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Re-thinking Ingmar Bergman in an Irreverant Age

Ingmar Bergman: Fanny & Alexander

Ingmar Bergman: Smiles of a Summer Night

Federico Fellini: An Appreciation

Jean-Luc Godard: Band of Outsiders

Goldfinger: The Set with the Golden Touch

Werner Herzog's Grizzly Man

Hitchcock: Film Interiors

Hitchcock: Film Sources

John Landis: From Animal House to Our House

Lolita: Variations on an Obsessive Theme

Guy Maddin: Youth of the Beast

Seijin Suzuki: Youth of the Beast

Cornel Wilde: The Naked Prey

Oscar Wilde: The Importance of Being Earnest

 

Archives
Film


Cornel Wilde's The Naked Prey

The Naked Prey offers a subtle but powerful anti-war, pro-diplomacy argument, for those who look past the film’s vigorous joys of the chase."

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Werner Herzog's Grizzly Man

"We are in the midst of a Werner Herzog renaissance. It’s not sweeping the obligatory blockbusters from the neighborhood cineplex, of course, but we’re talking Herzog here."

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Seijin Suzuki's Youth of the Beast

"The plot of Seijun Suzuki’s Youth of the Beast should be familiar to most viewers, even if they’ve never heard of the film or Suzuki. But most people don’t watch Suzuki for his plots. They watch him for his hallucinatory action and surreal spin on the familiar."

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Ingmar Bergman's Fanny & Alexander

"The sheer size of Fanny & Alexander also singles it out from the rest of the Bergman oeuvre: with some sixty speaking parts and 1,200 extras, it’s simply enormous when set down next to his chamber films."

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Guy Maddin's The Saddest Music in the World

"The plot of Seijun Suzuki’s Youth of the Beast should be familiar to most viewers, even if they’ve never heard of the film or Suzuki. But most people don’t watch Suzuki for his plots. They watch him for his hallucinatory action and surreal spin on the familiar."

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Re-thinking Ingmar Bergman in an Irreverent Age

"Why has Bergman fared so poorly in contemporary popularity, compared to other great directors of his era like Fellini, Hitchcock, Welles and Kurosawa? It’s a complicated issue, actually."

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Ingmar Bergman's Smiles of a Summer Night

"Smiles of a Summer Night is a languid comedic gem to linger on not only because it is a seemingly perfect comedy, but because it stands as a transition marker in Bergman’s growth as a director."

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Jean-Luc Godard's Band of Outsiders

"The tone of Band of Outsiders is so gentle and charming that casual viewers might be surprised at Godard’s subversive intentions."

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Oscar Wilde's The Importance of Being Earnest

"Criterion's release of the original film adaptation of Wilde's last and greatest play gives us a chance to watch it in a sharper print than has been available for decades."

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Lolita: Variations on an Obsessive Theme

"When he decided to remake the film version of Lolita, Adrian Lyne had to face the formidable ghost of Vladimir Nabokov and deal with the forty-one-year-old controversy over the original novel's moral value. But Lyne had one advantage. Or so he thought."

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Goldfinger: The Set with the Golden Touch

"Goldfinger's innovative, ultramodern sets and fantastic props have become so ingrained in the popular mind that it's hard to understand today how shocking and, at times, absurd they seemed to the film's original audience."

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Hitchcock's Film Interiors: Home is Where the Knife Is

"Can you name one Hitchcock set designer? Don't worry: nobody else can either. So ask yourself another question: can you name an object or a set that you remember readily from a Hitchcock film?"

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Hitchcock's Film Sources

"Regardless of the quality of the original source, Hitchcock relied primarily on the novel for his building materials. Of the thirty-seven feature films he made from 1934 (The Man Who Knew Too Much) to 1976 (Family Plot), twenty-two were adapted from novels, four from short stories and three from stage plays. (A note to English majors counting on their fingers: that means Hitchcock made only eight films from original material from 1934 to 1976.)"

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An Interview with John Landis:
From Animal House to Our House

"I originally thought about using Jack Webb. I actually had a meeting with him, and he looked at the script. Then he looked at me, trying to figure out how long my hair was. I never heard back from him."

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Appreciation: Federico Fellini

"I am not a censor, a priest or a politician. I dislike analyzing. I am not an orator, a philosopher or a theorist. I am merely a storyteller and the cinema is my work. I have invented myself entirely."

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