/film/ - Film

so, war epics?

this classic for sure

>>6043

Oh yes, one of the most famed Soviet films, lauded by it's timely depiction of a strong, flawed young woman in times of war. Without a doubt one of it's kind. But the truth is that it's not very good. Rather, it was good up until the last five minutes. I see a solid character work; I can appreciate the take on Jungian archetypes, and I liked the well shot imagery in it, but then in the last instants the filmmaker decided to make across his message on marriage in a brief and hamfisted manner and went in a totally opposite direction of what the film had pre-stablished as it's diegetic truth. The subtlety, pessimistic and agonizing build up is abruptly discarded and replaced by a joyful, old style "message of the day" ending that didn't work. It's pretty disappointing, I think it could've been better. Not a bad film though.

The Best Years of Our Lives (1946) - follows American soldiers returning to society in the aftermath of WWII

Le silence de la mer (1949) - JP Melville's minimalist debut film about a Nazi officer that comes to a small French village. An excellent example of rogue independent filmmaking. Also see his take on the French Resistance in L'armée des ombre (1969)

Some that I haven't seen yet but probably qualify - J'accuse, Doctor Zhivago, Gods and Generals, Human Condition trilogy

I would also like to watch more Russian war films in general.

And some obvious ones for the sake of completeness - The Deer Hunter, Casablanca (even if it's a tad overrated), The Third Man, Ivan's Childhood, All Quiet on the Western Front, Paths of Glory

>>6142

I've seen most of the other films mentioned in this thread except Le silence de la mer, which does not intrigue me as I'm not fond of Melville's adaptation of values intrinsic to the american mainstrean culture into French filmmaking evidenced in many of his films - instead of sinthesizing a new, authentic aesthetic texture following the example of his comtemporaries working in the french new wave such as Varda, Rivette and Rohmer, putting out masterpieces after masterpieces of significant importance in the development of film language. Briefly, none of his films seem relevant enough to stand another 50 or even 20 years of the test of time. But perhaps I should give it a chance? Maybe.

Thanks anyway. I'm sure this list will be helpful to the folks that are less initiated around here. Also:

>The Third Man

Unless the memory is failing I'm sure as the day is bright that this little piece of cinema is actually set in the post War 2 Vienna.