- Jan 3, 2011
- 10,371
- 653
Charlie Sheen's first verified tweet is a picture, and he happens to be wearing an Indians hat in it.
Cleveland is #winning.
Cleveland is #winning.
Oh I'm sorry, Did I Break Your Conversation........Well Allow Me A Movie Thread by S&T
- Aug 6, 2001
- 12,885
- 2,739
Originally Posted by Kevin Cleveland
Charlie Sheen's first verified tweet is a picture, and he happens to be wearing an Indians hat in it.
Cleveland is #winning.
Dope!
- Aug 6, 2001
- 12,885
- 2,739
Originally Posted by Kevin Cleveland
Charlie Sheen's first verified tweet is a picture, and he happens to be wearing an Indians hat in it.
Cleveland is #winning.
Dope!
- Apr 4, 2008
- 74,954
- 24,365
Wild Thing
- Apr 4, 2008
- 74,954
- 24,365
Wild Thing
Bill Simmons has a lot of stuff that belongs in this thread. Good and bad I'm sure. But this one, this is one of his best. Absolutely loved it.
Q: My friends and I loved the "Cheers" vs. "Seinfeld" debate that you wrote a couple of months ago. But what about the ultimate Dr. Jack breakdown: Pacino vs. De Niro?
-- Rob Adams, Boston
SG: I'll be honest ... this question sat in my "Potential Mailbag Questions" file for an entire summer. I was afraid to answer it. Wouldn't you be afraid? Pacino vs. De Niro? The two most famous, influential actors of the past 30 years? I feel like I'm about to walk on Mars ... I probably won't return safely, but I can't resist.
All right, let's break this down, Dr. Jack-style:
Robert De Niro became Jake LaMotta in "Raging Bull."
Breakthrough performance -- Pacino with Michael Corleone in "The Godfather"; De Niro with Young Vito Corleone in "Godfather II." Yikes. Pacino's part was more important, only because Michael evolved as a character from "good-hearted, wide-eyed pup" to "evil mob boss" in the span of three hours, and the scene where he kills Solazzo and McCloskey at Louis' Ristorante has to rank among the most difficult scenes to pull off. If Pacino choked with that part, "Godfather I" would have failed miserably.
As for De Niro, his performance in "Godfather II" was incredible -- he actually made you believe that he was the young Marlon Brando playing the young Vito Corleone. Read that sentence again. But it was a supporting part ... the movie could have survived without a home run performance from him. And remember, Coppola auditioned both Pacino and De Niro for Michael's part when he was casting "The Godfather," with Pacino winning out. That's just enough to give him the nod. EDGE: PACINO.
Defining performance -- "Godfather II" for Pacino, "Raging Bull" for De Niro (the two most important performances by a male actor in the past 30 years). De Niro learned how to box, he gained 60 pounds ... I mean, he became Jake LaMotta.
But I'm still going with Pacino here, only because that's the one movie where I always think to myself, "Good God, he is absolutely amazing in this" every time I watch it. Just an electric performance from start to finish, like watching Pedro at his peak: Four pitches working, 98 mph fastball, everything for strikes. The scene where Diane Keaton tells him about her abortion, and Pacino's face starts to shake ... that's an absolute acting clinic. I'm getting goosebumps just thinking about it. SLIGHT EDGE: PACINO.
Consistency -- Pacino's prime lasted from 1972 ("The Godfather") through 1983 ("Serpico," "Godfather II," "Dog Day Afternoon," "And Justice For All," "Cruising," "Scarface"), with a resurgence for most of the '90s ("Godfather III," "Scent of a Woman," "Carlito's Way," "Heat," "The Insider," "Any Given Sunday"). I always thought that "Scent of a Woman"'s success was the worst thing that could have happened to him -- after he won the Oscar, he basically played the "Scent of a Woman" guy in every movie after that. Hoo-hah!!!!!
De Niro's prime lasted much longer -- initially from 1974 ("Godfather II") through 1980 ("Taxi Driver," "The Deer Hunter," "Raging Bull"), with a resurgence in the late-'80s ("The Untouchables," "Midnight Run," "Awakenings," "Goodfellas," "Cape Fear," "This Boy's Life," "Bronx Tale," "Casino," "Heat"), and then another resurgence in the late-'90s when he started doing comedies ("Analyze This," "Meet the Parents"). Just a more interesting, consistent, complete body of work, capped off by his improbable comedy success over these last few years (much like Barry Bonds improbably finishing his 30s by belting 73 homers one season and hitting .375 the next).
Over-the-Top Pacino was past his prime in "Any Given Sunday."
Put it this way: If you were trapped on a desert island and could import all of De Niro's movies or all of Pacino's movies, you'd probably pick De Niro (unless you couldn't live without "Scarface" and "Godfather I"). Just more to choose from. EDGE: De NIRO.
Believability as a cop -- Pacino was more believable as a detective; De Niro was more believable as a cop. So why didn't somebody write a movie where Pacino (as a detective) and De Niro (as a cop) banded together to solve a crime? Frankly, I have no idea. EDGE: TIE.
Most admirable misfire -- De Niro as a stalker comedian in "King of Comedy" (he just couldn't pull it off); Pacino as a Cuban drug dealer in "Scarface" (you forget, that movie absolutely bombed when it came out). Which movie will you remember 20 years from now? BIG EDGE: PACINO.
Range -- De Niro in a walk, mainly because he could throw anything at you -- Funny De Niro, Deadpan De Niro, Scary Mobster De Niro, Quiet Cop De Niro, Intense De Niro, Crazy Cop De Niro, Just Plain Crazy De Niro, Athletic De Niro, Killer De Niro, Quirky De Niro, Kindhearted DeNiro and so on. Pacino could only offer Quiet Cop Pacino, Abrasive Cop Pacino, Brooding Pacino, Crazy Pacino, Intense Pacino, Scary Pacino and Over-the-Top Pacino. There was never really Funny Pacino, unless we're talking in the Unintentional Comedy sense. Ironically enough, neither of them could pull off Romantic Pacino or Romantic De Niro (it always felt uncomfortable).
Four performances from the latter part of De Niro's career really set him apart: 1) "Midnight Run" (genuinely funny, genuinely likable, carried the movie on sheer personality, his most underrated performance), 2) "This Boy's Life" (as the meanspirited stepfather), 3) "Bronx Tale" (as the likable bus driver), and 4) "Heat" (without having much to work with -- that bank robber was a blank slate). I'm not sure Pacino could have pulled off any of those roles. EDGE: De NIRO.
(And that reminds me ...)
The Switch -- If you switched their careers and had Pacino play all of De Niro's parts, and vice-versa, who would have done a better job? De Niro wouldn't have nailed any of Pacino's over-the-top parts ("Scent of a Woman," "Heat," "And Justice For All"), and I can't imagine him pulling off the quiet, conflicted-about-possibly-being-gay police officer infiltrating the Manhattan gay scene in "Cruising" (it would have played like an "SNL" skit). He definitely would have taken Tony Montana and Michael Corleone somewhere (maybe not the same heights, but somewhere). And I think he matches anything else.
But Pacino with De Niro's parts? None of the comedy roles would have worked. "Cape Fear" and "Raging Bull" wouldn't have worked. He couldn't have played the young Vito Corleone. He probably could have handled the mob parts and most of the cop parts, and the only movie he would have improved was "King of Comedy." It just wouldn't have worked as well as De Niro with Pacino's career. EDGE: De NIRO.
Ability to avoid unintentional comedy -- Pacino takes the cake here. Ellen Barkin groping him in "Sea of Love," the dancing scenes in "Cruising" and "Scarface," the "She's got a great %*!!" scene in Heat ... the list is endless. De Niro never made you laugh unless it was intentional. EDGE: De NIRO.
Most improbable character that somehow worked -- "Cape Fear" was one of those movies that you only watched once (a little too disturbing, a little too disorienting), but De Niro transformed himself for the role of Max Cady -- ripped body, long hair, Southern accent, tattoos, the works. Ten minutes into the movie, you didn't even remember that it was him. I got you now!
As for Pacino, he was handed one of the most impossible parts ever -- play a swaggering drug dealer with no redeeming qualities, adopt a Cuban accent, say everything from the side of your mouth, drop F-bombs every few minutes, have your character slowly become a coked-up maniac as the movie drags along, carry every single scene you're in, do everything in the most over-the-top fashion possible, and somehow keep the audience rooting for you in the final 20 minutes -- and somehow pulled it off, singlehandedly making "Scarface" one of the signature pop culture movies of the past 20 years.
And if you don't like it ... well, (bleep) you, how's that? EDGE: PACINO.
Shamelessness about selling out -- Hey, it's not like Pacino hasn't taken a few roles just for cash ("The Devil's Advocate," "Godfather III," "Simone" and "**** Tracy," to name four). But he always picked his spots, at least until recently, and every Pacino movie always managed to feel like an event, even if it sucked.
Not De Niro. The way he sold out over the past 15 years has almost been jarring: "15 Minutes," "Rocky and Bullwinkle," "Showtime," "The Fan," "Frankenstein," "Marvin's Room," "Great Expectations" and "Backdraft," as well as a number of below-average films that he inexplicably accepted ("Stanley and Iris," "Mad Dog and Glory," "Guilty By Suspicion," "Night and the City," "We're No Angels"). Bob, feel free to say no every once in a while. It's okay. BIG EDGE: PACINO.
Most influential line on pop culture -- De Niro has "You talkin' to me? You talkin' to me?"; Pacino has "Just when I thought I was out, they pull me back in." Which one do you use more? I thought so. EDGE: PACINO.
Wild card -- My buddy Gus (who's legally changing his name to "My Buddy Gus" next month) pointed this one out: In Pacino's movies, there's always a definitive scene that you remember, one of those Pacino Scenes where he basically tells the director, "When I'm finished with this take, we'll just send it right to the Oscar committee" (like the "I woulda taken a FLAME THROWER to this place!" from "Scent of a Woman,' or the final locker room speech in "Any Given Sunday"). No matter how bad the movie, Pacino always has that one memorable scene (even in "Devil's Advocate," which may have been the worst two hours of my life).
De Niro just isn't that type of actor; he's always better in understated scenes (like the scene in "Midnight Run" when he goes to borrow money from his ex-wife). If they were pitchers, De Niro would be Greg Maddux (steady and brilliant) and Pacino would be Randy Johnson (you never know what he's capable of next). Whatever the case, I think Pacino gets a small edge here, only because a collage of his best scenes would be more fun to watch than a collage of De Niro's best scenes. EDGE: PACINO.
Head-to-head matchup -- As we all know, Pacino and DeNiro shared one major scene together, the diner scene in "Heat," one of the five or six most exciting moments of my life as a movie fan (I still remember seeing it for the first time, thinking to myself, "Good God, is this really happening?"). That's also one of those rare scenes in a movie where you're flicking channels, you know it's coming up soon, and you'll hang around for 15 minutes just until it comes on ... and after watching that scene roughly 73,456 times on cable over the last seven years, I'm giving De Niro a slight edge.
Here's why ...
It was dead-even right until the end. Pacino did his "Brotha, you are going down" routine. De Niro did his "There's a flip side to that coin ... what if I have to take you down?" routine. And it was a dead heat. Both of them hit it out of the park. Except right at the end, Pacino broke into a slight smile, almost like he couldn't handle the moment -- either it was too intense, or he couldn't believe the scene just happened. Either way, it's always bothered me. His character never would have smiled in that scene at that particular moment. It didn't add up. And it was just enough to give De Niro the win. SLIGHT EDGE: De NIRO.
My stepfather's take -- Three things you need to know about my stepdad: 1) He's 100 percent Italian, 2) his favorite movies of all-time are "Godfather 1," "Godfather 2," "Scarface," "Analyze This," "Goodfellas," "Bronx Tale," and "And Justice For All," and 3) his two favorite actors are Pacino and De Niro. Going to him for a Pacino-De Niro breakdown was like going to Bob Ryan for the definitive take on Bird vs. Magic.
Anyway, I couldn't decide between the two of them, so I turned the decision over to him. Here's what he said:
"DeNiro vs. Pacino? (silence) Oh, boy. I don't think you want to do this. (More silence) Oh. Jeez. (More silence) You have to pick one? (Dead silence) Why would you want to do this? You can't win either way."
(After some prodding ...)
"(Bleep) ... I'd go with De Niro. Most of Pacino's best stuff came out 20 and 30 years ago ... De Niro keeps coming out with quality stuff. But that's no knock on Pacino ..."
(And he defended Pacino for the next five minutes.)
Final verdict: De Niro. Barely.
Of all of this, I don't get the hate for Devil's Advocate. I love that movie.
Q: My friends and I loved the "Cheers" vs. "Seinfeld" debate that you wrote a couple of months ago. But what about the ultimate Dr. Jack breakdown: Pacino vs. De Niro?
-- Rob Adams, Boston
SG: I'll be honest ... this question sat in my "Potential Mailbag Questions" file for an entire summer. I was afraid to answer it. Wouldn't you be afraid? Pacino vs. De Niro? The two most famous, influential actors of the past 30 years? I feel like I'm about to walk on Mars ... I probably won't return safely, but I can't resist.
All right, let's break this down, Dr. Jack-style:
Robert De Niro became Jake LaMotta in "Raging Bull."
Breakthrough performance -- Pacino with Michael Corleone in "The Godfather"; De Niro with Young Vito Corleone in "Godfather II." Yikes. Pacino's part was more important, only because Michael evolved as a character from "good-hearted, wide-eyed pup" to "evil mob boss" in the span of three hours, and the scene where he kills Solazzo and McCloskey at Louis' Ristorante has to rank among the most difficult scenes to pull off. If Pacino choked with that part, "Godfather I" would have failed miserably.
As for De Niro, his performance in "Godfather II" was incredible -- he actually made you believe that he was the young Marlon Brando playing the young Vito Corleone. Read that sentence again. But it was a supporting part ... the movie could have survived without a home run performance from him. And remember, Coppola auditioned both Pacino and De Niro for Michael's part when he was casting "The Godfather," with Pacino winning out. That's just enough to give him the nod. EDGE: PACINO.
Defining performance -- "Godfather II" for Pacino, "Raging Bull" for De Niro (the two most important performances by a male actor in the past 30 years). De Niro learned how to box, he gained 60 pounds ... I mean, he became Jake LaMotta.
But I'm still going with Pacino here, only because that's the one movie where I always think to myself, "Good God, he is absolutely amazing in this" every time I watch it. Just an electric performance from start to finish, like watching Pedro at his peak: Four pitches working, 98 mph fastball, everything for strikes. The scene where Diane Keaton tells him about her abortion, and Pacino's face starts to shake ... that's an absolute acting clinic. I'm getting goosebumps just thinking about it. SLIGHT EDGE: PACINO.
Consistency -- Pacino's prime lasted from 1972 ("The Godfather") through 1983 ("Serpico," "Godfather II," "Dog Day Afternoon," "And Justice For All," "Cruising," "Scarface"), with a resurgence for most of the '90s ("Godfather III," "Scent of a Woman," "Carlito's Way," "Heat," "The Insider," "Any Given Sunday"). I always thought that "Scent of a Woman"'s success was the worst thing that could have happened to him -- after he won the Oscar, he basically played the "Scent of a Woman" guy in every movie after that. Hoo-hah!!!!!
De Niro's prime lasted much longer -- initially from 1974 ("Godfather II") through 1980 ("Taxi Driver," "The Deer Hunter," "Raging Bull"), with a resurgence in the late-'80s ("The Untouchables," "Midnight Run," "Awakenings," "Goodfellas," "Cape Fear," "This Boy's Life," "Bronx Tale," "Casino," "Heat"), and then another resurgence in the late-'90s when he started doing comedies ("Analyze This," "Meet the Parents"). Just a more interesting, consistent, complete body of work, capped off by his improbable comedy success over these last few years (much like Barry Bonds improbably finishing his 30s by belting 73 homers one season and hitting .375 the next).
Over-the-Top Pacino was past his prime in "Any Given Sunday."
Put it this way: If you were trapped on a desert island and could import all of De Niro's movies or all of Pacino's movies, you'd probably pick De Niro (unless you couldn't live without "Scarface" and "Godfather I"). Just more to choose from. EDGE: De NIRO.
Believability as a cop -- Pacino was more believable as a detective; De Niro was more believable as a cop. So why didn't somebody write a movie where Pacino (as a detective) and De Niro (as a cop) banded together to solve a crime? Frankly, I have no idea. EDGE: TIE.
Most admirable misfire -- De Niro as a stalker comedian in "King of Comedy" (he just couldn't pull it off); Pacino as a Cuban drug dealer in "Scarface" (you forget, that movie absolutely bombed when it came out). Which movie will you remember 20 years from now? BIG EDGE: PACINO.
Range -- De Niro in a walk, mainly because he could throw anything at you -- Funny De Niro, Deadpan De Niro, Scary Mobster De Niro, Quiet Cop De Niro, Intense De Niro, Crazy Cop De Niro, Just Plain Crazy De Niro, Athletic De Niro, Killer De Niro, Quirky De Niro, Kindhearted DeNiro and so on. Pacino could only offer Quiet Cop Pacino, Abrasive Cop Pacino, Brooding Pacino, Crazy Pacino, Intense Pacino, Scary Pacino and Over-the-Top Pacino. There was never really Funny Pacino, unless we're talking in the Unintentional Comedy sense. Ironically enough, neither of them could pull off Romantic Pacino or Romantic De Niro (it always felt uncomfortable).
Four performances from the latter part of De Niro's career really set him apart: 1) "Midnight Run" (genuinely funny, genuinely likable, carried the movie on sheer personality, his most underrated performance), 2) "This Boy's Life" (as the meanspirited stepfather), 3) "Bronx Tale" (as the likable bus driver), and 4) "Heat" (without having much to work with -- that bank robber was a blank slate). I'm not sure Pacino could have pulled off any of those roles. EDGE: De NIRO.
(And that reminds me ...)
The Switch -- If you switched their careers and had Pacino play all of De Niro's parts, and vice-versa, who would have done a better job? De Niro wouldn't have nailed any of Pacino's over-the-top parts ("Scent of a Woman," "Heat," "And Justice For All"), and I can't imagine him pulling off the quiet, conflicted-about-possibly-being-gay police officer infiltrating the Manhattan gay scene in "Cruising" (it would have played like an "SNL" skit). He definitely would have taken Tony Montana and Michael Corleone somewhere (maybe not the same heights, but somewhere). And I think he matches anything else.
But Pacino with De Niro's parts? None of the comedy roles would have worked. "Cape Fear" and "Raging Bull" wouldn't have worked. He couldn't have played the young Vito Corleone. He probably could have handled the mob parts and most of the cop parts, and the only movie he would have improved was "King of Comedy." It just wouldn't have worked as well as De Niro with Pacino's career. EDGE: De NIRO.
Ability to avoid unintentional comedy -- Pacino takes the cake here. Ellen Barkin groping him in "Sea of Love," the dancing scenes in "Cruising" and "Scarface," the "She's got a great %*!!" scene in Heat ... the list is endless. De Niro never made you laugh unless it was intentional. EDGE: De NIRO.
Most improbable character that somehow worked -- "Cape Fear" was one of those movies that you only watched once (a little too disturbing, a little too disorienting), but De Niro transformed himself for the role of Max Cady -- ripped body, long hair, Southern accent, tattoos, the works. Ten minutes into the movie, you didn't even remember that it was him. I got you now!
As for Pacino, he was handed one of the most impossible parts ever -- play a swaggering drug dealer with no redeeming qualities, adopt a Cuban accent, say everything from the side of your mouth, drop F-bombs every few minutes, have your character slowly become a coked-up maniac as the movie drags along, carry every single scene you're in, do everything in the most over-the-top fashion possible, and somehow keep the audience rooting for you in the final 20 minutes -- and somehow pulled it off, singlehandedly making "Scarface" one of the signature pop culture movies of the past 20 years.
And if you don't like it ... well, (bleep) you, how's that? EDGE: PACINO.
Shamelessness about selling out -- Hey, it's not like Pacino hasn't taken a few roles just for cash ("The Devil's Advocate," "Godfather III," "Simone" and "**** Tracy," to name four). But he always picked his spots, at least until recently, and every Pacino movie always managed to feel like an event, even if it sucked.
Not De Niro. The way he sold out over the past 15 years has almost been jarring: "15 Minutes," "Rocky and Bullwinkle," "Showtime," "The Fan," "Frankenstein," "Marvin's Room," "Great Expectations" and "Backdraft," as well as a number of below-average films that he inexplicably accepted ("Stanley and Iris," "Mad Dog and Glory," "Guilty By Suspicion," "Night and the City," "We're No Angels"). Bob, feel free to say no every once in a while. It's okay. BIG EDGE: PACINO.
Most influential line on pop culture -- De Niro has "You talkin' to me? You talkin' to me?"; Pacino has "Just when I thought I was out, they pull me back in." Which one do you use more? I thought so. EDGE: PACINO.
Wild card -- My buddy Gus (who's legally changing his name to "My Buddy Gus" next month) pointed this one out: In Pacino's movies, there's always a definitive scene that you remember, one of those Pacino Scenes where he basically tells the director, "When I'm finished with this take, we'll just send it right to the Oscar committee" (like the "I woulda taken a FLAME THROWER to this place!" from "Scent of a Woman,' or the final locker room speech in "Any Given Sunday"). No matter how bad the movie, Pacino always has that one memorable scene (even in "Devil's Advocate," which may have been the worst two hours of my life).
De Niro just isn't that type of actor; he's always better in understated scenes (like the scene in "Midnight Run" when he goes to borrow money from his ex-wife). If they were pitchers, De Niro would be Greg Maddux (steady and brilliant) and Pacino would be Randy Johnson (you never know what he's capable of next). Whatever the case, I think Pacino gets a small edge here, only because a collage of his best scenes would be more fun to watch than a collage of De Niro's best scenes. EDGE: PACINO.
Head-to-head matchup -- As we all know, Pacino and DeNiro shared one major scene together, the diner scene in "Heat," one of the five or six most exciting moments of my life as a movie fan (I still remember seeing it for the first time, thinking to myself, "Good God, is this really happening?"). That's also one of those rare scenes in a movie where you're flicking channels, you know it's coming up soon, and you'll hang around for 15 minutes just until it comes on ... and after watching that scene roughly 73,456 times on cable over the last seven years, I'm giving De Niro a slight edge.
Here's why ...
It was dead-even right until the end. Pacino did his "Brotha, you are going down" routine. De Niro did his "There's a flip side to that coin ... what if I have to take you down?" routine. And it was a dead heat. Both of them hit it out of the park. Except right at the end, Pacino broke into a slight smile, almost like he couldn't handle the moment -- either it was too intense, or he couldn't believe the scene just happened. Either way, it's always bothered me. His character never would have smiled in that scene at that particular moment. It didn't add up. And it was just enough to give De Niro the win. SLIGHT EDGE: De NIRO.
My stepfather's take -- Three things you need to know about my stepdad: 1) He's 100 percent Italian, 2) his favorite movies of all-time are "Godfather 1," "Godfather 2," "Scarface," "Analyze This," "Goodfellas," "Bronx Tale," and "And Justice For All," and 3) his two favorite actors are Pacino and De Niro. Going to him for a Pacino-De Niro breakdown was like going to Bob Ryan for the definitive take on Bird vs. Magic.
Anyway, I couldn't decide between the two of them, so I turned the decision over to him. Here's what he said:
"DeNiro vs. Pacino? (silence) Oh, boy. I don't think you want to do this. (More silence) Oh. Jeez. (More silence) You have to pick one? (Dead silence) Why would you want to do this? You can't win either way."
(After some prodding ...)
"(Bleep) ... I'd go with De Niro. Most of Pacino's best stuff came out 20 and 30 years ago ... De Niro keeps coming out with quality stuff. But that's no knock on Pacino ..."
(And he defended Pacino for the next five minutes.)
Final verdict: De Niro. Barely.
Of all of this, I don't get the hate for Devil's Advocate. I love that movie.
Bill Simmons has a lot of stuff that belongs in this thread. Good and bad I'm sure. But this one, this is one of his best. Absolutely loved it.
Q: My friends and I loved the "Cheers" vs. "Seinfeld" debate that you wrote a couple of months ago. But what about the ultimate Dr. Jack breakdown: Pacino vs. De Niro?
-- Rob Adams, Boston
SG: I'll be honest ... this question sat in my "Potential Mailbag Questions" file for an entire summer. I was afraid to answer it. Wouldn't you be afraid? Pacino vs. De Niro? The two most famous, influential actors of the past 30 years? I feel like I'm about to walk on Mars ... I probably won't return safely, but I can't resist.
All right, let's break this down, Dr. Jack-style:
Robert De Niro became Jake LaMotta in "Raging Bull."
Breakthrough performance -- Pacino with Michael Corleone in "The Godfather"; De Niro with Young Vito Corleone in "Godfather II." Yikes. Pacino's part was more important, only because Michael evolved as a character from "good-hearted, wide-eyed pup" to "evil mob boss" in the span of three hours, and the scene where he kills Solazzo and McCloskey at Louis' Ristorante has to rank among the most difficult scenes to pull off. If Pacino choked with that part, "Godfather I" would have failed miserably.
As for De Niro, his performance in "Godfather II" was incredible -- he actually made you believe that he was the young Marlon Brando playing the young Vito Corleone. Read that sentence again. But it was a supporting part ... the movie could have survived without a home run performance from him. And remember, Coppola auditioned both Pacino and De Niro for Michael's part when he was casting "The Godfather," with Pacino winning out. That's just enough to give him the nod. EDGE: PACINO.
Defining performance -- "Godfather II" for Pacino, "Raging Bull" for De Niro (the two most important performances by a male actor in the past 30 years). De Niro learned how to box, he gained 60 pounds ... I mean, he became Jake LaMotta.
But I'm still going with Pacino here, only because that's the one movie where I always think to myself, "Good God, he is absolutely amazing in this" every time I watch it. Just an electric performance from start to finish, like watching Pedro at his peak: Four pitches working, 98 mph fastball, everything for strikes. The scene where Diane Keaton tells him about her abortion, and Pacino's face starts to shake ... that's an absolute acting clinic. I'm getting goosebumps just thinking about it. SLIGHT EDGE: PACINO.
Consistency -- Pacino's prime lasted from 1972 ("The Godfather") through 1983 ("Serpico," "Godfather II," "Dog Day Afternoon," "And Justice For All," "Cruising," "Scarface"), with a resurgence for most of the '90s ("Godfather III," "Scent of a Woman," "Carlito's Way," "Heat," "The Insider," "Any Given Sunday"). I always thought that "Scent of a Woman"'s success was the worst thing that could have happened to him -- after he won the Oscar, he basically played the "Scent of a Woman" guy in every movie after that. Hoo-hah!!!!!
De Niro's prime lasted much longer -- initially from 1974 ("Godfather II") through 1980 ("Taxi Driver," "The Deer Hunter," "Raging Bull"), with a resurgence in the late-'80s ("The Untouchables," "Midnight Run," "Awakenings," "Goodfellas," "Cape Fear," "This Boy's Life," "Bronx Tale," "Casino," "Heat"), and then another resurgence in the late-'90s when he started doing comedies ("Analyze This," "Meet the Parents"). Just a more interesting, consistent, complete body of work, capped off by his improbable comedy success over these last few years (much like Barry Bonds improbably finishing his 30s by belting 73 homers one season and hitting .375 the next).
Over-the-Top Pacino was past his prime in "Any Given Sunday."
Put it this way: If you were trapped on a desert island and could import all of De Niro's movies or all of Pacino's movies, you'd probably pick De Niro (unless you couldn't live without "Scarface" and "Godfather I"). Just more to choose from. EDGE: De NIRO.
Believability as a cop -- Pacino was more believable as a detective; De Niro was more believable as a cop. So why didn't somebody write a movie where Pacino (as a detective) and De Niro (as a cop) banded together to solve a crime? Frankly, I have no idea. EDGE: TIE.
Most admirable misfire -- De Niro as a stalker comedian in "King of Comedy" (he just couldn't pull it off); Pacino as a Cuban drug dealer in "Scarface" (you forget, that movie absolutely bombed when it came out). Which movie will you remember 20 years from now? BIG EDGE: PACINO.
Range -- De Niro in a walk, mainly because he could throw anything at you -- Funny De Niro, Deadpan De Niro, Scary Mobster De Niro, Quiet Cop De Niro, Intense De Niro, Crazy Cop De Niro, Just Plain Crazy De Niro, Athletic De Niro, Killer De Niro, Quirky De Niro, Kindhearted DeNiro and so on. Pacino could only offer Quiet Cop Pacino, Abrasive Cop Pacino, Brooding Pacino, Crazy Pacino, Intense Pacino, Scary Pacino and Over-the-Top Pacino. There was never really Funny Pacino, unless we're talking in the Unintentional Comedy sense. Ironically enough, neither of them could pull off Romantic Pacino or Romantic De Niro (it always felt uncomfortable).
Four performances from the latter part of De Niro's career really set him apart: 1) "Midnight Run" (genuinely funny, genuinely likable, carried the movie on sheer personality, his most underrated performance), 2) "This Boy's Life" (as the meanspirited stepfather), 3) "Bronx Tale" (as the likable bus driver), and 4) "Heat" (without having much to work with -- that bank robber was a blank slate). I'm not sure Pacino could have pulled off any of those roles. EDGE: De NIRO.
(And that reminds me ...)
The Switch -- If you switched their careers and had Pacino play all of De Niro's parts, and vice-versa, who would have done a better job? De Niro wouldn't have nailed any of Pacino's over-the-top parts ("Scent of a Woman," "Heat," "And Justice For All"), and I can't imagine him pulling off the quiet, conflicted-about-possibly-being-gay police officer infiltrating the Manhattan gay scene in "Cruising" (it would have played like an "SNL" skit). He definitely would have taken Tony Montana and Michael Corleone somewhere (maybe not the same heights, but somewhere). And I think he matches anything else.
But Pacino with De Niro's parts? None of the comedy roles would have worked. "Cape Fear" and "Raging Bull" wouldn't have worked. He couldn't have played the young Vito Corleone. He probably could have handled the mob parts and most of the cop parts, and the only movie he would have improved was "King of Comedy." It just wouldn't have worked as well as De Niro with Pacino's career. EDGE: De NIRO.
Ability to avoid unintentional comedy -- Pacino takes the cake here. Ellen Barkin groping him in "Sea of Love," the dancing scenes in "Cruising" and "Scarface," the "She's got a great %*!!" scene in Heat ... the list is endless. De Niro never made you laugh unless it was intentional. EDGE: De NIRO.
Most improbable character that somehow worked -- "Cape Fear" was one of those movies that you only watched once (a little too disturbing, a little too disorienting), but De Niro transformed himself for the role of Max Cady -- ripped body, long hair, Southern accent, tattoos, the works. Ten minutes into the movie, you didn't even remember that it was him. I got you now!
As for Pacino, he was handed one of the most impossible parts ever -- play a swaggering drug dealer with no redeeming qualities, adopt a Cuban accent, say everything from the side of your mouth, drop F-bombs every few minutes, have your character slowly become a coked-up maniac as the movie drags along, carry every single scene you're in, do everything in the most over-the-top fashion possible, and somehow keep the audience rooting for you in the final 20 minutes -- and somehow pulled it off, singlehandedly making "Scarface" one of the signature pop culture movies of the past 20 years.
And if you don't like it ... well, (bleep) you, how's that? EDGE: PACINO.
Shamelessness about selling out -- Hey, it's not like Pacino hasn't taken a few roles just for cash ("The Devil's Advocate," "Godfather III," "Simone" and "**** Tracy," to name four). But he always picked his spots, at least until recently, and every Pacino movie always managed to feel like an event, even if it sucked.
Not De Niro. The way he sold out over the past 15 years has almost been jarring: "15 Minutes," "Rocky and Bullwinkle," "Showtime," "The Fan," "Frankenstein," "Marvin's Room," "Great Expectations" and "Backdraft," as well as a number of below-average films that he inexplicably accepted ("Stanley and Iris," "Mad Dog and Glory," "Guilty By Suspicion," "Night and the City," "We're No Angels"). Bob, feel free to say no every once in a while. It's okay. BIG EDGE: PACINO.
Most influential line on pop culture -- De Niro has "You talkin' to me? You talkin' to me?"; Pacino has "Just when I thought I was out, they pull me back in." Which one do you use more? I thought so. EDGE: PACINO.
Wild card -- My buddy Gus (who's legally changing his name to "My Buddy Gus" next month) pointed this one out: In Pacino's movies, there's always a definitive scene that you remember, one of those Pacino Scenes where he basically tells the director, "When I'm finished with this take, we'll just send it right to the Oscar committee" (like the "I woulda taken a FLAME THROWER to this place!" from "Scent of a Woman,' or the final locker room speech in "Any Given Sunday"). No matter how bad the movie, Pacino always has that one memorable scene (even in "Devil's Advocate," which may have been the worst two hours of my life).
De Niro just isn't that type of actor; he's always better in understated scenes (like the scene in "Midnight Run" when he goes to borrow money from his ex-wife). If they were pitchers, De Niro would be Greg Maddux (steady and brilliant) and Pacino would be Randy Johnson (you never know what he's capable of next). Whatever the case, I think Pacino gets a small edge here, only because a collage of his best scenes would be more fun to watch than a collage of De Niro's best scenes. EDGE: PACINO.
Head-to-head matchup -- As we all know, Pacino and DeNiro shared one major scene together, the diner scene in "Heat," one of the five or six most exciting moments of my life as a movie fan (I still remember seeing it for the first time, thinking to myself, "Good God, is this really happening?"). That's also one of those rare scenes in a movie where you're flicking channels, you know it's coming up soon, and you'll hang around for 15 minutes just until it comes on ... and after watching that scene roughly 73,456 times on cable over the last seven years, I'm giving De Niro a slight edge.
Here's why ...
It was dead-even right until the end. Pacino did his "Brotha, you are going down" routine. De Niro did his "There's a flip side to that coin ... what if I have to take you down?" routine. And it was a dead heat. Both of them hit it out of the park. Except right at the end, Pacino broke into a slight smile, almost like he couldn't handle the moment -- either it was too intense, or he couldn't believe the scene just happened. Either way, it's always bothered me. His character never would have smiled in that scene at that particular moment. It didn't add up. And it was just enough to give De Niro the win. SLIGHT EDGE: De NIRO.
My stepfather's take -- Three things you need to know about my stepdad: 1) He's 100 percent Italian, 2) his favorite movies of all-time are "Godfather 1," "Godfather 2," "Scarface," "Analyze This," "Goodfellas," "Bronx Tale," and "And Justice For All," and 3) his two favorite actors are Pacino and De Niro. Going to him for a Pacino-De Niro breakdown was like going to Bob Ryan for the definitive take on Bird vs. Magic.
Anyway, I couldn't decide between the two of them, so I turned the decision over to him. Here's what he said:
"DeNiro vs. Pacino? (silence) Oh, boy. I don't think you want to do this. (More silence) Oh. Jeez. (More silence) You have to pick one? (Dead silence) Why would you want to do this? You can't win either way."
(After some prodding ...)
"(Bleep) ... I'd go with De Niro. Most of Pacino's best stuff came out 20 and 30 years ago ... De Niro keeps coming out with quality stuff. But that's no knock on Pacino ..."
(And he defended Pacino for the next five minutes.)
Final verdict: De Niro. Barely.
Of all of this, I don't get the hate for Devil's Advocate. I love that movie.
Q: My friends and I loved the "Cheers" vs. "Seinfeld" debate that you wrote a couple of months ago. But what about the ultimate Dr. Jack breakdown: Pacino vs. De Niro?
-- Rob Adams, Boston
SG: I'll be honest ... this question sat in my "Potential Mailbag Questions" file for an entire summer. I was afraid to answer it. Wouldn't you be afraid? Pacino vs. De Niro? The two most famous, influential actors of the past 30 years? I feel like I'm about to walk on Mars ... I probably won't return safely, but I can't resist.
All right, let's break this down, Dr. Jack-style:
Robert De Niro became Jake LaMotta in "Raging Bull."
Breakthrough performance -- Pacino with Michael Corleone in "The Godfather"; De Niro with Young Vito Corleone in "Godfather II." Yikes. Pacino's part was more important, only because Michael evolved as a character from "good-hearted, wide-eyed pup" to "evil mob boss" in the span of three hours, and the scene where he kills Solazzo and McCloskey at Louis' Ristorante has to rank among the most difficult scenes to pull off. If Pacino choked with that part, "Godfather I" would have failed miserably.
As for De Niro, his performance in "Godfather II" was incredible -- he actually made you believe that he was the young Marlon Brando playing the young Vito Corleone. Read that sentence again. But it was a supporting part ... the movie could have survived without a home run performance from him. And remember, Coppola auditioned both Pacino and De Niro for Michael's part when he was casting "The Godfather," with Pacino winning out. That's just enough to give him the nod. EDGE: PACINO.
Defining performance -- "Godfather II" for Pacino, "Raging Bull" for De Niro (the two most important performances by a male actor in the past 30 years). De Niro learned how to box, he gained 60 pounds ... I mean, he became Jake LaMotta.
But I'm still going with Pacino here, only because that's the one movie where I always think to myself, "Good God, he is absolutely amazing in this" every time I watch it. Just an electric performance from start to finish, like watching Pedro at his peak: Four pitches working, 98 mph fastball, everything for strikes. The scene where Diane Keaton tells him about her abortion, and Pacino's face starts to shake ... that's an absolute acting clinic. I'm getting goosebumps just thinking about it. SLIGHT EDGE: PACINO.
Consistency -- Pacino's prime lasted from 1972 ("The Godfather") through 1983 ("Serpico," "Godfather II," "Dog Day Afternoon," "And Justice For All," "Cruising," "Scarface"), with a resurgence for most of the '90s ("Godfather III," "Scent of a Woman," "Carlito's Way," "Heat," "The Insider," "Any Given Sunday"). I always thought that "Scent of a Woman"'s success was the worst thing that could have happened to him -- after he won the Oscar, he basically played the "Scent of a Woman" guy in every movie after that. Hoo-hah!!!!!
De Niro's prime lasted much longer -- initially from 1974 ("Godfather II") through 1980 ("Taxi Driver," "The Deer Hunter," "Raging Bull"), with a resurgence in the late-'80s ("The Untouchables," "Midnight Run," "Awakenings," "Goodfellas," "Cape Fear," "This Boy's Life," "Bronx Tale," "Casino," "Heat"), and then another resurgence in the late-'90s when he started doing comedies ("Analyze This," "Meet the Parents"). Just a more interesting, consistent, complete body of work, capped off by his improbable comedy success over these last few years (much like Barry Bonds improbably finishing his 30s by belting 73 homers one season and hitting .375 the next).
Over-the-Top Pacino was past his prime in "Any Given Sunday."
Put it this way: If you were trapped on a desert island and could import all of De Niro's movies or all of Pacino's movies, you'd probably pick De Niro (unless you couldn't live without "Scarface" and "Godfather I"). Just more to choose from. EDGE: De NIRO.
Believability as a cop -- Pacino was more believable as a detective; De Niro was more believable as a cop. So why didn't somebody write a movie where Pacino (as a detective) and De Niro (as a cop) banded together to solve a crime? Frankly, I have no idea. EDGE: TIE.
Most admirable misfire -- De Niro as a stalker comedian in "King of Comedy" (he just couldn't pull it off); Pacino as a Cuban drug dealer in "Scarface" (you forget, that movie absolutely bombed when it came out). Which movie will you remember 20 years from now? BIG EDGE: PACINO.
Range -- De Niro in a walk, mainly because he could throw anything at you -- Funny De Niro, Deadpan De Niro, Scary Mobster De Niro, Quiet Cop De Niro, Intense De Niro, Crazy Cop De Niro, Just Plain Crazy De Niro, Athletic De Niro, Killer De Niro, Quirky De Niro, Kindhearted DeNiro and so on. Pacino could only offer Quiet Cop Pacino, Abrasive Cop Pacino, Brooding Pacino, Crazy Pacino, Intense Pacino, Scary Pacino and Over-the-Top Pacino. There was never really Funny Pacino, unless we're talking in the Unintentional Comedy sense. Ironically enough, neither of them could pull off Romantic Pacino or Romantic De Niro (it always felt uncomfortable).
Four performances from the latter part of De Niro's career really set him apart: 1) "Midnight Run" (genuinely funny, genuinely likable, carried the movie on sheer personality, his most underrated performance), 2) "This Boy's Life" (as the meanspirited stepfather), 3) "Bronx Tale" (as the likable bus driver), and 4) "Heat" (without having much to work with -- that bank robber was a blank slate). I'm not sure Pacino could have pulled off any of those roles. EDGE: De NIRO.
(And that reminds me ...)
The Switch -- If you switched their careers and had Pacino play all of De Niro's parts, and vice-versa, who would have done a better job? De Niro wouldn't have nailed any of Pacino's over-the-top parts ("Scent of a Woman," "Heat," "And Justice For All"), and I can't imagine him pulling off the quiet, conflicted-about-possibly-being-gay police officer infiltrating the Manhattan gay scene in "Cruising" (it would have played like an "SNL" skit). He definitely would have taken Tony Montana and Michael Corleone somewhere (maybe not the same heights, but somewhere). And I think he matches anything else.
But Pacino with De Niro's parts? None of the comedy roles would have worked. "Cape Fear" and "Raging Bull" wouldn't have worked. He couldn't have played the young Vito Corleone. He probably could have handled the mob parts and most of the cop parts, and the only movie he would have improved was "King of Comedy." It just wouldn't have worked as well as De Niro with Pacino's career. EDGE: De NIRO.
Ability to avoid unintentional comedy -- Pacino takes the cake here. Ellen Barkin groping him in "Sea of Love," the dancing scenes in "Cruising" and "Scarface," the "She's got a great %*!!" scene in Heat ... the list is endless. De Niro never made you laugh unless it was intentional. EDGE: De NIRO.
Most improbable character that somehow worked -- "Cape Fear" was one of those movies that you only watched once (a little too disturbing, a little too disorienting), but De Niro transformed himself for the role of Max Cady -- ripped body, long hair, Southern accent, tattoos, the works. Ten minutes into the movie, you didn't even remember that it was him. I got you now!
As for Pacino, he was handed one of the most impossible parts ever -- play a swaggering drug dealer with no redeeming qualities, adopt a Cuban accent, say everything from the side of your mouth, drop F-bombs every few minutes, have your character slowly become a coked-up maniac as the movie drags along, carry every single scene you're in, do everything in the most over-the-top fashion possible, and somehow keep the audience rooting for you in the final 20 minutes -- and somehow pulled it off, singlehandedly making "Scarface" one of the signature pop culture movies of the past 20 years.
And if you don't like it ... well, (bleep) you, how's that? EDGE: PACINO.
Shamelessness about selling out -- Hey, it's not like Pacino hasn't taken a few roles just for cash ("The Devil's Advocate," "Godfather III," "Simone" and "**** Tracy," to name four). But he always picked his spots, at least until recently, and every Pacino movie always managed to feel like an event, even if it sucked.
Not De Niro. The way he sold out over the past 15 years has almost been jarring: "15 Minutes," "Rocky and Bullwinkle," "Showtime," "The Fan," "Frankenstein," "Marvin's Room," "Great Expectations" and "Backdraft," as well as a number of below-average films that he inexplicably accepted ("Stanley and Iris," "Mad Dog and Glory," "Guilty By Suspicion," "Night and the City," "We're No Angels"). Bob, feel free to say no every once in a while. It's okay. BIG EDGE: PACINO.
Most influential line on pop culture -- De Niro has "You talkin' to me? You talkin' to me?"; Pacino has "Just when I thought I was out, they pull me back in." Which one do you use more? I thought so. EDGE: PACINO.
Wild card -- My buddy Gus (who's legally changing his name to "My Buddy Gus" next month) pointed this one out: In Pacino's movies, there's always a definitive scene that you remember, one of those Pacino Scenes where he basically tells the director, "When I'm finished with this take, we'll just send it right to the Oscar committee" (like the "I woulda taken a FLAME THROWER to this place!" from "Scent of a Woman,' or the final locker room speech in "Any Given Sunday"). No matter how bad the movie, Pacino always has that one memorable scene (even in "Devil's Advocate," which may have been the worst two hours of my life).
De Niro just isn't that type of actor; he's always better in understated scenes (like the scene in "Midnight Run" when he goes to borrow money from his ex-wife). If they were pitchers, De Niro would be Greg Maddux (steady and brilliant) and Pacino would be Randy Johnson (you never know what he's capable of next). Whatever the case, I think Pacino gets a small edge here, only because a collage of his best scenes would be more fun to watch than a collage of De Niro's best scenes. EDGE: PACINO.
Head-to-head matchup -- As we all know, Pacino and DeNiro shared one major scene together, the diner scene in "Heat," one of the five or six most exciting moments of my life as a movie fan (I still remember seeing it for the first time, thinking to myself, "Good God, is this really happening?"). That's also one of those rare scenes in a movie where you're flicking channels, you know it's coming up soon, and you'll hang around for 15 minutes just until it comes on ... and after watching that scene roughly 73,456 times on cable over the last seven years, I'm giving De Niro a slight edge.
Here's why ...
It was dead-even right until the end. Pacino did his "Brotha, you are going down" routine. De Niro did his "There's a flip side to that coin ... what if I have to take you down?" routine. And it was a dead heat. Both of them hit it out of the park. Except right at the end, Pacino broke into a slight smile, almost like he couldn't handle the moment -- either it was too intense, or he couldn't believe the scene just happened. Either way, it's always bothered me. His character never would have smiled in that scene at that particular moment. It didn't add up. And it was just enough to give De Niro the win. SLIGHT EDGE: De NIRO.
My stepfather's take -- Three things you need to know about my stepdad: 1) He's 100 percent Italian, 2) his favorite movies of all-time are "Godfather 1," "Godfather 2," "Scarface," "Analyze This," "Goodfellas," "Bronx Tale," and "And Justice For All," and 3) his two favorite actors are Pacino and De Niro. Going to him for a Pacino-De Niro breakdown was like going to Bob Ryan for the definitive take on Bird vs. Magic.
Anyway, I couldn't decide between the two of them, so I turned the decision over to him. Here's what he said:
"DeNiro vs. Pacino? (silence) Oh, boy. I don't think you want to do this. (More silence) Oh. Jeez. (More silence) You have to pick one? (Dead silence) Why would you want to do this? You can't win either way."
(After some prodding ...)
"(Bleep) ... I'd go with De Niro. Most of Pacino's best stuff came out 20 and 30 years ago ... De Niro keeps coming out with quality stuff. But that's no knock on Pacino ..."
(And he defended Pacino for the next five minutes.)
Final verdict: De Niro. Barely.
Of all of this, I don't get the hate for Devil's Advocate. I love that movie.
- Apr 4, 2008
- 74,954
- 24,365
Pacino doesn't get enough credit for his performance in Dog Day Afternoon. Going from chanting Attica in front of the bank to telling his gay lover Leon that he was dying (figuratively) was just such a great dynamic.
- Apr 4, 2008
- 74,954
- 24,365
Pacino doesn't get enough credit for his performance in Dog Day Afternoon. Going from chanting Attica in front of the bank to telling his gay lover Leon that he was dying (figuratively) was just such a great dynamic.
- Dec 1, 2009
- 8,406
- 41
Fredo always dies
How's that novel youve been working on
- Dec 1, 2009
- 8,406
- 41
Fredo always dies
How's that novel youve been working on
- Nov 4, 2003
- 29,630
- 1,863
yeeessss johnny
one of the most underrated movies ever made.
also simmons straight up failed by not mentioning "the deer hunter". i'm skimming this as i watch the knicks game so maybe i missed it. but there should be an entire paragraph on that movie. one of the best i've ever seen
one of the most underrated movies ever made.
also simmons straight up failed by not mentioning "the deer hunter". i'm skimming this as i watch the knicks game so maybe i missed it. but there should be an entire paragraph on that movie. one of the best i've ever seen
- Nov 4, 2003
- 29,630
- 1,863
yeeessss johnny
one of the most underrated movies ever made.
also simmons straight up failed by not mentioning "the deer hunter". i'm skimming this as i watch the knicks game so maybe i missed it. but there should be an entire paragraph on that movie. one of the best i've ever seen
one of the most underrated movies ever made.
also simmons straight up failed by not mentioning "the deer hunter". i'm skimming this as i watch the knicks game so maybe i missed it. but there should be an entire paragraph on that movie. one of the best i've ever seen
Clyde Frog
formerly jay02
- Jan 8, 2011
- 12,617
- 7,475
Do you need to like Boxing to get into Friday Night Lights? Or is it one of those shows that just badass that anyone will like.
I dont watch much boxing which has shied me away from it although ive heard many good things.
I dont watch much boxing which has shied me away from it although ive heard many good things.
Clyde Frog
formerly jay02
- Jan 8, 2011
- 12,617
- 7,475
Do you need to like Boxing to get into Friday Night Lights? Or is it one of those shows that just badass that anyone will like.
I dont watch much boxing which has shied me away from it although ive heard many good things.
I dont watch much boxing which has shied me away from it although ive heard many good things.
- Apr 4, 2008
- 74,954
- 24,365
He died in The Deer Hunter as well rightOriginally Posted by ShaunHillFTW49
Fredo always dies
How's that novel youve been working on
Finally finished it my dude. I'll be on Conan in a couple of years promoting it
I liked The Deer Hunter a lot, but some parts of it were really slow, like the wedding. But after the war when De Niro went back to look for Walken and when he finally found him
- Apr 4, 2008
- 74,954
- 24,365
He died in The Deer Hunter as well rightOriginally Posted by ShaunHillFTW49
Fredo always dies
How's that novel youve been working on
Finally finished it my dude. I'll be on Conan in a couple of years promoting it
I liked The Deer Hunter a lot, but some parts of it were really slow, like the wedding. But after the war when De Niro went back to look for Walken and when he finally found him
- Jan 3, 2011
- 10,371
- 653
I've been on a Hitchcock rampage lately.
I'd seen Strangers on a Train, Rope, Psycho and Rear Window before, and took care of North By Northwest, The Man Who Knew Too Much (the remake) and a few episodes of his series in the past few nights.
If he were alive and making movies now, with current technologies, no one else would even bother trying.
I'd seen Strangers on a Train, Rope, Psycho and Rear Window before, and took care of North By Northwest, The Man Who Knew Too Much (the remake) and a few episodes of his series in the past few nights.
If he were alive and making movies now, with current technologies, no one else would even bother trying.
- Jan 3, 2011
- 10,371
- 653
I've been on a Hitchcock rampage lately.
I'd seen Strangers on a Train, Rope, Psycho and Rear Window before, and took care of North By Northwest, The Man Who Knew Too Much (the remake) and a few episodes of his series in the past few nights.
If he were alive and making movies now, with current technologies, no one else would even bother trying.
I'd seen Strangers on a Train, Rope, Psycho and Rear Window before, and took care of North By Northwest, The Man Who Knew Too Much (the remake) and a few episodes of his series in the past few nights.
If he were alive and making movies now, with current technologies, no one else would even bother trying.
jpzx
Supporter
- Feb 7, 2008
- 58,919
- 28,146
Show's about football son.
**Y'all know the infamous shower scene in Hitchcock's 'Psycho'? The "blood" that was seen was actually chocolate syrup. Since it was in black and white no one can tell the difference. Random fact.
jpzx
Supporter
- Feb 7, 2008
- 58,919
- 28,146
Show's about football son.
**Y'all know the infamous shower scene in Hitchcock's 'Psycho'? The "blood" that was seen was actually chocolate syrup. Since it was in black and white no one can tell the difference. Random fact.
- Dec 1, 2009
- 8,406
- 41
Have Thomas Pynchon review itOriginally Posted by JohnnyRedStorm
He died in The Deer Hunter as well rightOriginally Posted by ShaunHillFTW49
Fredo always dies
How's that novel youve been working on
Finally finished it my dude. I'll be on Conan in a couple of years promoting it
I liked The Deer Hunter a lot, but some parts of it were really slow, like the wedding. But after the war when De Niro went back to look for Walken and when he finally found him
- Dec 1, 2009
- 8,406
- 41
Have Thomas Pynchon review itOriginally Posted by JohnnyRedStorm
He died in The Deer Hunter as well rightOriginally Posted by ShaunHillFTW49
Fredo always dies
How's that novel youve been working on
Finally finished it my dude. I'll be on Conan in a couple of years promoting it
I liked The Deer Hunter a lot, but some parts of it were really slow, like the wedding. But after the war when De Niro went back to look for Walken and when he finally found him
- Apr 4, 2008
- 74,954
- 24,365
The best part about (most) Hitchcock movies was the music. More flicks need to be scored like that these days.
- Apr 4, 2008
- 74,954
- 24,365
The best part about (most) Hitchcock movies was the music. More flicks need to be scored like that these days.
