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Conversational films

Started by Emma Raducanu, February 16, 2020, 10:26:42 PM

Previous topic - Next topic

bgmnts

Locke proved that Tom Hardy cannot do accents beyond hard cockney gangsters.

Dr Syntax Head

Quote from: bgmnts on February 18, 2020, 03:48:16 PM
Locke proved that Tom Hardy cannot do accents beyond hard cockney gangsters.

This much is true. Which is why it was fortunate that he wasn't really required to talk in fury road

Sebastian Cobb

Does network count? It's mostly just talking. Some monologues that aren't conversations, but apart from that.

Quote from: Captain Z on February 18, 2020, 01:36:22 PM
Twelve Angry Monkeys

Pissed off because they couldn't type Shakespeare. 

Noodle Lizard

Quote from: bgmnts on February 18, 2020, 03:48:16 PM
Locke proved that Tom Hardy cannot do accents beyond hard cockney gangsters.

I thought his Welsh accent was fine (half my family's from Wales), but I don't understand why he (or Stephen Knight) made that choice, as it doesn't add to the character or have any other relevance to the plot as far as I can tell. It's probably more confusing than anything else - an American I know thought he was doing an Indian accent.

bgmnts

Apparently he based his accent off a man he knew from Hereford, which is quite funny.

He doesn't right to me but there we are.

thenoise

'Autumn Sonata', Bergman directing Bergman, is mostly a conversation, argument, and reconciliation between a mother and daughter.  May or may not be in 'Sonata form'.  A lot of mid/late Bergman is pretty 'conversational'.

Lord Mandrake

Quote from: Noodle Lizard on February 18, 2020, 10:33:32 PM
I thought his Welsh accent was fine (half my family's from Wales), but I don't understand why he (or Stephen Knight) made that choice, as it doesn't add to the character or have any other relevance to the plot as far as I can tell. It's probably more confusing than anything else - an American I know thought he was doing an Indian accent.

I think the Welsh accent was fine and it gave some credence to the charachters honesty and integrity and thus the audience's empathy. Cockney Locke with the exact same dialogue would just come over as a chancing bastard.


Anyway I nominate Margin Call.

Brundle-Fly

HBO tv movie Conspiracy (2001) is also grim subject matter (the Final Solution) but an excellent drama staring down the barrel of evil. I'm amazed nobody has put it on the stage. Kenneth Branagh's finest performance.

dissolute ocelot

Not exactly conversational, but Pedro Costa's Colossal Youth and Horse Money are basically people delivering monologues, although they are beautifully lit.

Ignatius_S

In another threads, where 12 Angry Men was mentioned, the original play for Studio One was touched upon. Well worth seeing - https://www.youtube.com/watch?v=HlaXebUi72A – a great piece of live television. I was pleasantly surprised by the William Friedkin version and preferred Jack Lemmon to Henry Fonda.


Sorry, Wrong Number – a bedridden woman overhears a murder plot over a crossed telephone line; she tries to alert authorities to what she's heard, but has very little concrete information...

It's based on a radio play, first performed on the long-running (20+ years )anthology series, Suspense. Agnes Moorehead played the lead (to a degree, it's a one-woman play) and she returned to Suspense to perform it again several times. There have been other versions as well.  One that I heard (pretty sure it was of Moorehead's) changed the ending, which threw me somewhat – here's the original and well worth a listen:
https://archive.org/details/OTRR_Suspense_Singles_By_Year_1943/Suspense_430821_054_Sorry_Wrong_Number_128-44_27529_28m41s.mp3

Lifeboat – set in a lifeboat.

A (very long) while since I've seen it, but wasn't Phone Booth, largely one person standing at a booth and talking?

I think Would You Rather would qualify – a psychological horror where a multimillionaire (Jeffrey Coombs) invites twelve strangers to dinner and to play would you rather? afterwards. From what I recall, most of the film is in the same room  and that it had a smart script.

Quote from: Thomas on February 17, 2020, 05:30:17 PM
Watched Rope (1948) recently. Great. Almost entirely set in the one room, as far as I remember. Based on a play. Lots of long takes.

Yes, play had the same name and was a hit on both side of the Atlantic – made quite a few changes to the film (e.g. Stewart's character was a fair bit younger in the play, American) and toned down the sexual nature of the relationships.

Rope's writer, Patrick Hamilton, also penned Gaslight, which was also very successful in London and Broadway. There did two film version in the 1940s and very good they are too.

I suspect a lot of people know this but the play is where the psychological term 'gaslighting' came from.

phantom_power

I don't think it was either critically or commercially acclaimed but I loved Gerry. Just Damon and Affleck the Younger pissing about and slowly dying in a desert

Dr Syntax Head

Quote from: phantom_power on February 19, 2020, 03:53:58 PM
I don't think it was either critically or commercially acclaimed but I loved Gerry. Just Damon and Affleck the Younger pissing about and slowly dying in a desert

I was going to post this film (I loved every second) but if I remember correctly there's no dialogue. Or am I wrong. Beautiful film to look at.

Gulftastic

Quote from: Brundle-Fly on February 19, 2020, 11:49:12 AM
HBO tv movie Conspiracy (2001) is also grim subject matter (the Final Solution) but an excellent drama staring down the barrel of evil. I'm amazed nobody has put it on the stage. Kenneth Branagh's finest performance.

I agree, hence my post on page one...

Colin Firth has also never done better work. Outstanding performance.

neveragain

Who's Afraid of Virginia Woolf
Dr Strangelove
Three Businessmen

Some talky favourites of mine.

studpuppet

Quote from: Gulftastic on February 20, 2020, 11:36:03 AM
Colin Firth has also never done better work. Outstanding performance.

I prefer Ian McNeice - THAT'S how you do a proper Nazi. All jovial and gluttonous.

I suddenly remembered Rosenkrantz & Guildenstern Are Dead and The Caretaker - both obviously play-based and both three-handers in the main (Bates-Shaw-Pleasence and Oldman-Roth-Dreyfuss). I think I know R&GAD better than I know Hamlet, I've certainly seen it more times.