Over Fragmenten.blog

Posted on by Jeppe Kleijngeld

Welkom op Fragmenten uit het Schemerland, mijn persoonlijke website en content-verzameling. Je vindt hier veel artikelen over films en series in de FilmDungeon. Ook vind je op deze site mijn achtergrondverhaal, een selectie van mijn professionele werk, en een groeiende collectie blogs – fragmenten genaamd – over uiteenlopende onderwerpen. Veel leesplezier en bedankt voor het bezoeken van mijn blog!

— Jeppe Kleijngeld

PS: Bezoek ook eens mijn andere website over bewustzijn en mijn visie op de ware aard van het universum:

22. The Irishman (2019)

Posted on by Jeppe Kleijngeld

Director: Martin Scorsese
Writers: Steven Zaillian (screenplay), Charles Brandt (book)
Stars: Robert De Niro, Al Pacino, Joe Pesci, Anna Paquin

This review is part of the feature:

The 33 Gangster Films You Can’t Refuse

This 3,5 hours epic marks the welcome return of the master Scorsese to the genre he does best. And with two of his favorite actors, the magnificent Robert De Niro and Joe Pesci. Throw in legend Al Pacino and you have an irresistible team on your hands.

The Irishman takes some getting into; this is a different beast than GoodFellas and Casino. Slower, more contemplative, but nevertheless featuring Scorsese’s trademark moments of humor and violence. It is the perfect retirement feature for this legendary cast, who are made young again with de-aging technology and get to live through several decades of mob history.

The story revolves around WW2 veteran Frank Sheeran (De Niro) who becomes a killer for the very controlled mob boss Russell Bufalino (Joe Pesci in a role that is the polar opposite of his explosive GoodFellas and Casino characters). Sheeran later becomes bodyguard and enforcer for Teamster president Jimmy Hoffa (Pacino) who becomes his best friend.

Although the story is not very spectacular nor surprising (we already know what will happen to Hoffa for example) its direction is nearly flawless. Every wonderful frame and edit is brimming with meaning, even if we usually have to work out what that meaning is for ourselves.

One of the main themes is looking back at one’s life and regretting certain actions. In the case of Sheeran a major betrayal. And if you’re one of the few mobsters to actually survive (every mob character gets a title card detailing how he eventually got whacked) you might end up as a very sad old man in prison.

It is fitting for Scorsese (75 at the time of shooting) to approach the gangster life from this angle this time around. But unlike Sheeran, he ain’t got nothing to be embarrassed about. The Irishman is one for the ages.

23. Point Blank (1967)

Posted on by Jeppe Kleijngeld

Director: John Boorman
Writers: Alexander Jacobs (screenplay), David Newhouse (screenplay), Rafe Newhouse (screenplay), Donald E. Westlake (novel ‘The Hunter’) (as Richard Stark)
Stars: Lee Marvin, Angie Dickinson, Keenan Wynn

This review is part of the feature:

The 33 Gangster Films You Can’t Refuse

Is it a dream or is it really happening? Walker (a brutal and gritty Lee Marvin) is shot and left for dead in an abandoned Alcatraz by his criminal partner Mal Reese and his wife Lynne after a job.

He survives and goes after Reese who used the money to buy his way back into the Organisation, a crime syndicate. The rest of the film is a revenge trip in which Walker chews his way through the Organisation’s operators to get his money back. Walker is helped by Chris (Angie Dickinson), the sister of his wife who killed herself after Walker returned.

The script is based on the novel ‘The Hunter’ by Richard Stark, which was also adapted in 1999 as Payback which starred Mel Gibson. That movie was good, but this is the superior film.

Boorman departs from genre conventions and adds surrealism and avant-garde stylistics, which makes this appear as a European style crime thriller. Viewers and critics have often questioned whether or not the film is really a dream – or perhaps Walker is actually dead and the film is the perspective of his angry ghost seeking bitter vengeance from beyond the grave?

Another interpretation by director Boorman is that the film is about Lee Marvin’s brutalizing experiences in World War II, which dehumanized him and left him searching desperately for a sense of self.

Marvin is effective in his gorilla-like manners, but a bit clunky at times. Jane Dickinson is very good in the crucial role of Chris.

At the time of its release, Point Blank was considered shockingly violent, though its impact has softened in an era accustomed to more explicit depictions of brutality. Still, its psychological depth and atmospheric tension remain undiminished ensuring the film’s status as a cult classic.

24. Get Carter (1971)

Posted on by Jeppe Kleijngeld

Director: Mike Hodges
Writers: Mike Hodges (screenplay), Ted Lewis (novel ‘Jack’s Return Home’)
Stars: Michael Caine, Ian Hendry, Britt Ekland

This review is part of the feature:

The 33 Gangster Films You Can’t Refuse

Get Carter is a classic British cult film about Jack Carter (Michael Caine), a ruthless London gangster who returns to his hometown of Newcastle to investigate his brother’s suspicious death. As he uncovers foul play, he sets out for revenge thereby defying his London employers, who have ties to the Newcastle underworld.

The film is a slow burn, but its stylish execution captivates from start to finish. Caine delivers a magnetic performance, initially charming as a roguish antihero, only to reveal his psychopathic core through explosive bursts of violence. This evolution culminates in a brilliant character study and an unforgettable finale.

Initially met with mixed reviews as a low-budget production, Get Carter has since earned its place as one of the greatest British films, amassing a devoted cult following. Its influence extends to acclaimed directors like Quentin Tarantino and Guy Ritchie, who cite it as a major inspiration. And let’s not forget Roy Budd’s iconic jazzy score, which elevates the opening credits and haunting final scene.

25. Snatch (2000)

Posted on by Jeppe Kleijngeld

Director: Guy Ritchie
Writers: Guy Ritchie
Stars: Jason Statham, Brad Pitt, Stephen Graham, Alan Ford

This review is part of the feature:

The 33 Gangster Films You Can’t Refuse

Guy Ritchie’s follow-up to Lock, Stock and Two Smoking Barrels is another near-perfect crime comedy, delivering the same brand of sharp wit, chaotic energy, and stylish mayhem that defined his debut.

The plot mirrors Lock, Stock in the best way: Turkish (Jason Statham, in his first lead role), a well-meaning boxing promoter, finds himself in debt to the ruthless gangster Brick Top (a horrible Alan Ford, who provided the voice-over in Lock, Stock), who is in the habit of feeding his enemies to the pigs.

Toss in a rogue’s gallery of hustlers and schemers – Boris the Blade, Bullet-Tooth Tony (with Vinnie Jones returning for more chaos), and a stolen diamond the size of a fist (replacing the antique rifles from Lock, Stock) – and you’ve got all the ingredients for a hilarious, bare-knuckle brawl of a movie. Ritchie’s trademark camera tricks and rapid-fire editing tie it all together with his usual flair.

With the success of Lock, Stock, Ritchie had a bigger budget this time, allowing him to add A-lister Brad Pitt to the cast. Pitt’s Pikey boxer, Mickey, is one of his most memorable roles, right up there with Tyler Durden and Aldo ‘The Apache’ Raine. His performance is a standout, blending physical comedy with unexpected charm.

Ritchie takes his music video-style direction to the next level here. The final boxing match is a masterclass in editing, mixing sped-up and slow-motion sequences to electrifying effect.

His screenplay is relentlessly witty – packed with jokes, clever setups, and payoffs that land at a breakneck pace. This is, without a doubt, the funniest film in his gangster gallery, shot with undeniable energy and swagger. Its sequences are either hilarious, endlessly cool, or – more often than not – both.