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Le Maître d'école (Claude Berri, 1981)

From a very respectable director, a starring vehicle for French comedian Coluche. So this would have been not long after his well-publicised run for French president, which led to death threats and all kind of nefarious state-led mayhem against him, with the Giscard D'Estaing regime turning a blind eye.

This film is what people nowadays call a 'feel-good film', but far less politically disengaged than these films tend to be now.

 

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Haydn, Mozart, Vivaldi, Wagner, Brahms, Schumann
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Godfather 1, 2 and 3
 
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Lock, Stock and Two Smoking Barrels (1998)
(Grant-free Guy Ritchie film)
 

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Låt den rätte komma in

A Swedish modern vampire story. Scary and gruesome. Billed as a romantic horror movie. In Swedish with no English subtitles but it was easy to follow the story.


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Nothing Sacred (William Wellman., 1937)

Pre-war Technicolor screwball comedy with the chameleon-like Fredric March (same year as his Oscar-winning Dr Jekyll & Mr Hyde) and the delightful Carol Lombard as a young woman wrongly diagnosed by a local quack as suffering from Radium poisoning, so that Fredric March, scoop journalist on a paper whose reputation he keeps sullying with dubious stories turning into farce scandals, brings her to New York to 'redeem himself'.
Music is by Oscar Levant (sounds like Gershwin) and there is an appearance by Raymond Scott's jazz band, who is a now forgotten pioneer of electronic musical instruments and wrote many tunes which ended up being the backbone of the Warner Brothers cartoons soundtrack.

 

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Northmen is a tale of pre-Medievals who were ill-mannered and woefully unkempt even by the standards of the time. A shoe in for an Academy if Best War-cry was a category (though the wolf-howls emitted from the drooling lips of wide-eyed and soiled faces was quite impressive, too). The swords were sharp and swung with much contempt for the target, with a motivation for revenge, blood-lust, or alleviation from the TV-less boredom that pervaded the stone-age populace. If you noted no mention of intrigue and embraceable qualities among the characters in my description, then you'd be on to something.

When the protagonist was close to the possibility of fulfilling the plot; garnishing a simple and much needed admiration, he waded into the precipice of annihilation among his foes with a regard for safety that would cause a simple-minded toddler to blush, and left the weary viewer wondering what form of theatrical device would deliver him from complete doom, and deliver the viewer from watching the painful existence of those who had yet to discover the invention of hair shampoo and eating utensils.
 

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Being There (1979)
 
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