I’m Just Sick Of Ego, Ego, Ego. My Own And Everybody Else’s. I’m Sick Of Everybody That Wants To

Withnail & I (1987)

ph. ©Murray Close

Fallen Angels  aka  Do lok tin si  (1995)  | dir.  Kar-Wai Wong | Hong Kong

Michelle Reis

This is the secret of the stars, I tell myself. In the end, we are alone. No matter how close you seem, no one else can touch you.

Beth Revis, Across the Universe (via books-n-quotes)

Withnail & I (1987)

Directed by Bruce Robinson

Cinematography by Peter Hannan

Brat (Brother) | 1997 | dir. Aleksei Balabanov | Russia

Writer: Aleksey Balabanov Cinematography by Sergey Astakhov

A Clockwork Orange (1971) | dir. Stanley Kubrick

DoP : John Alcott

My friend’s in the middle of the road bleeding to death! Can I please use your telephone?

“Mean Streets” isn’t so much a gangster movie as a perceptive, sympathetic, finally tragic story about how it is to grow up in a gangster environment. Its characters have grown up in New York’s Little Italy, and they understand everything about that small slice of human society except how to survive in it. Scorsese places these characters in a perfectly realized world of boredom and small joys, sudden assaults, the possibility of death, and the certainty of mediocrity. He shot some exteriors in Little Italy, where he was born and where he seems to know every nuance of architecture and personality (though most of the movie was shot in Los Angeles), and his story emerges from the daily lives of the characters. They hang out. They go to the movies. They eat, they drink, they get in sudden fights that end as quickly as a summer storm. Scorsese photographs them with fiercely driven visual style. We never have the sense of a scene being set up and then played out; his characters hurry to their dooms while the camera tries to keep pace. There’s an improvisational feel even in scenes that we know, because of their structure, couldn’t have been improvised. The movie’s scenes of violence are especially effective because of the way Scorsese stages them. We don’t get spectacular effects and skillfully choreographed struggles. Instead, there’s something realistically clumsy about the fights in this movie. A scene in a pool hall, in particular, is just right in the way it shows its characters fighting and yet mindful of their suits (possibly the only suits they have). The whole movie feels like life in New York; there are scenes in a sleazy nightclub, on fire escapes, and in bars, and they all feel as if Scorsese has been there.

Roger Ebert

Kaidan aka Kwaidan (1964)

Director: Masaki Kobayashi Cinematography by Yoshio Miyajima

Dead Man’s Shoes (2004) | dir. Shane Meadows

DoP : Danny Cohen

The Virgin Suicides (1999) | dir. Sofia Coppola | USA

Cinematography by Edward Lachman