We Talked Until The Morning: 10 Films In Which A Lot Is Said In One Day

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We Talked Until The Morning: 10 Films In Which A Lot Is Said In One Day
We Talked Until The Morning: 10 Films In Which A Lot Is Said In One Day
Video: We Talked Until The Morning: 10 Films In Which A Lot Is Said In One Day
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Usually lists of films that stack the action at twenty-four o'clock, full of cleverly written plots with sharp turns. From Hitchcock's ironic "Rope" to Scorsese's "After Work", the main movie about the dashing adventures of one night, more and more people like to remember this kind of screenwriting that gracefully fits into a day of densely painted action. We decided to recall a slightly different, quieter beauty. In these ten films, of course, events also happen - but the conversations in them mean much more.

Text: Nailya Golman

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Rules of the game

La règle du jeu, 1939

Producer: Jean Renoir

France, the end of the thirties. The brave French pilot makes a record flight across the Atlantic and lands in Paris. He is greeted - but not the one he was expecting. The frustrated hero tells the journalist about his feelings, the married lady of his heart hears a report on the radio. Her husband knows about the affair. Her husband has a mistress with whom he wants to part. Her lover has a friend who is also not indifferent to her. They also have an estate, and in the evening all the aforementioned heroes will be at the ball in this estate, including the servants, no less than the owners who are keen on building love triangles. There is, of course, also a gun.

The film, directed by Jean Renoir on the eve of the war after "The Great Illusion", does not speak out loud about the war. The chatter of the servants, the biographies of the actors, the remarks in the dialogues - the outlines of the big story barely show through in the details, while Shanelev's dresses rustle on the screen, and the gentlemen and servants take turns occupying the garden pavilion, revealing themselves to each other in feelings and accidentally confusing a tragic plot. The film's action is limited by a time frame, but it tells much more about the intricate framework of sophisticated social propriety, which all heroes take much more seriously than sincere feelings. And which very soon, together with the society that gave birth to them, will be swept away by the war.

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Who's Afraid of Virginia Woolf?

Who's Afraid of Virginia Woolf ?, 1966

PRODUCER: Mike Nichols

Two couples in one living room. The university professor, his wife and two of their young colleagues drink together all night, with varying degrees of sophistication, insert hairpins into each other and hurt each other as best they can, solving old dramas in their relationship.

Mike Nichols's directorial debut starring Richard Burton and Elizabeth Taylor, based on the hit Broadway play by Edward Alby, was one of the first swallows of a revolution that would take over Hollywood a couple of years later in the mid-60s. This film ended the Hayes code: it was released despite the abundance of abuse in the frame. But scandalous - and scandalously successful - this film was made not so much by the choice of words as by their essence. Nichols was one of the first to show on the American screen intra-family relations so frankly, dramatically and with such a fierce dislike of the characters portrayed.

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Night at Maud

Ma nuit chez Maud, 1969

PRODUCER: Eric Romer

The protagonist is an exemplary citizen of a small French town. A parishioner of a church, an employee of a large company, a reader of Pascal and an admirer of a nameless girl, whom he sees every now and then at Mass, but never gets to know her. Once after a concert, his friend - a communist and in general a man of slightly different views of the world - drags him to visit his divorced friend Maud. The city is covered with a blizzard, the hero is forced to spend the night with the free-thinking beauty in the same bed.

"Night at Maud's" is one of the "fairy tales with morality" of the delicate sage, educator of the French new wave, Eric Romer. A movie in which it is remarkably visible what long internal monologues lead to (and, more importantly, do not lead), behind which we diligently hide life from ourselves.

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John and Mary

John and Mary, 1969

PRODUCER: Peter Yates

Mary wakes up in John's apartment, blinks charmingly, surprised.He looks out the window, finds himself a dressing gown, dresses, studies his books on the shelves. John pretends to be asleep at first. They are both very neat, very indecisive, in general, apparently, in fact, they are head over heels in love, but they have not yet understood this. They had met the day before at a bar, over an awkward discussion of Godard's Weekend, which Mary, she said, didn’t even like.

Does it matter? Not very clear. Is it important what to eat for breakfast? Is it possible to look into the purse that a stranger left in your bathroom to find out at least something about it? Should I tell him directly that he is a bore? Is it okay to fold her things? And when, by the way, is it proper for her to leave? He probably often wakes up like that with strangers. How to know if he is married. In general, does he want her to leave? And if you meet again in the evening - is that possible? After all, generally speaking, what's his and her name? He doesn't know, she doesn't know either, and we watch for an hour and a half as young Dustin Hoffman and Mia Farrow speak aloud and to themselves, playing on the screen the best kind of indecision that can ever be.

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Chinese roulette

Chinesisches Roulette, 1976

PRODUCER: Rainer Werner Fassbinder

Another chamber drama about the mores of the bourgeoisie - much younger, more violent and angrier than that of Renoir. Munich, Friday. The spouses leave for the weekend and say goodbye to each other, in order to meet in their own castle that evening, where both arrive accompanied by their lovers. Their daughter Angela is already waiting there with her governess - she arranged the meeting. The "rules of the game" here directly govern all the participants in the action: having collected the spiders in a jar, the lame Angela invites them to play a phantasmagoric version of "truth or action" - a game called "Chinese Roulette", during which each of those present, almost without losing the secular manners and self-control, hurt others and hurt himself. In his characteristic caustic manner, Fassbinder sums up the film with the caption: "Are you ready to marry and be faithful to each other until death do you part?"

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Mickey and Nicky

Mikey and Nicky, 1976

PRODUCER: Elaine May

Homeless American Night. Petty thug Niki locks himself in a hotel room, knowing that, most likely, an order has been received for him and someone will find him until morning. In a confused search for support, he calls his best friend, Mickey. He arrives, and the two of them go on an endless journey through hot spots, wet streets, anxious girlfriends and indifferent bar counters. Until the morning, Nicky will not believe what almost immediately becomes obvious to the viewer: talking with him about life, arguing about women and pouring a drink, his best friend escorts him to his death.

Elaine Mae, who is otherwise more famous for her comedic talent, has directed one serious drama, and this drama is a real treasure. May's youth passed in the midst of just such small gangsters, and for many years she wrote scraps of this script on pieces of paper lying around the apartment. Until she finally turned on the camera, in front of which she gave almost complete freedom of improvisation to two great people - John Cassavetes and Peter Falk, from whose dialogues this poignant movie ended up.

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My dinner with Andre

My Dinner with Andre, 1981

Producer: Louis Malle

Two friends meet for dinner at a restaurant. Shaw is an unlucky playwright who makes a living by acting. André is an artist who was once famous for his avant-garde productions in a creative crisis. The first is interrupted by small fees and barely pays bills, seeks stability and is wounded by his own failures. The second is wealthy, tired of life, travels the world in an attempt to resolve the lingering blues and is a master to speculate about the value of new impressions. Both are tired adults who can hardly break through the wall of indifference, trying to explain to each other something about themselves and almost seriously discuss how one actually needs to live something in order to finally become happy.

This movie is an excruciatingly long conversation without much additional entertainment for the viewer, but it may be useful for us today: to sit, listen to a couple of hours of reasoning about the life of two artists from the last century and somehow in between times to understand that there is nothing in this sense it does not change especially in people.

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Dead

The Dead, 1987

Producer: John Houston

The quiet jewel of Houston's filmography is a leisurely, sedate, melancholic film adaptation of the novel of the same name, which concludes Joyce's collection of Dubliners.

Christmas ball, guests and relatives come to the elderly Morgan sisters. They all sing songs, gossip, admire the concoctions, discuss political columns in the newspaper with moderate ardor, and calm down a drunken guest. Gabriel, the nephew of the Morgan aunts, gives a clever speech at the table, worried that half of the guests will not understand half of the references in it. While the party is raging, he languishes with one desire - to be alone with his wife. But when this happens, she, distantly looking out the window, tells him a story from her youth, which the song at dinner reminded her: there was a boy who loved her, this boy died long ago. She loved him too, she carried this love with her through the years.

The city quietly fills with snow, the woman silently falls asleep in the dark, Gabriel understands: secrets, fears and love in the world are divided equally between the living and the dead, and no clever speech can cope with this. Not on this snowy Christmas night, not on any other fine day in the history of the world.

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Before dawn

Before Sunrise, 1995

Producer: Richard Linklater

The first part of Linklater's saga about the most ordinary, remarkably great love between American Jesse and Frenchwoman Celine, in which the two meet on the train and get off in Vienna to spend their first night together. Today we know that the first will be followed by many others, and in the next films we will again be shown how they cannot stop talking after a dozen years or more. And they will laugh and still love each other, and we will love them in return - just as distant relatives. But so far all this has not happened, and at the very beginning of the story, two are sitting on the same train and trying to pretend that they are reading their books. But they can’t, not at all. And he looks at her, and she asks him: "Have you heard that with age the spouses stop hearing each other?" And we think to ourselves: "Well, not all." Of course, not all.

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Celebration. Dogma number 1

Festen, 1998

Producer: Thomas Winterberg

The reference movie in the "scandal supper" genre. Several dozen guests come to the country castle for the sixtieth birthday of the respected businessman. His daughter is absent at this holiday - she recently committed suicide. When the time comes to say a congratulatory toast, the son of the hero of the day raises a glass and tells the guests how his father raped him and his sister in childhood, claiming that these memories were the reason for his sister's suicide. Further, all family members will sort things out - at the table and not only, with tantrums and assault - and numerous guests will look in confusion at what is happening, trying with their last bit of strength to pretend that everything is in order and as it should be.

"Dogma No. 1" is a super hit that won the audience award in Cannes and immediately glorified Danish provocateurs. If you want to be angry with humanity tonight - this is your choice, just play this movie without thinking.

PHOTOS: The Criterion Collection, Warner Bros., 20th Century Fox, New Yorker Films, Paramount Pictures, Lions Gate Home Entertainment, Prem’er Video Fil’m, Nimbus Films

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