processed. This is something that's frequently contrasted against Rybak. The pawn shop going under is actually a microcosm of this whole thing. Goncharov anticipates that this is obviously going to lead to financial issues for him, plans accordingly to deal with this, and... it works! He's saved! Except that means card games can't be hosted at his place anymore, given it's burned to the ground. Does this matter, in the grand scheme of his life? No, of course not. Poker night still gets had all the same. But it is different now, and always will be. Little things like this continue to add up, until something as insignificant as a towel -- a towel that never should have been in his room, but Sofia is no longer there to drop off his laundry and chat with him -- is ultimately the final nail in a coffin built of insignificant splinters, each one an imperceptible change underneath the much more larger, noticeable story beats of things like grief.

Otto is the big obvious one I'm not gonna linger on: loss of his youth, moments in the past that he wants to redo but can't. Most people at least seem to have gotten this one.

(This is also what the clocks get associated with a lot, which again, doesn't NOT make sense but also if it were just for this one character that, while thematically important, was honestly just a side character with limited screentime and only two scenes, would they really be all over the movie before Otto's name is even mentioned?)

Sofia's a bit abstract, and is the loss of self -- of the familiar anchors we have to who we are, what we think our core principles are, our place in society, who we want to be to our loved ones -- and by the time she dies she is rendered utterly unrecognisable to herself, and is horrified by it. She grieves herself the same way Rybak grieves his wife (even gets a direct visual callback via the way her face is lit when she's burning Lorenzo's check). You see echoes of this in Goncharov as well, but while Sofia is grieving the person she used to be, Goncharov is grieving the world around him (even though really, it's the same world it always was -- time keeps ticking on, one second per second, and neither one of them can ever un-fire that gun).

Lorenzo, tragically, gradually loses his freedom (and maybe in a parallel world would actually be the protagonist of a movie where he chokes on his own hubris like everyone seems to think Goncharov is GRUMBLE GRUMBLE). As he comes into his own more and more by his family's legacy, he is afforded fewer and fewer options about what decisions he can even make. Arguably he was doomed from the start, but the further he clings to power as a means to freedom, the more it drives him to destroying everything he ever (thought he) cared about. The tragedy of his character, and what makes him a good villain, is that he can clearly see what he is doing to himself and he absolutely hates it (his walking out early at the wedding is a tacit admission of this), but his absolute refusal to accept loss, to accept grief and pain and all the awful shit that comes with the human condition, is what causes him to toss aside every out he has because if he has enough CONTROL over his situation, surely he will never have to lose anything ever again. But, really, he already has.

I dunno. Goncharov is one of those movies that is great, and everyone seems to realise it's great, but nobody ever really puts into words why, and that's how you get Fight Club fans lmao. And it sucks because the actual discussion around the movie beyond "it's another hubris story but REALLY GOOD guys" is so much more fascinating and a much more earnest emotional truth that just never gets talked about.

#goncharov #goncharov (1973)#martin scorsese #al pacino #robert di niro #gene hackman #harvey keitel #gaslight gatekeep goncharov

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luminouslumity · 5 months

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Happy Gonchiversary!

#goncharov #gene hackman #robert de niro #martin scorsese #al pacino #harvey keitel #cybil shepherd #john cazale

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vertigoartgore · 6 months

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The cast of Sam Raimi's underrated western The Quick and the Dead : Leonardo DiCaprio (before Titanic), Gene Hackman (soon after Unforgiven), Sharon Stone (after Basic Instinct) and Russell Crowe (some years before Gladiator).

#the quick and the dead #1995 #sam raimi #western #90's #90s #mid 90s #leonardo dicaprio #sharon stone #gene hackman #russell Crowe #duels #90s cinema #underrated #tragedy #vengeance #father vs son #pacifist

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internet-tears · 1 year

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no y’all don’t GET it. the fact that in every fucking scene when they talk goncharov stands to the left of andrey. that he stays out of the line of sight of his good eye. that in this way he uses the eye patch more than andrey uses it himself. it’s about the fear of being seen it’s about the developed behaviour of being hyper aware of your surroundings when you feel like you’ve been walking on eggshells your entire life it’s about subconsciously taking advantage of someone’s weakness it’s about unreliable narrators and limited pov but MOST IMPORTANTLY it’s about the fact that when andrey looks FORWARD into what lies ahead goncharov is never part of the picture because he chooses to stay out of frame out of his field of vision