not the BluRay?
He hasn’t got a blu-ray player.
Oh no… 
Maybe I’ll get a Blu-ray player eventually but I can’t really be bothered paying out for one at the moment since most of my films are on VHS and DVD.
Well, I have no idea how you made it to DVD then 
It took me longer than most people to adjust to DVD. 
1 Like
Seriously you should adjust to blu-ray aswell Way better picture-quality than dvd and unless you don’t have a HD TV not that big a cost. And hell some of the releases you buy are going to be combined blu-ray/dvd anyways.
Age old discussion obviously but I can only agree… but it’s not so much the quality (there are plenty of bad quality BluRays out there) but the sheer resolution… and only with 4K we are approaching the physical resolution of 35mm film, so we’re only getting close to the quality that the film’s material offers with the BluRay’s successor format
I stole this, but it doesnt even show VHS 
But 35mm film is seldom projected in a 42-65" frame So some might argue that 1080p is more than enough. That said I am still going for a UHD tv when the one (normal full HD) we have now breaks down. Might be 10 years from now though
it’s not about enough, it’s about authenticity. As a cineast I want to experience a film as close as possible to the director’s vision, and that is either 35mm film or a theatrical 4k exhibition
But that you will never achieve on a flatscreen tv anyway. Unless you have the room and money for a gigantic tv or a state-of-the-art projector.
But hey I want UHD too but it’s just a big pile of money to spend at the moment. A player costs the same as a small house and a decent UHD TV costs 2000 Euro or more (as far as I know).
I think the question issue with UHD TVs is how they handle motion. If they are as bad as regular HD TVs (plasma partially excluded which unfortunately are no longer made and are not perfect anyway) then we still are a long way from 35mm. Perhaps a HD/UHD projector is going to be the best way to handle motion in the foreseeable future.
True. I am planning a minor upgrade this year and it is hard to find good panels with “real” 100Hz refresh rates. As you said, the crucial aspects will be motion handling. For that we need better refresh rates and more capable processing that doesn’t result in blurring or clouding. Unfortunately, this seems to be one area where they’re saving most, while pouring their focus into useless specs like 3D or curved displays
I feel like I’m cheating having this one in my top 20. I know it’s included in the offical top 20 but Hossein himself refers to it as a “French western.” It is his film after all.
2 Likes
My take on it is that since every spag is a multinational affair, with directors, actors and crew coming from all corners of the globe, and with location shoots at least as likely to take place far from Italy as within it, it’s difficult to define uniformly how Italian each film must be to qualify as a spag, or conversely how UNItalian a film is before it can no longer be considered a spag. That said, it’s easy of course to appreciate your stance (and Mr. Hossein’s too, it would seem) with regard to Une cord, un colt, since this film really pushes at those woolly criteria, being not only considerably less Italian than usual, but also largely a product of another single nation; Le France! Avec! But I think that, although it’s certainly more Franco-Italian than Italo-French, it’s still Italian enough to earn Spag status. I guess it’s for each to know where their own “line” lies on these matters, a bit like how opinions differ wildly on which criteria qualifies a movie as a western (The Proposition, The Good, the Bad, the Weird, Man,Pride & Vengeance, No Country For Old Men, Westworld etc. etc.).
I disagree that it’s Hossein’s film, however. I mean, he made it of course, but I believe that once a film is out there, it belongs to its audience. How any specific movie makes me - me, @last.caress - feel is unique to me, and me alone. How the same specific movie makes you, @The_Man_With_a_Name, feel is different, and unique to you. And the director and his crew, responsible as they are for the production of the material, have nothing to do with that relationship between the movie and the viewer.
Merely IMO, of course.
Have you watched anything else directed by him? Granted he didn’t direct many films (he’s acted in far more), but he does have a distinctive style that qualifies him as an “auteur” in my book.
That’s not what he means.
Of course it is Hossein’s film. much more than many Hollywood films is it an obvious work of its director, but at the same time it belongs, like every other film, to the audience, which may or may not view every single film in a different way, creates the film new by watching it, and experiences a film differently every single time.
EDIT Ah, Stanton has clarified my position far more clearly than I was attempting to do. Many thanks, sir. And apologies to Novecento for not being a bit clearer to begin with. I often wind up drowning in my own overblownt sentences.
Beautifuly made lyrical movie, it’s bit too slow, but it manages to keep interest and it gets better second time you watch it. Hossein’s hero Manuel is memorable character who is overhelmed by his bad life choice and thus spends the rest of his life in regrets in a ghost town. The Maria’s revenge seems to be aimed equally on murderes and Manuel, whom she can’t forgive leaving her. It’s a story of forsaken love. Both feel it’s too late for them, Maria admiting she’s still in love with Manuel only the moment before she dies. It’s so sad. 
Music belongs to the best of the genre. My only complaint is there are far to many pointless horse riding scenes in the same locations. People ride one direction and few moments later go the other way and so on and so on. It’s very repetitive and some of them should be cut.
I also remember Howard Hughes stating that (‘A Sky Full of Stars For a Roof’) and ‘Cemetery Without Crosses’ were two of the most ridiculous Spaghetti titles.