He always brought something special to every role. One of my favorites was his outstanding portrayal of evil in Billy Budd.
Good article, but a fact checker is needed. That's Juliette Greco singing in the Paris club, not Josephine Baker.
Mrs. Leslie is excellent but very sad. But it's only a move and Robert Ryan is in it.
Funny Games was referenced explicitly in the first 5 minutes, yeah, what with the abrupt title card, and characters referring to "things not going wrong since 1998"? (They'd have to be using the U.S. release date, but still...)
"Creepy socio-path" is a kind description of Pinochet, DINA and supporters of the 1973 coup.
Good review. Sounds like I'll wait for the DVD to catch it...
Oh saw this today and absolutely hated it! So dry and forced. It made me constantly think of a recent interview I read with Gregg Araki where he said the worst reason to make a film is just because you want to make a film. You can tell the filmmaker just wanted to make a movie and pieced some existing literature together to having something to put before the camera.
The film, seen in tandem with the Lars von Trier failed effort at dystopic end-of-world scenario, is an exercise that might better have been confined to the sophomore film-lab in which it must, on some level, have been incubated. Little in the plot seems reasonable or inevitable, and the lack of REASON for the end of world cataclysm is a major negative in this most irritating though very NYC story.
I've heard nothing but amazing things about this film. I was unfortunately out of town when it hit NYC theaters and am PSYCHED to finally see it!
i saw this movie in Chicago in November and it was the best film i saw all year... amazing. so pumped to see it again!
One of the great casualties of the rise (and now fall) of the video store was the death of the revival house. When I first moved to NYC's Upper West Side 40 years ago there were at least seven of these wonderful venues, and on any given day I could enter, pay my fee and see the likes of Greta Garbo, Marlene Dietrich or Barbara Stanwyck, 20 feet high and glowing. Ever since then it has been my firm belief that movies were made to be seen in the dark with 400 strangers. And especially this is true of comedies. How can seeing a comedy in one's living room, even with a group of friends, compare to the kind of shared, infectious laughter that audience in Preston Sturges' "Sullivan's Travels" experienced?
I am reading this wonderful book right now and it is torture: how can I slow it down to last forever when I am simply dying to get to my favorites and see if Dan sees what I do? As to a film for which I would like to switch out the existing star to see what Miss Stanwyck could do, I offer "Five Graves to Cairo." Anne Baxter does a very good job as Mouche, and I'm not at all sure that Stanwyck could master the accent, but when I think of what she could have brought to the character -- oh, my! And I would have loved to see her reaction when Eric von Stroheim would have waved her back with that damn whisk!
The film has no visual language of its own and deeply misrepresents the years it tries to depict...
Looks like a mind-blowing, totally awesome commercial.
Wow! This book sounds great--Stanwyck is one of my favorites from that era, and I love movies from the 30s and 40s in general. Everything about them was better, but especially the way roles for women were written. Modern "rom coms" just seem so insipid compared to The Lady Eve or Woman of the Year.
I haven't heard of a lot of these movies, and I just hope I can find them somewhere--even Netflix has a very limited selection of old movies. (And I wish movie theaters showed them more often. I saw Bringing Up Baby--my favorite screwball comedy--on the big screen a couple years ago and it was such a treat! It was wonderful to watch it after all these years with an audience!)
Nice photo. Hi, Roy!
I program a summer film series, and have run into this very problem with WB. "Can you use a DVD?" they ask. Problem is, DVDs routinely look *horrible* when projected on a giant movie screen. Blu-rays are a little better, but have nowhere near the luminosity of at 35mm print, or a well-done DCP.
There are also Bresson men. It's unseamly to overlook the vibrant homoeroticism of "A Man Escaped," "Pickpocket," "Au Hasard Balthazar" and "Le Diable Probablement."
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