Quote:
At the climax of the spirited teen gangland film, one that unevenly blends together nostalgia and a story of urban angst, Bob Dylan’s “The Times They Are A-Changin'” blares out of a Folk City club and signals the beginning of a possibly new enlightened era for the country. The episodic rock’n’roll film passionately directed by Philip Kaufman (“The White Dawn”/”The Right Stuff”/”Quills”) is good at getting at the symbolic changes that took place in its Bronx, Fordham Road, setting, in 1963, and the swagger of teen gangs and their problematic upbringing and aimless street-life existence, but its character depictions, gang rumbles and racial healing scenes are pure Hollywood hokum. The crudely entertaining cultish comedy/drama, strongly driven by a great golden oldies score (including songs such as Smokey Robinson & The Miracles’ “You Really Got A Hold On Me,” The Contours’ “Do You Love Me,” the Shirelles’ “Soldier Boy,” and the Surfaris’ “Wipe Out”), is based on the novel by Richard Price and is co-written by Kaufman and his wife Rose.

The Wanderers are a tame Bronx gang in the fall of 1963, who are all Italian high school students and are garbed in gang uniform satin baseball jackets. The gang has a strong sense of camaraderie, and have a whistle call to sound the alarm to round up members when there’s danger. The gang exists to give them firepower against tougher turf rivals like the older head-shaven Fordham Baldies, the black gang called the Del Bombers and the toughest Bronx gang called the Ducky Boys. Also to socialize with Italian girls, to give them a sense of identity and a protective outlet for their macho behavior. Richie (Ken Wahl) is a knuckle-head, but seems to be the most likable and together gang member and their apparent leader. Other members include Joey (John Friedrich), a punky loud-mouth, whose father Emilio (William Andrews) is an abusive bully; Turkey (Alan Rosenberg), a weasel-like big-talker who shaved his head in hopes of joining the Baldies; and new to the neighborhood via Trenton, NJ, the mysterious 19-year-old kind-hearted tough guy named Perry (Tony Ganios), who is recruited into the gang.

The action takes place in vignettes and has a number of set pieces that include: the Baldies and their giant leader Terror (Erland Van Lidth De Jeude) going after Joey for calling them names, and the frightened Joey saved from a beating by Perry; a classroom fight unintentionally instigated during a lesson on racial tolerance by inept teacher Mr. Sharp (Val Avery) between the ‘coloreds’ and the Italians; A bowling alley pay back of bowling hustlers by the adult Mafia members led by Chubby Gelasso (Dolph Sweet), who resents that The Wanderers were previously hustled by pros in disguise; on the street, The Wanderers copping feels from big-breasted women by bumping into them; a party for The Wanderers in the home of Richie’s girlfriend Despie Galasso (Toni Kalem), where Richie’s new girl of interest is the bohemian Nina (Karen Allen) who shows up and makes the hostess jealous; a strip-poker game among Richie and his two girls of interest; the Baldies when drunk being tricked into enlisting in the Marines by an amoral recruiter (Burtt Harris); a rumble on the football field between the Ducky Boys and the unlikely allies of the black Del Bombers led by Clinton (Michael Wright), The Wanderers and the Asian martial-arts gang called the Wongs. Their motto is classic: ‘Don’t fuck with the Wongs.’ All the nostalgia for the 1950s rock’n’roll and macho attitude ends with the Kennedy Assassination and the anthem song of the period prior to 1963, Dion’s The Wanderer, sung now as a golden oldie.

The cartoonish violent film makes no social comments on the events of the day, as it just sticks to having fun with this group of mostly meatheads and lets us see tenement life back then as a dead-end existence and how easily violence is passed on to the next generation. Its message is that for those unable to change their ways and discover a better way of living, there’s only the same old thing awaiting them. What the film couldn’t do was make its characters inspiring or the set piece situations from being mostly tasteless or the gang depictions to be more convincing. If you want to get a truer and deeper picture of this neighborhood scene, you would have to read the more observant book.

Philip Kaufman - (1979) The Wanderers.mkv

General
Container:  	Matroska
Runtime: 	2h 3mn
Size: 	2.42 GiB
Video
Codec: 	x264
Resolution: 	1024x576 
Aspect ratio:  	16:9
Frame rate: 	23.976 fps
Bit rate: 	2 542 Kbps
BPP: 	0.180
Audio
#1:  	English 2.0ch AC-3 @ 192 Kbps
#2:  	English 2.0ch AAC @ 72.0 Kbps (Commentary by Columbia University Film Professor, Annette Insdorf, author of the book Philip Kaufman)

https://nitro.download/view/89749D0B7A50FF9/Philip_Kaufman_-_(1979)_The_Wanderers.mkv
or
https://nitro.download/view/5513A936D92764E/Philip_Kaufman_-_(1979)_The_Wanderers.part1.rar
https://nitro.download/view/B8F815297B3F1FB/Philip_Kaufman_-_(1979)_The_Wanderers.part2.rar
https://nitro.download/view/661620877BC3B2A/Philip_Kaufman_-_(1979)_The_Wanderers.part3.rar

Language(s):English
Subtitles:English

The post Philip Kaufman – The Wanderers [Preview Cut](1979) first appeared on Cinema of the World.

Quote:
The Unbearable Lightness of Being is a profoundly beguiling movie about sex, love, and rebellion. Its lead characters caper through Prague Spring, Czechoslovakia’s 1968 version of the Summer of Love, and then try to withstand the effects of Soviet occupation. They achieve an offhand grandeur. As they drop verbal bombshells about the murderous duplicity of politics and the uglification of the universe, they never lose their ardor or originality. All they want to rule them is passion.

In his novel, Milan Kundera describes his neurosurgeon hero, Tomas (Daniel Day-Lewis), as an “epic” Don Juan, “prompted by a desire to possess the endless variety of the objective female world.” In the movie, Philip Kaufman, who co-wrote and directed, succeeds in making Tomas’ two key relationships—with his waiflike wife Tereza (Juliette Binoche), and an independent artist, Sabina (Lena Olin)—embody that infinite variety.

When asked why novelists don’t often make great playwrights, Kurt Vonnegut said, “It’s because they don’t know that theater is dance.” That notion applies triply to the kinetic art of movies. The triumph of The Unbearable Lightness of Being is that Kaufman and company choreograph the diverse segments of Kundera’s fiction like a folk dance, a rock musical, and a pastoral ballet.

You could say that Tomas is a non-dancer who does one heartbreaking dance—with his wife—before he dies. The key scene (politically and personally) comes before he marries Tereza or dances with her. During Prague Spring, Communist officials glower as a student crowd at a nightclub bops to Buddy Holly. Tereza, not Tomas, takes to the floor—and her joy as she bounces around with another man makes Tomas jealous enough to marry her. It’s one of the novel’s few unexplained paradoxes. Tomas, the keen, voracious sensualist who cuts into the brain at work and caresses the female body every chance he can get, doesn’t care to dance. Tereza, who’s mystified by the power of her body, can release herself on the dance floor.

The way Kaufman handles the paradox, it’s the stuff of existential romance. In The Unbearable Lightness of Being, opposites attract and fulfill each other. In 1987, Daniel Day-Lewis told me that he got a handle on Tomas by seeing him “as a scientist, who’s fearful of the things that can’t be rationalized by science and so on. And that is the tension of the story. Because falling in love, for people like him, is the equivalent of falling off a fifteen-story building. It’s not something he’s readily equipped to deal with. He’s managed to equate his conquest of women with his need to conquer the world—as if he’s a scalpel cutting open the prostrate body.” Juliette Binoche said she saw Tereza as a woman obsessed with the mystery of nakedness, a romantic who wrestles with how little or how much her body reveals of her soul: “I thought that being naked, for Tereza, would have been a mistake, because it was a mystery, a secret. And if you show that secret, there’s no Tereza.” As Tomas, Day-Lewis is an acute, amorous observer: You can tell how much love he holds for his wife when you see the way he drinks her in with his eyes. And as Tereza, Binoche incarnates devotion and sheepish intimacy with instinctiveness and brio. You understand why a man would chuck a cushy life for her—why, having escaped from Prague to Switzerland after the ’68 Soviet invasion, Tomas follows her when she goes back.

It’s not surprising that Kaufman, the director of movies such as Invasion of the Body Snatchers and The Right Stuff, would pick up on Kundera’s ironies and emotional shadings. What’s amazing is how marvelously he realizes them. When Tereza finds Soviet-occupied Prague almost terminally dispiriting, she uproots Tomas once again, to an isolated farm where they and their dog Karenin befriend the commune chief and his pet pig. And here, of all places, they achieve marital bliss. On what we know will be the last night of their lives, in a country inn, Tereza balances her feet on Tomas’ and they dance toward the door of their room.

Improbably but persuasively, Sabina serves as a bridge between Tomas and Tereza, and between them and the audience: She’s as conscious of nuance as Tomas, and as intuitive as Tereza. Lena Olin gives a protean performance, notable not merely for its sensual breadth but also for its empathy. We appreciate both Tomas and Tereza more when we see them through Sabina’s eyes.

Olin makes the euphoria and heartbreak of the climactic sequence possible. When Kaufman and Carrière, in a variation on the novel’s flash-forwards, show us Sabina learning of her friends’ deaths, Olin’s ruminative grief is soul-shaking, not tear-jerking. Kaufman consummates Kundera’s description of the final scene: “The sadness was form, the happiness content.” His film of The Unbearable Lightness of Being is a sublime dance of death and life.

Philip Kaufman - (1988) The Unbearable Lightness of Being.mkv

General
Container:  	Matroska
Runtime: 	2h 52mn
Size: 	2.85 GiB
Video
Codec: 	x264
Resolution: 	718x480 ~> 853x480
Aspect ratio:  	16:9
Frame rate: 	23.976 fps
Bit rate: 	1 979 Kbps
BPP: 	0.239
Audio
#1:  	English 2.0ch AC-3 @ 192 Kbps
#2:  	English 3ch AC-3 @ 192 Kbps (Commentary with director Philip Kaufman, co-writer Jean-Claude Carrière, editor Walter Murch, and actor Lena Olin)

https://nitro.download/view/6911CDFC0C4F4BF/Philip_Kaufman_-_(1988)_The_Unbearable_Lightness_of_Being.mkv
or
https://nitro.download/view/E6C409BCFDF5A14/Philip_Kaufman_-_(1988)_The_Unbearable_Lightness_of_Being.part1.rar
https://nitro.download/view/C91D5A9A999D7FA/Philip_Kaufman_-_(1988)_The_Unbearable_Lightness_of_Being.part2.rar
https://nitro.download/view/E4AA1C1DAF3E953/Philip_Kaufman_-_(1988)_The_Unbearable_Lightness_of_Being.part3.rar

Language(s):English
Subtitles:English

The post Philip Kaufman – The Unbearable Lightness of Being (1988) first appeared on Cinema of the World.

The story of the original Mercury 7 astronauts and their macho, seat-of-the-pants approach to the space program.

5.88GB | 3h 12m | 1024×576 | mkv

https://nitro.download/view/8E4575F38CAC8EC/The.Right.Stuff.1983.576p.BluRay.x264.mkv

Language(s):English, Russian
Subtitles:English,Spanish

The post Philip Kaufman – The Right Stuff (1983) first appeared on Cinema of the World.

The gangs of Jesse James and Cole Younger join forces for a bungled robbery of the bank in Northfield, MN.

Quote:
In 1876, the Missouri legislature issues a pardon and amnesty to the James and Younger gangs despite many people considering them outlaws. The pardon is because they protected the homesteaders of Clay County against the marauding railroaders, who wouldn’t let anyone or anything get in their way of building the railroad where they wanted. However, the railroad companies and banks still consider them outlaws and will take matters into their own hands if they come across the gangs. Prior to the pardon, Cole Younger had contemplated robbing the First National Bank in Northfield, Minnesota – what is considered the largest bank west of the Mississippi – but has now decided against it. Circumstances, including learning that Jesse James and his gang are going ahead with the robbery behind his back, and that the railroaders issuing a war against them which also includes bribing the legislature to revoke the pardon, make Cole change his mind. But right from the start – even during the planning stages – things don’t go quite according to script, which may be an omen for things to come. Written by Huggo @ IMDB

https://nitro.download/view/553734DA65117FA/The.Great.Northfield.Minnesota.Raid.1972.720p.BluRay.x264-iNVANDRAREN.mkv

Language(s):English
Subtitles:None

The post Philip Kaufman – The Great Northfield Minnesota Raid (1972) first appeared on Cinema of the World.

Synopsis:
In 1896, three whalers are stranded in the Arctic North Canada and seek refuge with an Eskimo tribe. Gradually they gain control with the Eskimo village and introduce gambling, booze, theft and their special variation of sex. In the beginning, the Eskimos accept it but slowly the cultural tension starts growing.

The White Dawn (1974) -- Philip Kaufman.mkv

General
Container:  	Matroska
Runtime: 	1 h 49 min
Size: 	1.80 GiB
Video
Codec: 	x264
Resolution: 	720x480 ~> 853x480
Aspect ratio:  	16:9
Frame rate: 	23.976 fps
Bit rate: 	1 900 kb/s
BPP: 	0.229
Audio
#1:  	English & Inuit 5.1ch AC-3 @ 448 kb/s

https://nitro.download/view/ABB7F6DA893A420/The_White_Dawn_(1974)_–_Philip_Kaufman.mkv

Language(s):English & Inuit
Subtitles:English, Russian (muxed), English (hardcoded for Inuit parts)

The post Philip Kaufman – The White Dawn (1974) first appeared on Cinema of the World.

Quote:
An Old Man (Lou Gilbert) rises out of Lake Michigan and interacts briefly with a few creative people as he drifts merrily through Chicago, at one point riding in a truck from the Goldstein Company. A metal sculptor (Tom Erhart) looks for the old man while trying to patch up his relationship with Sally (Ellen Madison). She discovers she’s pregnant and makes arrangements for a bizarre out-of-town Doctor (Severn Darden) to perform an abortion. The sculptor asks his father for help and brings along his friend Jay (Benito Carruthers), who lifts the father’s wallet. Jay uses some of the money to bankroll a night with some fancy ladies, while the sculptor continues to search for the inspirational Old Man.
Goldstein is far from being completely abstract, but it clouds its plot line to the point that normal narrative clues are obscured. We think we’re concerned for the film’s central couple, but Sally drops from the picture after a mock-comic abortion scene (surely shocking for 1965) that turns into a performance piece by Severn Darden and his preening assistant Anthony Holland. The sculptor expresses concern for Sally but shifts his interest to finding the missing Old Man, as if the Old Man were a magical creature capable of granting wishes. It’s implied that the Old Man may represent the sculptor’s creative spirit – he similarly inspires a violinist, while pushing him in a wheelchair and blocking traffic. This central conceit joins Goldstein to Federico Fellini’s Juliet of the Spirits in which Lou Gilbert played a similarly addled grandfather.

Author Nelson Algren (The Man with the Golden Arm, Walk on the Wild Side) shows up for a lengthy dialogue scene, one of many that serve no precise purpose – the script operates on the loose “let the magic happen” model associated with many dreary student films and the occasional breakthrough masterpiece. More often than not, the “magic” turns out to be easily-interpreted symbolism, as when the Old Man happily jettisons modern appliances and a television set from the back of a moving truck.

Goldstein was apparently a raving success at Cannes, a reaction difficult to reconcile with the picture we see. It’s interesting enough, but seems too aware of its mission as an American art picture. It hasn’t much of a sense of humor and far too much of its running time is devoted to open-ended non-scenes: Characters drift around Chicago without much rhyme or reason. It seems tailor-made for progressive 60s festival audiences ready to applaud anything that thumbs its nose at conventional, linear filmmaking.

http://nitroflare.com/view/D81EF7E3FF1C636/Goldstein_%281964%29_%28TVRip%29__Guild55_.avi

no pass

The post Philip Kaufman & Benjamin Manaster – Goldstein (1964) first appeared on Cinema of the World.