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  1. Tatsumi Fujinami vs. El Canek (6/12/83) Tatsumi Fujinami wrestled in Mexico on his first excursion abroad in 1974, but he wouldn’t rise to prominence until he defeated Carlos Jose Estrada on 1/23/78 for the WWWF Junior Heavyweight championship. For the next three years, Fujinami defended the title across Mexico, Japan and the US, establishing it as the world’s premier junior heavyweight wrestling title. During that time he had matches against Mexican stars like Perro Aguayo, Angel Blanco, Ray Mendoza, Canek and Fishman, some of which are the only real footage we have of 1970s lucha. Unlike Hamada, Fujinami never stayed in Mexico for a significant amount of time, so he didn’t really work a lucha style, but lucha at the time wasn’t idiosyncratic enough that UWA stars couldn’t work a 70s style mat based match for Fujinami’s title defences, as LLI had close ties with both New Japan and the WWWF and the booking philosophy of using a lot of outside talent meant that the matches were often a hybrid of various styles. Fujinami vacated the WWF Junior Heavyweight title in December of ’81 when he moved into the heavyweight ranks, but he’d actually begun challenging Canek for his UWA Heavyweight Championship earlier than that. They had a match on the 5/1/81 UWA show at El Toreo that drew 20,000 (with thousands turned away), a show that was headlined by Antonio Inoki vs. Bob Backlund in a NWF vs. WWF title match. In what was a direct copy of Canek vs. Choshu the year before, Fujinami defeated Canek for the UWA Heavyweight belt on 5/1/83 at El Toreo, setting up this rematch between the two.
  2. The next two matches are from the LLI’s 7th Anniversary show. It was headlined by Perro Aguayo y Abdullah the Butcher vs. Antonio Inoki y Tatsumi Fujinami, which is why there was a Japanese television crew present. LLI was the top promotion in Mexico throughout the 80s, but didn’t get television until 1991, by which point the company was in terminal decline. The only footage we have of the UWA in its heyday is either from handhelds or Japanese TV. As with the opening tag match, the footage comes from El Toreo de Naucalpan, or Toreo de Cuatro Caminos as it was officially known. This domed bullring was to the LLI what Madison Square Garden is the WWE. It was demolished at the beginning of 2009 and a mixed-use development project was supposed to begin construction at some point this year. Lou Thesz is your ref for these bouts. Centurion Negro vs. Gran Hamada (2/14/82) This was for Centurion Negro’s UWA World Middleweight Championship. The middleweight championship was the first belt Hamada won when he started working Mexico, as UWA co-founder Rene Guajardo put him over in the early days of Monterrey, a region in the North of Mexico where Guajardo had begun promoting a style of show that would go on to be synonymous with lucha brawling. The belt passed hands through Hamada and Guajardo and another big star in Anibal before it ended up in the hands of Jungle Negra. Not much is known about Negra other than Anibal took his mask as penance for Negra winning his title and Centurion Negro later took his hair. Centurion Negro was not a wrestler of particular note. As with many LLI/UWA wrestlers, he resurfaced on the indy scene once UWA folded, but there’s not much to be said about him. He dropped the belt here, but won it back on 6/13, which suggests that the LLI put Hamada over for New Japan’s benefit since the TV crew was there. On the other hand, the title wound up back around Hamada’s waist in ’83 and he enjoyed a lengthy year-long reign, so perhaps they just wanted a title switch on the Anniversary show. El Canek vs. Don Corleone (2/14/82) Canek, as many of you will know, was the UWA’s top attraction and the biggest Mexican wrestling star of the 80s. He was the guy chosen by Francisco Flores to headline the promotion when it became apparent that Guajardo and Ray Mendoza were getting old and other draws like Mil Mascaras were out of the country most of the time. His push to the top started with title match victories over Dr. Wagner Sr and Lou Thesz in 1978 and was greatly aided by the LLI’s talent sharing agreement with New Japan Pro-Wrestling. As the Japanese promotions had done after the war, the UWA built Canek up by having him go over foreign stars from all over the world. Incidentally, he usually worked as a junior heavyweight in Japan, but in Mexico he faced heavyweight challenges from the likes of Inoki and Choshu. The formula worked and played a large role in the UWA being so successful in the 80s, as Canek vs. foreign “invader” consistently drew people to El Toreo. Eventually, they drove the formula into the ground and the UWA was left for dead by Antonio Pena’s new style of booking, but in 1982 Canek was still on the rise. He was enjoying his second reign as UWA World Heavyweight champion, a title he would go on to hold 15 times. It had become a year earlier when he defeated Tiger Jeet Singh at El Toreo on 2/15/81 and included title defences against the likes of Strong Kobayashi, Tatsumi Fujinami, Billy Robinson and Pat Patterson. Why Don Corleone was chosen to face Canek at the Anniversary show is unknown. Corleone was Tony Rocco, who worked Los Angeles a lot. Canek also worked Los Angeles a fair bit, so there may have been a connection there. This was sort of a two part deal as the following month Canek took Corelone’s mask.
  3. Andre the Giant y Cien Caras vs. Alfonso Dantes, Herodes y Sangre Chicana (1981) Andre was touring Mexico fairly regularly at this point. He’d stay for about a week and work for EMLL and UWA on alternate nights. This is a match from Arena Coliseo de Guadalajara and appears to be an EMLL booking. It aired on Jalisco television and is reportedly the only time one of Andre’s bouts aired on Mexican television. Andre was frequently booked in handicap matches while touring, sometimes two on one, three on one, anywhere upwards of four on one. The most famous Andre moment in Mexico was when he headlined the 1984 UWA Anniversary show against El Canek at the Palacio de lose Desportes, a large indoor sports arena that was built for the 1968 Olympics. The match drew a large crowd of 25,000 and is the bout where Canek body slammed the Giant. His partner for this bout was Cien Caras, the oldest of Los Hermanos Dinamita, a trios he formed in the mid-to-late 80s with brothers Mascara Año 2000 and Universo 2000. Caras, an Arena Coliseo de Guadalajara regular at this point, would go on to play a major part in the lucha television boom with both CMLL and AAA, headlining two of the biggest shows in lucha libre history, CMLL’s 57th Anniversary show against Rayo de Jalisco, Jr. and the inaugural Triplemania show against Konnan. In 1981, he was still a masked technico, who’d taken the scalps of Alfonso Dantes and Goro Tanaka in hair matches and won his first major title, the Mexican National Heavyweight Championship, in 1980. On the rudo side, Dantes and Herodes were regular rivals of Caras in the heavyweight division. Sangre Chicana (black tights with red stripe) was a middleweight to light heavyweight and not a natural rival of Caras’, though their paths crossed numerous times, particularly when Caras turned and became a rudo. Chicana rose to fame in 1977 when he lost his mask to Fishman at Arena Mexico in a triple threat match with El Cobarde I. This feud catapulted him to stardom and he was enjoying an extremely successful rudo run at this point, including stints with the NWA World Middleweight Championship. He’d get even bigger the following year in 1982 when he jumped from EMLL to UWA and resumed his feud with Fishman. Herodes (red trunks, awesome beard) has a rep as one of the great “lost” rudo workers of the 80s, though more footage of him surfaced in time for this set. Prior to the set, he was regarded as a great bumper and superb base for young technico flyers like Stuka, but he was also a hair match worker of note and a championship winning wrestler, taking the Mexican National Heavyweight belt from Caras in ’82. Alfonso Dantes (red trunks with white trim, no beard) was an older worker than either Chicana or Herodes. He was a star from the mid-to-late 60s through the 70s, where he spent a large portion of the decade in the NWA World Light Heavyweight Championship title picture, as well as the Mexican National Light Heavyweight Championship, a belt he held in 1981 (and lost to Babe Face.) Like Herodes, he had a strong reputation as a worker, particularly for working bigger than his size, which due to his physique earned him the nickname of “El Tanque,” which means “The Tank.” His most famous feud was with El Halcon, but his career at this point was intertwined with the other wrestlers in the ring. He’d lost his hair to Caras at Arena Coliseo de Guadalajara at some point in this push of Caras’ and twice tagged with Chicana in hair matches. He was the father of 90s wrestler Apolo Dantes.
  4. I just saw him as a regular guy having a midlife crisis. I dunno if we were supposed to sympathise with him, but what I liked about the ending was that instead of the usual saccharine Hollywood ending where he realises everything he ever wanted is right under his nose, he loses what he wants and has to suffer. The fact that he has the wife, the kids and the nice home only adds to the bitterness. Maybe he's an asshole, but he's frustrated and in the end crushed.
  5. EQUINOX FLOWER (Yasujiro Ozu) -- Ozu's first colour film. I usually find the most minor of Ozu's works enjoyable, but I think he made better comedies than this from Ohayo onwards. I especially love his early 60s comedies Late Autumn and The End of Summer. I wouldn't put Equinox Flower on their level, largely because it lacked the same pathos. There's still plenty to enjoy if you're an Ozu lover, particularly the performance of Ozu regular Shin Saburi, even if it is the weakest of his colour films. TERROR IN A TEXAS TOWN (Joseph H. Lewis) This had such a cool poster: In truth, harpoon vs. six gun is only a minor part of the film. The rest is a better than average B western with some fantastic photography. The script was provided by Dalton Trumbo, who was blacklisted at the time, thus giving the film High Noon parallels; and stars remorseful HUAC informant Sterling Hayden, who struggles with a Swedish accent but certainly looks the part. Nedrick Young adds a Bogie twist to the villainous gunslinger and the whole thing is basically a hodgepodge of B-grade goodness. THE FILE ON THELMA JORDAN (Robert Siodmak) -- decent noir, but I prefer my noir a bit grittier and a bit more off beat. Barbara Stanwyck is always a pleasure to watch. She had such a wonderful voice. I reckon that voice might tempt me to commit a felony it was so alluring. THERE'S ALWAYS TOMORROW (Douglas Sirk) -- Hey, there's Barbara Stanywck again! And Fred MacMurray! Haven't I seen them somewhere together? This was the last of the major Sirk films for this poll, but I might watch a couple of the minor ones as Sirk is one of the key guys of this decade, IMO. This was black and white, but every bit as gorgeous as his colour films and it delivered an absolute gut punch to the stomach for the Fred MacMurray character who is perhaps the personification of Sirk's belief that in tragedy the character always dies but in melodrama they keep on living in an unhappy happy ending. Unfortunately, he wasn't allowed to include the darker ending he had planned for the film, but the final shot of MacMurray still says it all. This was an excellent film and Sirk really was a giant of 50s cinema. THE FURIES (Anthony Mann) -- Barbara Stanwyck! This was a great film. I've always loved Mann's Westerns with Jimmy Stewart, but this was equally good if not better. Why this isn't remembered as one of the best films of 1950, I don't know. Stanwyck and Walter Huston (in his final ever role) attack the material with such gusto that it's one of those rare films from the era where the attacking is even stronger than the photography, and there's plenty of excellent supporting roles as well. The script looses steam towards the end and lost me a bit at the end when but it's still an immense film. This will definitely make my list. SENSO (Luchino Visconti) -- this was such a gorgeous film. Easily one of the most beautiful colour films of the decade. Visconti had such a beautiful eye for detail. The story is nothing you haven't seen a million times in costume dramas and literary adaptations, though the ending still packs a punch, but man is it lush.
  6. Matt D asked me if I could start doing this. I'm not the most qualified to give lucha history lessons as there are plenty of people who know more about it than me, but I'll try my best. Feel free to suggest any corrections or suggestions. Satoru Sayama y Gran Hamada vs. Perro Aguayo y Baby Face (4/13/80) Gran Hamada (green trunks) was one of the first New Japan trainees and came from a strong judo background, where he fought for one of the top universities in Japan and was a candidate for the 1972 Olympics. Due to his lack of size, he was sent to Mexico to train with the newly formed LLI promotion in 1975 and learn the lucha style. Despite having a hard time with everyday life, Hamada soon established himself in Mexico and by the time he returned to Japan in 1979 he already had a family in Mexico, which is why he split so much of his time between the two countries. Hamada had a rivalry at the time with Perro Aguayo (white trunks), one of the biggest stars in lucha libre history. Aguayo is famous for his blading and for being arguably one of the greatest brawlers in lucha history, but Aguayo vs. Hamada was, for the most part, a title match feud. This tag match from the famous El Toreo bullring was sandwiched between a pair of title matches the men had. The first was a match for the UWA World Junior Light Heavyweight Championship, which Aguayo took from Hamada on 4/22/79. The second was a title defence of Hamada’s UWA World Light Heavyweight Championship on 5/25/80, which Aguayo also took from Hamada. They would go on to have an even fiercer rivalry for the WWF Light Heavyweight Championship, which would trade hands several times in both Mexico and Japan and their rivalry crossed promotions from UWA to New Japan to Shinma’s original UWF. Eventually, they would become tag partners in both Mexico and Hamada’s UWF promotion. Sayama (tights with a stripe) was on his own excursion at the time and had tasted his first success in Mexico by winning the NWA World Middleweight Championship from Ringo Mendoza on 9/9/79, a belt he lost to El Satanico on 3/28/80, a few weeks before this tag took place. He would move to England by the end of the year and have a run under a quasi-Bruce Lee gimmick as “Sammy Lee” before heading back to Japan to done the famous Tiger Mask gimmick. Aguayo’s partner Babe Face (red and white trunks) was one of the original UWA wrestlers and a hated rudo also known for his bloody hair matches. This was on the undercard of an Antonio Inoki vs. Tiger Jeet Singh match for the UWA World Heavyweight title, which is why it was filmed by a Japanese TV crew.
  7. That still doesn't mean that a mano-a-mano is less than a hair match because it doesn't have an epic third fall. That's like saying a title match is less than a hair match because it lacks blood. Either the mano-a-mano is a greater mano-a-mano match than the hair match is a hair match or not. That's my take on it, anyway.
  8. You can compare the matches if you like, but a mano-a-mano is never going to be as good as a hair match. The proper comparison is with those brawling trios that set up hair and mask matches.
  9. This is a mano-a-mano bout, which is an entirely different beast from a hair match. You can't expect them to go all out because they're never going to give away the third fall to a hair match in a mano-a-mano bout. Mano-a-manos are a tease for a future stip match or in this case a singles match without having to wager anything. They're always narrow in scope and usually involve blood and little else.
  10. It wasn't a match that lucha fans held in reverence until Kevin Cook uploaded it back in the day. I'm not sure how long it had been available for, but it was only about 7 or 8 years ago that people started watching it, so unless wrestlers watched it on YouTube I'm guessing no.
  11. Here's my list: 100. Naked Lunch, David Cronenberg 99. The Woman of the Port, Arturo Ripstein 98. Live Flesh, Pedro Almodovar 97. Hard Boiled, John Woo 96. Toto the Hero, Jaco van Dormael 95. Ladybird Ladybird, Ken Loach 94. A Self-Made Hero, Jacques Audiard 93. Gabbeh, Mohsen Makhmalbaf 92. Fast, Cheap & Out of Control, Errol Morris 91. Welcome to the Dollhouse, Todd Solondz 90. Muriel's Wedding, P.J. Hogan 89. Bullets Over Broadway, Woody Allen 88. The Madness of King George, Nicholas Hytner 87. Children of Heaven, Majid Majidi. 86. Happy Together, Wong Kar-Wai 85. Abraham's Valley, Manoel de Oliveira 84. Topsy Turvey, Mike Leigh 83. The Wind Will Carry Us, Abbas Kiarostami 82. Toy Story 2, Ash Brannon, John Lasseter, Lee Unkrich 81. The Match Factory Girl, Aki Kaurismaki 80. A Summer's Tale, Eric Rohmer 79. Sweet Hereafter, Atom Egoyan 78. Eternity and a Day, Theo Angelopoulos 77. After Life, Hirokazu Koreeda 76. Lost Highway, David Lynch 75. Ashes of Time, Wong Kar-Wai 74. Princess Mononoke, Hayao Miyazaki 73. The Double Life of Veronique, Krzysztof Kieslowski 72. L.A. Confidential, Curtis Hansen 71. The Castle, Rob Stitch 70. Election, Alexander Payne 69. The Big Lebowski, Joel Coen 68. Lone Star, John Sayles 67. Mother and Son, Aleksandr Sokurov 66. Three Colours: Blue, Krzysztof Kieslowski 65. Naked, Mike Leigh 64. My Name is Joe, Ken Loach 63. A Brighter Summer Day, Edward yang 62. The Puppetmaster, Hou Hsiao-Hsien  61. Exotica, Atom Egoyan 60. Ju Dou, Zhang Yimou 59. Taste of Cherry, Abbas Kiarostami 58. Ratcatcher, Lynne Ramsay 57. The Grifters, Stephen Frears 56. Groundhog Day, Harold Ramis 55. La Belle Noiseuse, Jacques Rivette 54. Farewell My Concubine, Chen Kaige 53. Toy Story, John Lasseter 52. Boogie Nights, Paul Thomas Anderson 51. The Player, Robert Altman 50. Pulp Fiction, Quentin Tarantino 49. Goodfellas, Martin Scorcese 48. Europa Europa, Agnieszka Holland 47. Fargo, Joel Coen 46. Glengarry Glen Ross, James Foley 45. One False Move, Carl Franklin 44. To Live, Zhang Yimou 43. Sonatine, Takeshi Kitano 42. Chungking Express, Wong Kar-Wai 41. Actress, Stanley Kwan 40. Ulysses' Gaze, Theo Angelopoulos 39. The Day a Pig Fell Into the Well, Sang-soo Hong 38. Lessons of Darkness, Werner Herzog 37. Life is Sweet, Mike Leigh 36. The Crying Game, Neil Jordan 35. Mr. Death: The Rise and Fall of Fred A. Leuchter, Jr., Errol Morris 34. Brother's Keeper, Joe Berlinger and Bruce Sinofsky 33. Manhattan Murder Mystery, Woody Allen 32. Hoop Dreams, Steve James 31. Colour of Paradise, Majid Majidi 30. The Thin Red Line, Terrence Malick 29. Raise the Red Lantern, Zhang Yimou 28. Shawshank Redemption, Frank Darabont 27. The Blue Kite, Zhuangzhuang Tian 26. Burnt by the Sun, Nikita Mikhalkov 25. Through the Olive Trees, Abbas Kiarostami 24. The River, Tsai Ming-liang 23. Before Sunrise, Richard Linklater 22. Three Colours: Red, Krzysztof Kieslowski 21. Secrets and Lies, Mike Leigh 20. Wedding Banquet, Ang Lee 19. Close-Up, Abbas Kiarostami 18. A Heart in Winter, Claude Sautet 17. My Own Private Idaho, Gus Van Sant 16. Cyrano de Bergerac, Jean-Paul Rappeneau 15. La Haine, Mathieu Kassovitz 14. Beau Travail, Claire Denis 13. Crumb, Terry Zwigoff 12. Boyz N the Hood, John Singleton 11. Nelly & Monsieur Arnaud, Claude Sautet 10. Shall We Dance? Masayuki Suo 9. Paris is Burning, Jennie Livingston 8. Wild at Heart, David Lynch 7. The Eel, Shohei Imamura 6. Hana-bi, Takeshi Kitano 5. Autumn Tale, Eric Rohmer 4. Eat Drink Man Woman, Ang Lee 3. All About My Mother, Pedro Almodovar 2. Mabarosi, Hirokazu Koreeda 1. Underground, Emir Kusturica
  12. I watched Shawshank Redemption for the first time for this poll and I'd say it's the best film in the top 20.
  13. Cheers, I'll definitely check those out. I've seen Gun Crazy and The Big Combo and the poster for Terror in a Texas Town looks awesome.
  14. Did you catch the All Blacks/Springboks test from Ellis Park? One of the greatest games of the modern era. You can find it on youtube.
  15. SHADOWS (John Cassavetes) -- this was so different from what Hollywood were producing at the time that even it's low budget, occasional technical flaws, uneven acting and faulty improvised story give it an edge and rawness that make it a captivating watch. It's not Cassavetes' best film, but in the context of the decade it's like watching an early Brando performance when all you've been used to is the studio system star factory. Recommended. WEDDINGS AND BABIES (Morris Engel) -- this is the third installment in Engel's trilogy of films. He's a guy who doesn't get enough credit for his pioneering work in independent cinema. History lazily refers to Cassavettes as the first independent filmmaker, but filmmakers like Engel began making independent films after the war and there was already an independent film culture in New York City by the time Cassavettes made Shadows. This was a charming, autobiographical account of a struggling photographer in New York City who is extremely reluctant to marry his girlfriend. It's a bit different from Engel's first two films where the central actors were kids, but highly enjoyable. Also the first film to use a hand-held 35 millimeter camera with simultaneous sound recording, so Engel has more freedom with his camera and direction. BEAT THE DEVIL (John Huston) -- John Huston/Bogie money loser that's adopted an almost cult like status these days as though it's another Treasure of the Sierra Madre. It ain't, but it's a Bogie film, the script is reasonably witty and it's not that long. If you've got time to kill it's in the public domain and easy to find. BIGGER THAN LIFE (Nicholas Ray) -- What could be more 1950s than James Mason playing a school teacher who becomes addicted to cortisone? What could be more Nicholas Ray than that? This has the best Hollywood ending ever when: CARRY ON NURSE (Gerald Thomas) -- legendary British film series that's all about the Brit sense of humour really. I'm kind glad that I finally got to see one, but I preferred The Belles of St Trinian's more. This was fun though and good for some chuckles. The final set piece where the patients get drunk and try to perform an operation is amusing.
  16. I feel bad for OJ sometimes. The lot of us are stumbling about in seas that he's been sailing in for years. Don't feel too bad. I hadn't seen this match until the set dropped and checked luchawiki to see who was champion.
  17. Since there's even bigger funk fans than me on this board, does anyone recognise the song Caswell Martin comes to the ring to in this match from Germany?
  18. Some of this World Pro footage makes for neat extras:
  19. Gran Cochise, Villano III y Rayo De Jalisco Jr. vs. Fishman, Mocho Cota y Tony Bennetto (11/30/84) was another match where I was seriously questioning the date as both the Cota/Cochise hair matches are listed as being from '83.
  20. So much of it was left on the cutting room floor that it's hard to tell how good it was, but if you were expecting an epic bloodbath then you'll be disappointed as from the clips it looks like a workrate trios.
  21. BABY DOLL (Elia Kazan) -- not Tennessee Williams' best play and not Elia Kazan's best film. Eli Wallach steals the show with an almost Joe Pesci like performance as the Sicilian cotton farmer looking to get revenge on Karl Malden by seducing his teenage bride. Malden is pretty good as well, though after watching him play so many bit parts in the 50s it was kind of surreal to see him thrust into a lead role. It was literally like watching the saloon owner from a 50s western take centre stage all of a sudden. LOLA MONTES (Max Ophuls) -- if we did stock picks on these sort of things, Ophuls stock would be going down for me. This was another case of style over substance and the funny thing is it didn't even look that good. I wasn't overly impressed by his use of colour and the set pieces in his earlier films were far better. Won't factor on my ballot. EARLY SUMMER (Yasujiro Ozu) -- when I first watched this I thought it was one of Ozu's less interesting films having only just hit the high points of Late Spring and Tokyo Story, but this time it really hit home with me. I'm not sure I've ever liked Hara Setsuko more than I did here and he ending choked me up in the usual Ozu fashion. Wonderful film and surprising modern in terms of it's views on women and marriage. THE BROWNING VERSION (Anthony Asquith) -- brilliant film starring Michael Redgrave as a classics teacher at an English public school who comes to the slow realisation that he's failed as both a husband and teacher. Painfully emotional at times, the film also delivers a savage critique of the public school system and is deftly handled by Asquith who manages to transform it into more than just a filmed stage play. Redgrave is outstanding. The whole production is really. Exploring British film in the 50s would be a project unto itself, but there was a lot of high quality cinema being rolled out. THE QUATERMASS XPERIMENT (Val Guest) -- really fun British sci-fi film that stands toe-to-toe with the best American stuff from the decade. The acting is crap, but the cinematography is beautiful. For comic book fans, it reminded me somewhat of Alan Moore's Miracleman without the dark 80s twists. A group of astronauts return from space with two dead and the other catatonic and a mystery unfolds over what was responsible. There's a great scene where they're looking at camera footage from the shuttle that's shot so beautifully. Great fun. TIGER BAY (J. Lee Thompson) -- little Hayley Mills plays a tomboy who witnesses a murder then becomes friends with the killer in this interesting twist on the suspense thriller. Mills really was one of the best child actors of all-time and lights up the screen every time she has a big scene, and there's enough twists and turns in the plot to keep it interesting even though you know that the moral code of the 1950s will win out in the end, but the music... there's 50s films where the string sections swell with melodramatic fury and then there's this film. Boy do I never wanna hear strings again. DEATH OF A CYCLIST (Juan Antonio Bardem) -- This is hailed as a social realist film, but it's surprising how much of it was like a cross between an Alfred Hitchcock murder mystery and a film noir romance. Really beautiful photography and some of the best jump cuts I can remember seeing, and Lucia Bose was drop dead gorgeous. The ending you could see a mile off, but there was plenty to see and do on the journey there. The only thing holding it back was that it wasn't particularly original even if the different threads were weaved together well. As a Franco critique, there's been plenty better, but I enjoyed this all the same.
  22. Those Mascara Sagrada botches on disc 7 are horrendous. I've never felt so bad for a base in all my viewing years.
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