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#gangster films
masterhallmark · 2 months
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NGL I can see why Poppy easily fell for this prettyboy mobster dumbass and left the other mobster guy
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Look at his dumb, pretty face.
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WHEN IS A MOVIE SCENE TOO VIOLENT? WHEN COPPOLA DECIDES TO CUT IT FROM HIS EPIC CRIME FILM.
PIC INFO: Spotlight on a deleted scene from Mario Puzo's "The Godfather" (1972), in which Michael returns to America to track down Fabrizio, his former Sicilian bodyguard and the man responsible for the death of his wife Apollonia. Finding him in a pizza parlor, Michael blows him away with a shotgun. The scene was ultimately cut from the film due to its graphic violence.
OVERVIEW: "In the "Godfather" book, Michael tracks down Fabrizio, the bodyguard that tried to kill him (but only succeeded in killing Apollonia). In "Part I," there is a scene that shows Michael recovering and ordering his men to find his former bodyguard. Coppola also filmed a scene in which Michael, toting a lupara just like Fabrizio, confronts him and blows him away, but it was so bloody that it was cut. But Coppola returned to it in "Part II," showing Michael getting the news that Fabrizio had been tracked down."
-- THE PASSION OF CHRISTOPHER PIERZNIK, "Some of My Favorite Deleted Scenes from “The Godfather” Films," published April 18, 2016
Source: https://christopherpierznik.com/2016/04/18/some-of-my-favorite-deleted-scenes-from-the-godfather-films.
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thecittiverse · 1 year
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Akademi High School, 1940. Detective Genka Kunahito and her flatfoot Student Council have got notorious drug runner Midori Gurin on the ropes. But what led this green-haired gangster spiraling into a life of crime? Find out in Dank Midori #224! I know Yanderedev reads this comic, so I expect answers to all of Midori's pressing questions in the comments! I do not own Yandere Simulator, this is only a fan parody. Like Dank Midori? Read 'em all here!
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On February 6, 2014 Goodfellas was re-released in Peru.
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Ghost Dog: The Way of the Samurai
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Samurai vs. gangsters sounds like the premise for a Hong Kong action film, but in the hands of Jim Jarmusch GHOST DOG: THE WAY OF THE SAMURAI (1999, Criterion Channel, Max, Prime, YouTube) emerges as a thoughtful, often very funny look at what leading man Forrest Whitaker describes as two dying cultures. Whittaker is a hit man who’s taken on the way of the samurai. He serves the aging gangster (John Tormey) who had saved him from some murderous thugs years earlier and is so devoted to his code that even when the mob turns on him, he can’t kill his master. That doesn’t stop him from going after the rest of the gang. In other hands, this could be a dreary exercise in self-conscious Existentialism. But Jarmusch fills it with deadpan humor.  These gangsters clearly are a dying breed. They hole up in a Chinese restaurant where they can barely pay the rent. Knowing that Whittaker lives in a rooftop shack and keeps pigeons but not where that is, they start checking out local rooftops, but some of them can barely make it up the stairs. And their dialog is filled with repetition and contradictions. By contrast, Whittaker is focused and supremely cool. He handles his kills like a machine but lights up when he’s training his pigeons or engaged in philosophical conversations with a little girl (Camille Winbush) he meets in a local park. The kills are intense and sometimes quite funny. And the actors playing the gangsters hit just the right note, with Cliff Gorman indulging in his love of hip hop and Henry Silva, as the weathered head of the mob, turning the pause into a fine art. Robby Muller did the evocative cinematography of Jersey City, and RZA put together a a very urban score laced with some well-chosen hip-hop numbers from artists like Will Williams and Public Enemy.
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notesonfilm1 · 1 year
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The American Soldier (Rainer Werner Fassbinder, West Germany, 1970)
  THE AMERICAN SOLDIER is not so much a pastiche of noir as a noirish dream incurred by watching American gangster films of the fifties and sixties. The plot is basic: Ricky (Karl Scheydt), a German-American Vietnam Vet returns to Munich and is hired as a contract killer by three policemen. The whodunnit element is negligible. There is no suspense. The psycho-sexual elements are heightened. It’s…
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lackadaisycats · 10 months
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Some art for the new, upcoming edition of the Lackadaisy Volume 2 book.
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Lackadaisy is on Patreon - there’s extra stuff!
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koko2unite · 9 months
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mordecai heller, in a dress, agree, reblog
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wizzard890 · 1 year
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this is my interest in Russian cultural history showing, but I think it's really fascinating that the characters in Scorsese's Goncharov exist as imagined Soviets, particularly as articulated from an American perspective in the early 70s.
Scorsese was, then as now, a great appreciator of world cinema, and he absolutely was aware of how the archetype of the Soviet man underwent a transformation during Gorbachev's Era of Stagnation. Gone was the clean-cut, traditional wartime hero, always holding Soviet values aloft. Even the fictional Soviet woman became more adrift, lost in a modern tide of isolation, loneliness, and individual despair. (This is so so brilliantly brought to bear in Katya, and really gives lie to the old canard that Scorsese doesn't imagine the inner lives of female characters.)
Goncharov is a grey, almost temporally unmoored character, one that was previously unimaginable in Soviet cinema, and what does it mean that this new archetype was articulated, by perhaps THE American director of the late 20th century, at such an intentional cultural remove?
Idk, I think the resurgence of interest in the film really gives us an opportunity to ask questions about a piece that has previously only been discussed through a broadly Marxist lens, instead of reckoning with wider forces within the Eastern European imagination. Put more simply, what did it mean for Americans to watch a transformation of the Soviet zeitgeist through a glass darkly, and what light does that shed on the "Russian" in the American mind today?
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lordofdestructionm · 1 year
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Sparing Ivy
He has no hesitation in trying to kill Rocky
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He very nearly headshots Freckle who only survives by the skin of his teeth
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But he has Ivy locked in his sights and could clearly take her out but chooses not to
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Why? If you have read my long ramble about the sentimentality of Mordecai Heller there could be a few factors at play
It could be that having been raised with his two sisters Mordecai can't stomach the idea of gunning down a young girl
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It may also be that Ivy is Atlas's goddaughter, and as much of Mordecai's motivation his tied to his desire to find out the truth about his death due to him being a surrogate father to him, he may feel that Atlas would be horrified by him doing it.
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It may also be (and this may be my feral Vikdecai side showing) that Mordecai knows how important Ivy is to Viktor as his surrogate daughter, and as he feels guilty about the kneecapping incident already, he doesn't want to do something that would cause him even more pain
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Could always be a combination of all three of course
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hotvintagepoll · 4 months
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Propaganda
Fred Astaire (Top Hat, Shall We Dance, Easter Parade)—no propaganda submitted
Paul Muni (Scarface)—no propaganda submitted
This is round 1 of the bracket. All other polls in this bracket can be found here. Please reblog with further support of your beloved hot sexy vintage man.
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retropopcult · 3 months
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Groucho Marx and Thelma Todd in Monkey Business (1931)
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IT'S GOOD FRIDAY TODAY -- BUT "THE LONG GOOD FRIDAY" IS WHERE IT'S REALLY AT.
PIC(S) INFO: Spotlight on out-of-print DVD box art to the classic British gangster/crime film "The Long Good Friday" (completed 1979, released theatrically in 1980), directed by John Mackenzie with a screenplay by Barrie Keefe. The film was released on Criterion DVD as Spine #26 in 1998.
MINI-OVERVIEW: "Bob Hoskins, in his breakthrough film role, stars as a London racketeer fast losing control of his gangland empire; Helen Mirren shines as his classy moll. John Mackenzie’s stylish thriller is a marriage of gangster flicks from both sides of the Atlantic."
-- CRITERION COLLECTION, c. 1998
Cinematography: Phil Meheux
Editing: Mike Taylor
Associate producer: Chris Griffin
Art director: Vic Symonds
Music: Francis Monkman
Sources: www.criterion.com/films/559-the-long-good-friday, Janis Films, The Quietus, Criterion Forum, The Criterion Contraption, various, etc...
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brother-emperors · 6 months
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HAPUNAN MO ANG AKING KATAWAN
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I can't...stop thinking about Sulla dedicating his memoirs to Lucullus.......what the fuck.....
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Plutarch, Lucullus (trans. Scott-Kilvert)
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Lucullus: A Life, Arthur Keaveney
I will probably redesign Lucullus the next time I draw him, but we are. getting somewhere. I want to give him darker hair, I think. but mostly this comic is because I've been playing U-Know's Reality Show album pretty regularly since it was released and Vuja De is one of those songs that really hits when I think about relationships people had with Sulla (either in the positive, negative, or generally kind of messy). it Inspires, it Compels, and I also just wanted to do a 9-panel grid layout because it's been awhile since I've done one. they're Satisfying
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On January 12, 2007 Fireworks was screened at the Goteborg International Film Festival.
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k-i-l-l-e-r-b-e-e-6-9 · 5 months
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