My Dogs Teats Are Swollen

Déjà vu : Out of the Past/Against All Odds

Out of the Past (The Claw of the past - 1947), also known as Build My Gallows High (Hang me high and short), is simply one of the leaders The work of film noir. The idea to do a remake is eminently lousy entry, and more so if it comes to the remake in the middle 80s. Our little

jurisprudence DOA shows indeed that carefree, bright and flashy 80s are all that are farthest from the visually dark film era. The lackluster environment lends itself to stories of heroes yet pursued by fate, but also the lack of a personal style after the fury of the disco years of sexual liberation, the 80 are stunned by the return values (moral) the Reagan years amid continuing economic crisis, the detriment of the meaning of life (the work more to earn more before the hour). Add to this the "new wave U.S.," promising young filmmakers of the 70s (Spielberg, Scorsese, De Palma, Coppola ...) are quickly back in the mold of Hollywood to do what they can do without taking too risks. For the cinema of the 80s, the aesthetic is totally crushed by the financial power of groups that have bought the studios. The studios are gradually laying the wealth of video and teen audience itself as the foundation for a lucrative market. For me the result comes down to the Miami Vice series : the sun, heroes alone, but overall indestructible, and with so many compensations in kind ... FEELGOOD

NOT IN MY MOVIE FILM NOIR, THANK

Nothing brings our heroes of film noir Sonny Crockett or Ferris Bueller or Bud Fox, the hero of Wall Street , lost to Gordon Gekko, a name that is retained more easily with the overwhelming presence of Michael Douglas in his few scenes. But the ambition of Against All Odds (Against All Odds - 1984) is not to be a remake (or so they have really lost the thread and the coil along the way!), Avoiding already the film to be tried, and down in flames on this level there by fans of film noir. Taylor Hackford's film merely repeats the substance of the story into a romantic movie-cop. This kind, in fact quite typical of the 80s (unfortunately Polanski will walk in with Frantic ) had no future, as the whole aesthetic of the 80 we're trying to refourguer today. Yet I have a soft spot for this film minor. Jeff Bridges is excellent, even if his role is too clean, like everything that he asks the time, including Marshmallow, John Carpenter ( Starman) and the trivial last film by Hal Ashby ( 8 million Ways to Die ) whose potential black was rolled during production. And Rachel Ward is sublime. John Woods is very good too, as always, but his role is too small compared to the insidious threat embodied by Kirk Douglas in the original.

short one can see these two films independently, unaware of a vague affiliation between them. The first is simply excellent, the other can have a good time if we do not expect anything special. Although this example is not very convincing, it remains the best way to design a remake is to totally eliminate the original film. If the original film is a masterpiece from one loser, but against all odds we can then en sortir qqch d'intéressant et, paradoxalement, d'original.

So take a look at me now, cos there's just an empty space
And there's nothing left here to remind me,
just the memory of your face
Just take a look at me now, well there's just an empty space
And you coming back to me is against the odds and that's what I've got to face.