DUDE it was all a dream LMAO

>DUDE it was all a dream LMAO

what a pile of fucking shit my god, I'll never let Sup Forums trick me again

>DUDE it was all a dream LMAO
This and "everyone dies at the end" are the absolute worst things to happen to a narrative

It's not a twist ending, you fucking pleblord. How do you not appreciate the deeply textured cinematography, the hypnotizing pacing, the melancholic tone, the meta-textual re-construction (in this case a much more adequate term than the often used deconstruction used by post-modernists, too preoccupied with demolishing the past rather than focusing on building, positively) of the noir/gangster genre and how it fits in the history of cinema, how cinema is an art that creates myths and what it says thematically about the American dream/civilization filtered through the eyes of an Italian film lover, the soul-piercing musical score by Maestro Morricone and how perfectly Leone uses it to evoke all the complex beauty of the human experience, etc, etc. how all those elements are so perfectly, with intense love, crafted, interlinked to evoke the most universal and touching, burning right into your soul, feelings of nostalgia and regret and joy for cherished or painful memories, how the only inescapable truth in life is that we cannot escape the passing of time and that there is perhaps a tragic beauty in this understanding... I know you're ironically baiting but if you are not, and you cannot see the essence of kino in this smile, seriously shoot yourself.

>Leone: The peculiarity of opium is a drug that makes you imagine the future as the past. Opium creates visions of the future. Other drugs only make you see the past. Thus whilst Noodles dreams how his life could have been and whilst he imagines his future, it gives me, as a European director, the possibility of dreaming inside American myth. And that's it, the ideal combination. We walk together. Noodles with his dream. And me with mine. These are two poems that fuse together. Because, as far as the matters which concern me, Noodles never leaves 1930. He dreams everything. All the film is the opium dream of Noodles through which I dream of the phantoms of cinema and American myths.

Stick to Nolan flicks

>Leone: The end of the world. The end of a genre. The end of cinema. For me, it's just that. All one hopes it that it's not truly the end. I prefer to think that this is the prelude to agony. However, there is some hope in the face of De Niro at the end of the film. Like I said: If you have realized that films like this can save cinema, you should love movies and go and see them. Yes, it's the end of a genre. Yes, it's the end of security. Yes, it's the end of a world. But this is not the end of a dream. And since the movie came out, I have understood. I discovered how much all this was true. I am very aware now, in the autumn of 1986. I am fifty-six years of age. When I made the film, I was fifty-two. And I thought I was making something for people of my age, with memories of a certain experience and of a certain cinema. I was not wrong because this generation has liked the film. But those who have loved the movie to the point of delirium, to the point of seeing it twenty-five times, are people twenty years old. People who do not know cinema and are ignorant of the names of Griffith, Stroheim, Ford and even Chaplin. People who were not ten years old when Once Upon A Time... The Revolution was released. And this proves to me that there is a natural desire to see a certain cinema. And that's the hope!

And that hope now is gone, because of plebs like you, mindlessly feeding on Disney shit and completely unable, unwilling to appreciate cinematic poetry. I hate you and everything you stand for OP. You don't deserve kino. You don't deserve the air you breathe.

>Leone: Let's be fair: we need realism in this dream. With all this mythology of the cinema, and for the fiction to work, you need to give it a factual documentary dimension. Doing a little as if the camera was hidden. Producing effects such as these made me really feel the cinema of yesterday. We believe it! And that's why all the places are real. I found them. Again, it was to do with searching for a lost time. The Grand Central station in New York of that era no longer exists. It was destroyed. But I knew it was only a replica of the Gare du Nord in Paris. So I shot those scenes at the Gare du Nord in Paris. Those are the same windows, the same pillars of concrete and stone: the same materials. It's like the scene in the Long Island hotel, where Noodles takes Deborah. The place no longer exists but it was a copy of the Palaces of Venice. So I filmed the movie in Venice. It's logical. America has never done anything other than imitate Europe in all this. Following my intuition, I filmed the movie in the places the buildings were modelled on. Without snobbery or chauvinism. Only because the reality of the era no longer exists in America. All is lost, forgotten, destroyed... And me, to make a film about memory and memories, I had to find these images of reality. To best portray this notion of myth and dream, I had to work on more certain realities. From there, everything came. Time is the protagonist of film and time is always right. So when Noodles returns, it was with Yesterday and across a mural by Reginald March, with the red apple of the America of today. Bus tickets are no longer being sold. Hertz rent cars to enter hell. That makes sense since my film is also a journey through hell.

What the fuck I'm such an idiot I didn't realize it was all a dream, I thought Noodles really did live to that point and engage with Woods in that final scene. This completely fucks up what I thought the film was about. I thought it was about Noodles coming to grips with what he endured and forced others to endure, but instead it's his pain surrounding the loss of his friends in 1930.

a bronx tale is superior

a bronx tale is garbage

deniro is a hack

The great thing about ambiguity, poetically, is that if it offers multiple interpretations it doesn't invalidate them. It's not Version A or Version B, it's Version A AND Version B. So thematically it still carries both interpretations and can be appreciated on multiple levels, it's both a straight-forward gangster epic and a surrealistic dream journey inward. It's not an unimaginative American film where a 'it's all a dream' twist ending invalidates what came previously and must be seen like a puzzle to be solved, a cheap and artistically dead form of storytelling, instead in this case, it only makes the entire film more fascinating. But there are many ''hints'', many visual cues or cinematic stratagems used to evoke the falsity of what you are witnessing, the most in-your-face being Old Noodles meeting a Deborah who hasn't aged, a subjective ideal of beauty, a fantasy that cannot be ruined by the passing of time, and Leone shoots her through mirror reflections instead of conventional shot/counter-shot... then you have another simple visual cue, when Old Noodles meets Old Max, Max pulls out a pocket watch, which is the object that started their loving friendship many decades ago when they met trying to steal it together... it could have been a necklace or a ring, but Leone chose a time watch, it's so heavy-handed and literal but... somehow you don't even realize what he's evoking. I've read hundreds of pages of film theory and analysis on the film and never saw this idea mentioned. The film is filled with overtly symbolic, heavy, ridiculous ideas that shouldn't work, wouldn't work in the hands of any other filmmaker, but Leone transcends it all with pure cinematic beauty and poetry. IMO he's by far the greatest filmmaker in history, even more overtly, seriously art-oriented masters like Tarkovsky cannot touch him, his wisdom, his talent, his vision of the world of humanity, he had it all, the sharpest eyes, the wisest brain and the deepest soul.

So is it good? Leone is that guy filming spaghetti westerns, right? Can I trust someone involved in that pleb genre?

Yes

The final shot doesn't mean it's a fucking dream. It means he should've stayed in the opium den.

I am fucking mortified.

>I'll never let Sup Forums trick me again
i said that a lot but then i watched event horizon. tv is good at tricking

Mean Streets is the superior gangster flick

Honestly, after seeing OUATIA, I felt so sorry that he "wasted" his time in westerns. I like his westerns, don't get me wrong, but I would give away two or three parts of his trilogy to get that leningrad film of his...
That's how I felt too. I don't think it's too wrong to believe that.

An artist doesn't get to just say whatever they want and have it mean jack shit. Artist intent means jack fucking shit.

It is not a fucking dream. It is a clear point of contention for Noodles friends that they have to get him from the den. This contention is contextualized in this final shot because he should've just stayed right there.

If he's dreaming of the future shown in the film then why is he so happy?

because his dream ends with the realization that max betrayed him all along, not the other way around.

Noodles only betrayed him because it would actually help Max. So getting betrayed by Max wouldn't be any kind of relief.

And that's the whole point of the shot. He shouldve just stayed in the opium den. We all should just stay in the opium den. Thats the message. Might as well just stay in the fucking opium den.

Its open to interpretation. If the film wasn't told in a non linear style, it would be too obvious.

what's wrong with everyone dying?

Once upon a time in America is great and one of my favourite films.

I hope that Sergio Leone's family are able to complete their restoration of his original version some day. Martin Scorsese was helping them get the rights to the remaining 24 minutes the last I heard.

Hopefully its more Cleopatra footage.

It shows lazy writing.
Look at game of thrones. It's fucking predictable as all hell
>Somebody is trying to make a positive change
>They're dying soon, lol

but that's not how noodles thinks. he thinks he is responsible for their death.

game of thrones hasn't killed off a major character since season 4, and hasn't killed off a main characters since season 3
also I was talking more about movies rather than tv shows

This is why I hated fight club

This is the only movie able to pull that off with any success.

Ok that's a really good point but it doesn't mean it's a dream. It just means that although ironically Noodles doesn't realize it, he actually deserves to be as happy as the opium is making him. Ironically, he is using the opium to escape from guilt when he actually isn't guilty.

Book is miles better, narrator gets sent to a mental hospital

A dream within a dream where someone is describing another dream then suddenly realizes they're still having that dream.

Lynch'd

Sauce on these quotes?