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Jan 25 Murder Once Removed Jan 26 Moon Zero Two Jan 29 Madron Jan 30 The House That Screamed Jan 31 Mongo's Back in Town Feb 01 The Anniversary Feb 02 Heaven with a Gun Feb 05 Too Much, Too Soon Feb 06 Jack of Diamonds Feb 07 The Desperadoes Feb 08 Something Evil Feb 09 Frankenstein Created Woman Feb 12 The Corrupt Ones Feb 13 Wild in the Streets Feb 15 The Face of Fear Feb 16 Machine Gun McCain Feb 19 The Glass Bottom Boat Feb 20 Ten Rillington Place Feb 21 No Time for Sergeants Feb 22 The Swimmer Feb 23 Spinout Feb 26 The Last Challenge Feb 27 All the Fine Young Cannibals Feb 28 Kid Rodelo Mar 01 The Night of the Iguana Mar 02 House of Usher Mar 05 Band of Angels Mar 06 Then Came Bronson Mar 07 Night Chase Mar 08 The Red Badge of Courage Mar 09 Waco Mar 12 Dracula, Prince of Darkness Mar 13 Who's Got the Action?

Mar 14 Waterhole 3 Mar 15 Murders in the Rue Morgue Mar 16 The Thirty-Nine Steps Mar 19 Eighty Steps to Jonah Mar 20 The Old Man and the Sea Mar 21 The Black Scorpion Mar 22 Joy House Mar 23 Kenner Mar 26 Reflections in a Golden Eye Mar 27 Murder Most Foul Mar 28 Cannon Mar 29 The Bad Seed Mar 30 Assignment K Apr 02 Enter Laughing Apr 03 The Reckoning Apr 04 The Liquidator Apr 05 Lizzie Apr 06 Adam's Woman Apr 09 Harpy Apr 10 Cry of the Banshee Apr 11 Around the World Under the Sea Apr 12 Men of the Fighting Lady Apr 13 The Stratton Story Apr 16 Kid Rodelo Apr 17 THX Apr 18 The Tiger Makes Out Apr 19 The Extraordinary Seaman Apr 20 Wuthering Heights Apr 23 Bedeviled Apr 24 The Model Shop Apr 25 Night Into Morning Apr 26 Grounds for Marriage Apr 27 Rogue's March Apr 30 The Comedy of Terrors May 01 Gargoyles May 02 The Left-Handed Gun May 03 Bombers B May 04 Speedway May 07 The Dunwich Horror May 08 How to Murder Your Wife May 09 Hawaii Five-O May 10 The Bad Seed May 11 The Trouble with Girls May 14 The Impossible Years May 15 Pretty Poison May 16 The Badlanders May 17 Tea and Sympathy May 18 The Story of G.

May 21 Husbands May 22 The Helen Morgan Story May 24 A Night in Casablanca May 28 Welcome Home, Johnny Bristol May 29 Which Way to the Front? May 30 Operation Heartbeat May 31 The Hill Jun 01 Quick, Before It Melts Jun 04 Night Must Fall Jun 05 The Two Faces of Dr. Jun 06 The Devil's Eight Jun 07 Our Mother's House Jun 08 Powderkeg Jun 11 Half a Sixpence Jun 12 Vengeance of Fu Manchu Jun 13 Otley Jun 15 Operation Disaster Jun 18 Frankenstein Created Woman Jun 19 The Split Jun 20 The Great Bank Robbery Jun 21 In the Cool of the Day Jun 22 The Seven Faces of Dr.


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Lao Jun 25 A Place for Lovers Jun 26 The Appointment Jun 27 Michael Kohlhass Jun 28 Murder, She Said Jun 29 The Subterrareans Jul 02 The Prisoner of Zenda Jul 03 C'mon Let's Live a Little Jul 04 Advance to the Rear Jul 05 Notorious Jul 05 Too Much, Too Soon Jul 06 Cutter's Trail Jul 09 An American in Paris Jul 10 On the Town Jul 11 I Love Melvin Jul 12 Damn Yankees Jul 13 Seven Brides for Seven Brothers Jul 16 Darby's Rangers Jul 17 Heat of Anger Jul 19 Man on a String Jul 20 Signpost to Murder Jul 23 The Psychopath Jul 24 Summertree Jul 25 Cry of the Hunted Jul 26 They Ran for Their Lives Jul 27 Harum Scarum Jul 30 Young at Heart Jul 31 The Face of Fear Aug 01 The Patsy Aug 02 Waco Aug 03 The Five Man Army Aug 06 Key Witness Aug 08 Fraulein Doktor Aug 09 Lola Aug 10 Cry of the Banshee Aug 13 A Global Affair Aug 14 Bunny O'Hare Aug 15 Shoot-Out at Medicine Bend Aug 16 Code Two Aug 17 Something Evil Aug 20 Tiger Bay Aug 21 Mister Buddwing Aug 22 Side Street Aug 23 The Rose Tattoo Aug 24 Three Bites of the Apple Aug 27 The Old Man and the Sea Aug 28 The Night of the Iguana Aug 29 The Cruel Sea Aug 30 Doctor Faustus Sep 03 Children of the Damned Sep 04 Payment on Demand Sep 05 The Little Hut Sep 06 Eye of the Devil Sep 07 Hollywood or Bust Sep 10 Reflections in a Golden Eye Sep 11 Who's Got the Action?

Sep 12 Hunters Are For Killing Sep 14 Trog Sep 18 The Venetian Affair Sep 19 Killer by Night Sep 20 Jack of Diamonds Sep 21 For Singles Only Sep 24 Come Fly With Me Sep 25 Torpedo Run Sep 26 Sol Madrid Sep 27 Boys' Night Out Sep 28 Girl Happy Oct 01 Torch Song Oct 02 The Lawyer Oct 03 Vengeance Valley Oct 04 Too Many Thieves Oct 05 Hook, Line and Sinker Oct 08 Mail Order Bride Oct 09 The Law and Jake Wade Oct 10 Mongo's Back in Town Oct 11 The Illustrated Man Oct 12 The Valley of the Gwangi Oct 15 Made in Paris Oct 16 Penelope Oct 17 Crooks and Coronets Oct 18 Cattle King Oct 19 The Mini-Skirt Mob Oct 22 The Priest's Wife Oct 23 Saddle the Wind Oct 24 Machine Gun McCain Oct 25 R.

Oct 26 Frogs Oct 29 Operation Heartbeat Oct 31 Who Slew Auntie Roo? Nov 01 Then Came Bronson Nov 02 Spinout Nov 05 The Glass Bottom Boat Nov 06 Buckskin Nov 07 The Left-Handed Gun Nov 08 Fade In Nov 12 The Impossible Years Nov 13 Heaven with a Gun Nov 14 Please Don't Eat the Daisies Nov 15 Don't Make Waves Nov 16 The Creeping Flesh Nov 19 All the Fine Young Cannibals Nov 20 Band of Angels Nov 21 No Time for Sergeants Nov 22 The Lost Continent Nov 23 Frankenstein Must Be Destroyed Nov 26 Enter Laughing Nov 27 The Brotherhood of the Bell Nov 28 The Liquidator Nov 29 The Bad Seed Nov 30 Around the World Under the Sea Dec 03 Two Weeks in Another Town Dec 04 The Swimmer Dec 05 Pretty Poison Dec 07 Toward the Unknown Dec 10 Home Before Dark Dec 11 The D.

Dec 12 Assignment K Dec 13 Power, the Dec 14 The Seven Faces of Dr. Dec 17 Tea and Sympathy Dec 18 Santiago Dec 19 Murder Once Removed Dec 20 Fort Dobbs Dec 21 Battle Beneath the Earth Dec 25 Ivanhoe Dec 26 The Crimson Pirate Dec 27 A Night in Casablanca Dec 28 Duel of the Titans Jan 02 The Trygon Factor Jan 03 Hammerhead Jan 04 Murders in the Rue Morgue Jan 07 A Global Affair Jan 08 Heat of Anger Jan 09 The Traveling Executioner Jan 11 Village of the Damned Jan 14 She Waits Jan 15 The Last Rebel Jan 16 The Night Digger Jan 17 The Rounders Jan 18 Genesis II Jan 21 Top Secret Affair Jan 23 Sitting Target Jan 24 The Face of Fear Jan 25 The Green Slime Jan 29 The Devil's Eight Jan 30 The Psychopath Jan 31 The Burning Hills Feb 01 Speedway Feb 04 The Last Challenge Feb 05 The Badlanders Feb 06 The Asphalt Jungle Feb 07 Marlowe Feb 08 Dr Jekyll and Sister Hyde Feb 11 How to Murder Your Wife Feb 12 Harpy Feb 13 Day of the Evil Gun Feb 14 Fort Worth Feb 15 Who's Minding the Store?

Feb 18 Adam's Rib Feb 19 The Desperadoes Feb 20 The Southern Star Feb 21 Waterhole 3 Feb 22 The Abominable Dr. Phibes Feb 25 Designing Woman Feb 26 Cannon Feb 27 The Five Man Army Feb 28 Sunday in New York Mar 01 Wild in the Streets Mar 04 A Death of Innocence Mar 05 Land Raiders Mar 06 Hawaii Five-O Mar 07 Bunny O'Hare Mar 08 The Blood Beast Terror Mar 11 The Helen Morgan Story Mar 12 Westward the Woman Mar 13 Gun Glory Mar 14 Soul Soldier Mar 15 Hook, Line and Sinker Mar 18 Love Me or Leave Me Mar 19 These Wilder Years Mar 20 Tribute to a Bad Man Mar 21 Violent Road Mar 22 Scream and Scream Again Mar 25 Killer By Night Mar 26 Devil's Own Mar 27 The Jerusalem File Mar 28 Onionhead Mar 29 Artists and Models Apr 01 The Stratton Story Apr 04 Take the High Ground Apr 05 THX Apr 08 Wuthering Heights Apr 09 Chandler Apr 10 Welcome Home, Johnny Bristol Apr 11 Twilight of Honor Apr 12 The Flame and the Arrow Apr 15 The Singing Nun Apr 16 Shoot-Out at Medicine Bend Apr 17 The Great Bank Robbery Apr 18 Waco Apr 19 Where the Boys Are Apr 22 The Tiger Makes Out Apr 23 Husbands Apr 24 Madron Apr 25 Tall Man Riding Apr 26 Sayonara Apr 29 The Thirty-Nine Steps Apr 30 The Lady Vanishes May 01 The Horseman May 02 The Law and Jake Wade May 06 Mail Order Bride May 07 Maracaibo May 08 Machine Gun McCain May 09 X the Unknown May 10 The Brotherhood of Satan May 13 The World, the Flesh and the Devil May 14 Gunn May 15 Change of Mind May 16 Who's Got the Action?

May 17 The Disorderly Orderly May 20 Band of Angels May 22 Puppet on a Chain May 23 Reflections in a Golden Eye May 24 McLintock! May 27 Seven Brides for Seven Brothers May 28 The Left-Handed Gun May 29 Asylum May 30 Someone Behind the Door May 31 The Fearless Vampire Killers Colfax - Personal Disappearance Gas Station Customer.

Clooney - Gwen's Secret Gordy the Hotel Desk Clerk. Al Carmody. Donations Collector. George Long. Alvin Price - Banker. Sid Meggs. Henry Bennett. Judge Norris. Mullum - Mr. Rush's Secretary Sam Hardesty. Brown - The Good Samaritan Simmons uncredited. Stoney Jackson. Medical Examiner. The Defendant. Walt Mathers. Laundry Proprietor. Roy Fleck. Sam Sweeney. Hand - The Checkered Flag Joey Stark. Allen Williams. Tom Jackson. John Oliver. Thatcher - Rampage Sid Prescott. George Pendleton. George Ferguson. Fraymus - Topper's Racket Sid Nolan. Fred Tiller. Platte - Stagecoach Driver. Jeff Beatty uncredited.

Danny Trumpet. Orville Green. Blackstone Springem - The Brain: Part 4 Blackstone Springem.

Ace Crawford, Private Eye #1

Yoyo Berwick. Charlie Faber. Ed Sindell. Pierre uncredited. Elevator-Starter uncredited. Edit Did You Know? Trivia: In his later years he became a used-book dealer.

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Clearly this is also what interests Pasolini the most - the middle section is the best and most detailed, showing Man and God in the same vessel; once Manifest Destiny takes over - and the camera retreats, observing him from a distance e. Answer: they'd go nuts, collapse, and turn into artists and mystics. It's the opposite of Chabrol's eternal joke, where complacent bourgeois do everything wrong yet still somehow triumph; here, they do their best, but whatever they do they're still wrong.

Runs out of steam but it's still a beautiful film to watch, its composed images and very deliberate rhythm building a sense of serene detachment - it feels a lot like one of today's deadpan comedies Jarmusch, or perhaps Martin Rejtman , coyly withholding visual information and refusing to commit on whether what we see is fantasy, or even insanity that's the joke. Turns into one of those films perched on the edge of hilarity without ever trying to be funny well, maybe the levitating maid : a melancholy comedy, and Ennio Morricone's theme for what sounds like kazoo - a carnival dirge, smoky and strange as a Tom Waits song - is just perfect.

Wilberforce in that one, the crew here triumph by just being themselves, doing as little as possible, while the forces of Change and Money try every possible method to dislodge them, only to fail dismally. Cruel comedy with the courage of its own cruelty, fully earning its one moment of sweetness at the very end; bonus points for the near-psychotically devoted 'Wee Boy', anticipating the pre-moral, single-minded kids in Mackendrick's 60s work. As in KK's early documentaries, he's critical of the Establishment yet instinctively drawn to examine those who serve it the docs I've seen often have him focusing on cops and apparatchiks : hero's rebellious daughter tells him off - "You've never solved a human problem in your life" - but we see he's trying, even though unable to communicate effectively with the people in the village, sometimes high-handed with his staff, etc even the coda finds him at odds with his infant grandson.

Charts a project - one might say a dream - gone wrong, hero undermined by the Party and his own limitations, growing remote from the problems in the field, surrounded by yes-men, sinking into hypocrisy as he tries to deflect criticism; so subtle, fair and clear-eyed you want to cheer, made in the neat, compact Kieslowski style - scenes short, dry, often curtailed - with an eye for public spaces and the natural beauty Slawomir Idziak DP'ing being destroyed by the factory, plus of course a glimpse of politics in 70s Poland - which is much like politics anywhere, only with the Party as the ace in the hole: "You're bringing out the heavy artillery," says someone when the S-word - Socialism - is invoked, and the power of hidden forces is chillingly apparent in the scene where our hero is hauled before a Party committee to be formally chastised.

More in the worthy-and-fascinating camp than a wild and crazy ride - but it is worthy and fascinating. Richter, : "No matter where you go, there you are". A McGuffin machine called an "oscillation overthruster". Hard to fault the sensibility, which is shaggy-dog silly with a blithe disregard for its own silliness - best parts have an Altmanesque casualness, and Buckaroo in neurosurgeon mode even recalls M.

Too subtle for me, I assume It's all there in the opening scene, with Burt Young whimpering like a wounded beast when he finds out the truth about his wife: the truth hurts, better not to know - better to "let sleeping dogs lie" - yet how can we resist? A classic post-Watergate movie speaking of painful truths , though also a classic LA movie - its corruption being also the city's - and classic Jack Nicholson movie. Possible best shot: Faye Dunaway conjured in the background like a wraith or goddess, glimpsed for an instant in the half-light as a door opens and closes.

A man with a high-precision rifle - "in Germany, before the War" - takes aim at a target that turns out to be Hitler himself? Captured by guards before he can shoot, cue long conversation on the morality of the "sporting stalk" with chess-playing, monocle-wearing Nazi George Sanders hero claims he was doing it for the sport, never planned to pull the trigger; does not wanting to murder Hitler make him sympathetic or unsympathetic?

Then extensive sadism - Lang's punishment for his isolationism - then delightful interlude on board ship with precocious cabin-boy Roddy McDowall "Was it His gift is for baroque Expressionistic touches, murky motivations, a taste for cruelty and a camera that probes rather than expounds. Brilliant, when it's not being annoying. Actually closer to a WW2 movie than a Western, with emphasis on battlefield tactics and theme of the Collective over the Individual, discipline rather than individual heroism being what wins the day the samurai get the villagers working as a team, unlike the shoot-outs in the remake where it's every man for himself ; action scenes obviously impressive, but bunched together at the end and longer on spectacle than tension.

Generally fun rather than the deathless masterpiece I'd been led to believe; major Kurosawa backlash coming soon, I suspect What better place than academia for Losey and Pinter's coy cerebral games? Lawn parties, tennis and cricket, cosy tutorials on a first-name basis; meaningful looks, sexual tensions and the not-quite-shattering revelation that cultured highbrows too can be callous and hurtful - which is really all it builds up to, after an hour of elegant equivocation in the pastoral beauty of Oxford.

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Feels like the only spark of inspiration was the all-day party where all five protagonists get increasingly drunk and emotional - a terrific set-piece, after which it becomes more diffuse, ranging far and wide a comic interlude with 'TV people', a game of indoor rugby at an upper-class shindig ; mostly absorbing and intelligent, all repressed feelings and people saying one thing when they mean another, but also with THE GO-BETWEEN the tamest Losey I've seen - not a terrible thing, since he seemed to be sabotaging his material in some of the earlier ones, but everything I've seen points to him having been a major snob, fighting against genre in THE CRIMINAL or TIME WITHOUT PITY then meeting Pinter and starting to make the kind of 'intellectual' films he felt he deserved - calming down, becoming less volatile and also more pretentious final caption reads "End" rather than "The End", and 10 bucks says it's deliberately trying to ape the French "Fin" or Russian "Konets".

An older man's film, the curse of growing old being also one of its themes. CHRISTMAS HOLIDAY 48 Robert Siodmak, : Deanna Durbin as a young woman looking for transcendence, something greater than herself : Siodmak stops the film dead twice, for lengthy excerpts of a midnight Mass and classical music in a concert hall - both shot the same way, high-angle wide-shots emphasising grandeur and vast spaces - so of course it's no surprise that she's also a romantic, in the grip of amour fou.

The film itself is a mild, slightly twisted drama, unhelpfully structured so we're often watching things unfold that we already know about, but the Love-as-Rapture subtext makes it worth checking out; also wondered if there might be a latent gay subtext - Deanna's husband is "pathologically" close to his mother, who warns our heroine before the wedding that he has "certain traits" then later rebukes her for not having helped him: "You knew that he is the way he is" she means he's a gambler - or does she? In that role, Gene Kelly's glittery slick insincerity has seldom been better used; has its moments, but it's not even the best Robert Siodmak film of WOMAN IN THE DUNES 59 Hiroshi Teshigahara, : At its best as avant-garde experience, letting the images and sounds form their own narrative - notably the sex scene, with eerie stretched-out chords screaming and creaking on the soundtrack, tangles of arms and legs and a cut to a river of sand sludging down a dune, as strange and remote in the half-light as an earthquake on Mars.

Whole thing feels like an exercise, the full panoply of 60s arthouse style in the service of reductionism Antonioni's people think too much; the ones here gradually learn not to : WALKABOUT without the racial socio-politics, GERRY without the snarky humour - though there's some of that, e.

Hollow, but amazing images; maybe not the best-directed film I've ever seen, but certainly one of the most. Probably the purest - and most purely enjoyable - distillation of what Altman was up to in the 70s, unconstrained by Korea, Warren Beatty, Raymond Chandler, etc. Vaudeville in the style of Jean Rouch; or something.

Tourneur finds grace-notes everywhere, in the pan along children's faces as the magic-show man performs his magic, or the clock striking the hour as the young man asks the young woman for a date, their voices mingling with the sound of the chimes. Some of it is too folksy to live, but mostly it astonishes; sounds daffy to say so, but the whole film feels imbued with the grace of God.

Kind of indefensible, but there it is. Some of it grates, but there are wonderful performances - Gig Young as the serenely plastic paterfamilias who wants only that everyone should be happy he's raised bonhomie into a religion , Marian Hailey as a pretentious bridesmaid quoting Monica Vitti in L'AVVENTURA , Richard Castellano and Beatrice Arthur as the old married couple, their relationship based mostly on food - "You want some more soup, Frank? Tried to resist for a while, but it's actually quite wise beneath the modish trappings, based on the old-fashioned idea that marriage is a question of compromise - though also smart enough to keep the ending open, knowing the Me Generation will never accept that as readily as their parents - and even the scenes that seem wildly sexist nowadays ring true, like the macho husband wanting his wife to admit he's the boss till she finally does "You gotta surrender to me," he explains in desperation; "Then I'll be king of the jungle - but, as king, I will rule tenderly.

But I can't rule tenderly unless you surrender to me. Can it be our culture's so protective these days it won't let relationships between men and women appear as they really are? Or was it all conditioning and pre-conceived gender roles anyway? Discuss, etc. Absolutely - it's Brackett and Wilder repeating and extending the NINOTCHKA trick of romantic fluff cloaking and balancing political comment, marking those fateful years when the world moved from the mad blithe 30s to a wartime footing.

First hour or so is banter and playing hard-to-get, a night at Maxim's and a waltz called "Dream Lover", Ray Milland's cheerful virile openness not quite a match for Claudette Colbert's knowing smile, sexy pursed lips and whims of iron; then it's war and propaganda, calling for idealism over isolationism. Bit of a patchwork, but held together by just being beautifully written - the dialogue is so literate, and the banter sparkles in a way that sneaks up on you it's not zingers, like in today's sitcom-like romantic comedies; witty ripostes kind of emerge naturally, making the characters look good rather than the screenwriters ; a scene like our hero's meeting with his still-idealistic buddies - and the way they hide their disappointment at his decision to get married and live a "quiet life" - has a lovely delicacy, while the fiery rhetoric acts as reminder that many of the chief participants Wilder, Milland, Colbert are European-born.

Walter Abel is a bit too much of a 'character' as the harried newspaper editor - "I'm not happy; I'm not happy at all" - but gets a great moment, rushing sourly into the newsroom after war is declared: "Every time I try to see 'The Magic Flute', something happens!

Knowing the language clearly helps - esp. The story of faded aristocrats recalls Visconti but the style is harsher and cooler - and not always subtle, nor is it quite right that a lower-class character should be sacrificed to effect the heroine's redemption; still terrific, going in unexpected directions, and even that ending is intriguing, lifting the curtain to reveal what seemed like romance is in fact political, a spoiled rich girl's initiation into the proletariat. Except it also made me weep man-tears, etc.

Doesn't really work - least of all as a horror movie - but Bergman has a playwright's ear for the arresting detail, like a dream about a woman who keeps threatening to take her hat off - if she does, her face will come off as well - and a painter's eye or maybe that's Sven Nykvist for the light that seems to turn Ullmann's face translucent, soft as butter, as she looks up at her husband, and a great filmmaker's instincts - knowing, e. The goings-on get silly, and the various oppressions seem jejune - Cruelty of Polite Society at a dinner party, an extended memory of childhood punishment - but then you get a weird feral boy by the beach, or the shot of the demons looking on and laughing, or a great casual ending fading to black in the middle of a sentence, and you can't not admire the intense fertile mind behind it all.

Also kudos for revealing Liv Ullmann's role, which seems like generic worried-wife material, as the heart of the movie. Lots of not-too-inspired bits in between, though. LORNA 71 Russ Meyer, : Late at night, a voluptuous blonde sidles out of bed - her husband asleep beside her - after rushed and unsatisfying sex, walks across to the open window, naked in the moonlight, and gazes out at a night buzzing with the hum of cicadas. One of those cases where style trumps content: plot is moralistic - frustrated wife cheats on her husband and gets punished - but the lyrical images are so obviously in tune with Lorna's sensuality they subvert any notion of passing judgment "Woe to the hypocrites!

Politically incorrect, but that too is a kind of honesty and anti-hypocrisy - why can't we admit sex-starved Lorna obviously enjoys being assaulted, even as she struggles against her 'rapist'? A riverside shack. Workers on the salt flats. A mean sallow man and a fat giggly man. A small town on a main street, with Pepsi signs and a bar called "Al's Place". Wit consists mostly of stiff-upper-lip British jokes S. Perelman fans will search in vain , tension's non-existent and technique rudimentary.

Laziest moment: Fogg and the Princess's long, talky scene on board ship suddenly interrupted with a totally meaningless shot of their view from the deck - a vast expanse of water, held onscreen for nearly a minute as they talk - presumably because they had to break it up with some thing and no other coverage was available.

Devil in a Blue Dress

I can't believe even a film as lazy as this one would just plonk a dead shot of water in the middle of a scene for nearly a minute of screen time. Strange thing is, I usually like that kind of mix-and-match - when e. Anderson does it - but Losey's has a kind of aloofness, not like he has so much to say he can't help cross-breeding genres, more like he's bored and looking to jazz up the material. Still very impressive, the script setting up a clever subtext of prison as infantilism talk of being "naughty", prisoners laughing like kids as they watch TV, etc , making the outside world - and thoughts of love - even more attractive.

Clearly the work of a brilliant director - but maybe too brilliant? Possible answer may be in the last sentence of THE CRIMINAL capsule see above - the film is clearly brilliant, visuals properly baroque, camera moves immaculate, and Pinter's suggestive style where you always feel the real story is in what you're not seeing rather than what you are a perfect match for Losey's aloof intellectual restlessness, yet it all gets too clever for its own good, slowly unravels and finally seems hollow. Masochistic heroine is also a campaigner for women's rights, but the film is too dopey to make much of the irony - treats her feminism in the usual triumphal style, even though the plot is making it look silly she can't even manage her own life.

Hepburn gives her all, making it clear the heroine's real yearning is for passion, against her father's coldness; her eyes glitter at the thought of going out into the world, and she brings delightful mischief to a line like "I'll tell you a secret: I may be a woman, but I've got brains - and I'm going to use them! Unworthy vehicle, though. Losey aims for a kind of filmic stream-of-consciousness, the actors restless and explosive everyone behaves like they've got the DTs, though only our hero is an alcoholic , emotional tenor constantly changing - a film explicitly about "control", deliberately perched on the edge of control with the sidebar of capital punishment as the state's method of control, raising a debate about that.

Kind of admirable but it's just too daft, the lines unplayable - "What does Vicky Harker mean to this family? Ahead of its time, and a worthy discussion-piece in a world where political correctness rules, the semblance of equality is everywhere, yet women hit glass ceilings in business and are under-represented in politics; also lots of fun for about an hour - till it just gets incoherent - with that blissfully gritty, faded earlys look, punky theme song by Toyah Wilcox soundalike plus one bit of primitive proto-rapping and bracing atmosphere of balls-out - if that's the word - radical feminism calling for "the right to violence" also young Eric Bogosian cameo, Kathryn Bigelow in supporting role and meltingly pretty Adele Bertei as the girl from 'Radio Ragazza'.

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  • Um, what? Tempting to see it in relation to the Vichy government, French capitulation in WW2, etc - that's the plot, a small town welcoming invaders instead of resisting - but it seems a little gauche to bring reality into it when everyone's being so civilised about the arrangements, and the visuals reflect 17th-century Flemish painting Brueghel's actually among the dramatis personae so prettily. All a bit too "archly classic", thought Pauline Kael; Rosay gives it a pulse, though. PERSONA 83 Ingmar Bergman, : The search for reality - not the world's masks and personae, not Art which is inadequate and laughable the radio play, the interrupted performance giving only an "urge to laugh" , not language which is full of traps and finally breaks down.

    Loses its grip a little in the final section, when it takes the typically bleak Bergman thesis - that the only true reality is pain Vietnam atrocities on TV, a shard of glass that makes the actress scream, the threat of scalding water that makes her break her silence - as far as it can go and tries to move beyond, to a oneness, a fusion of the two women that's both scary a loss of Identity and comforting real because Identity is lost, and the lies become impossible.

    Ends with Art re-asserting itself shots of the film crew, a giant statue taking over the frame , and of course we know from the pre-credits sequence that it's Only A Movie - reality unattainable except very briefly - though there's hope in another kind of fusion, the photo of the Holocaust boy that connects with the actress's own child oneness of Art and Life may be the closest we can ever get to reality. Symbol-strewn and I guess pretentious, but shots like Liv Ullmann craning her face to camera as the light is ve-e-ery slowly brought down into darkness show Bergman's greatness even as a purely formalist director - and scenes like Andersson recalling the boys at the beach utterly hypnotic, even on third viewing show his greatness as a screenwriter.

    Time to move beyond the 'miserablist' tag imo. No surprise, really - even as a teen I was never that obsessed with it, finding it "somewhat hollow" according to my '86 notebook I used words like "somewhat" in those days , but the visuals were just too overwhelming. Not quite so dazzling nowadays, and easier to be put off by Gilliam's clunky sense of rhythm and raucous, assaultive sense of humour; often feels as oppressive as the world it satirises, also Kim Greist is not my idea of a Dream Girl.

    Still unforgettable in bits and pieces, esp. Jim Broadbent Sightings Dept. Surprisingly nightmarish tone for the most part, aided by some neon-lit city visuals and eerie-synth Tangerine Dream score - meeting between hero and hooker is staged as though it were a dream he's on the couch dozing, she appears out of nowhere, they make love without preamble, her dress billowing melodramatically in the wind , and the whole thing has a dreamlike edge, shooting off in unexpected directions.

    Totally un-cutesy, unsentimental sensibility, e. Style is important, because it's about a young idealist becoming a capitalist - or at least getting caught up in the real world of capitalism - which could seem a celebration of greed with a glossier style; as it is, closer to a tale of coming-of-age as a kind of moral corruption. Tom Cruise is amazing, and in fact the Ray-Bans-wearing, Ferris Bueller-type hotshot is just a tiny part of it - mostly it's sensitive boyishness and vulnerability - though of course the only part people remember.

    Note to Joe Pantoliano: did you somehow grow shorter and squatter in the past 20 years? Several points - maybe like 8 - have been added for chutzpah, individualism, perverse bad-movie pleasure and even a touch of nostalgia the closing-credits music is so 80s it brings a tear to the eye as opposed to actual cinematic virtues.

    Cheesy but fun, with memorably badass lines for Mr. Piper to make a mockery of: "I came here to chew bubblegum and kick ass. And I'm all. Of bubblegum. Or something else altogether, e. Note e. Above all, even though with hindsight it's a moral tale - hero's punished for his bad behaviour - that behaviour isn't coded as 'bad', nor is there any 'good' character acting as role model: parents are ineffectual, teachers cruel, school joyless, capitalist spirit involves brazenly cheating customers taking their photos - and money - with a camera that has no film; the plan is to tell them later that they moved, and the photos were spoiled ; it's an incredibly bleak vision of childhood as a time of half-understood impulses, constant oppression, and self-centred obsession as the only way out our hero's Vocabulary class gives a clue, Words of the Day including "rebel" and "discipline"; earlier, the kids read a story about a boy who keeps running, no matter what.

    Needed a John Huston, who'd doubtless have found a more tragic-poetic ending for our small-time loser hero "Nobody loses all the time! If that floats your boat, enjoy Setting it in the nefarious record industry was a cool idea but De Palma tries to play it very 'showbiz', camping it up Ken Russell fashion, and it takes away from his silky technique: the cutting just seems aggressive, changing camera angle all the time, whereas De Palma at his best makes filmmaking the formal tricks themselves, tracking shots and split-screens effortlessly sensual.

    Ah, l'amour I'm a little stunned at how tolerable even attractive Barbra Streisand is here - her comic touch isn't exactly light but she seems relaxed and definitely has her moments I like her throwaways, e. Farcical more than screwball, though it copies lots of 30s mannerisms e.