Saggio critico di Enrico Ghezzi su "Arancia Meccanica", pubblicato nel numero monografico su Stanley Kubrick della collana Il Castoro Cinema
Full transcript of Complaints and Grievances, HBO comedy special by stand-up comedian George Carlin. It was recorded on November 17, 2001.
Interview with Director of Photography John Alcott Among all the film-makers of the world, there is no one quite like Stanley Kubrick. To be more accurate, there is no one even remotely like him. An early dropout from formal education, largely self-taught, but possessed of a razor-sharp intelligence and a [...]
by Richard T. Jameson Camera comes in low over an immense Western lake, its destination apparently a small island at the center that seems to consist of nothing but treetops. Draw nearer, then sweep over and pass the island, skewing slightly now in search of a central focus at the [...]
di Marcello Garofalo Una località isolata battuta dal vento. Due uomini scendono da cavallo avanzando verso un terzo, loro complice: insieme entrano in un saloon sparando all’impazzata, quando dalla finestra sbuca un messicano, Tuco, tenendo in una mano un cosciotto di bue e nell’altra la pistola. Fermo immagine con la [...]
Kubrick’s adaptation of King's novel, while it maintains elements necessary to cue the genre of the horror film, expands King’s work of popular entertainment into a thoroughly postmodern work of art.
by Thomas Allen Nelson After Barry Lyndon, his least commercially successful but one of his most artistically satisfying films, Stanley Kubrick turned to a contemporary American horror novel by Stephen King. As interesting a potboiler in its own right as Thackeray’s obscure nineteenth-century picaresque adventure, King’s The Shining (1977) represented [...]
A recent variation in the horror movie genre has been a series of films about middle class life in America in which the source of potential hazard is middle class life.
Il terribile libro di Orwell ha segnato il nostro tempo, gli ha fornito una immagine ossessiva, la minaccia di un millennio assai prossimo, e dicendo "quel giorno verrà..." ci ha impegnato tutti nell'attesa di quel giorno
EYES WIDE SHUT: WHAT THE CRITICS FAILED TO SEE IN KUBRICK’S LAST FILM – by Lee Siegel [Harper’s Magazine]
Not a single critic, not even those few who claimed to like Eyes Wide Shut, made any attempt to understand the film on its own artistic terms. Instead, the critics denounced the film for not living up to the claims its publicists had made for it.
by Timothy J. Gilfoyle In December 2002, Martin Scorsese’s Gangs of New York opened to critical acclaim. The Chicago Tribune’s Michael Wilmington described the motion picture as “a period epic of hatred and fire,” “a movie of grand reckless ambition,” and “a film burning with creative passion, over-reaching, magnificently wild.” [...]
È a New York da dieci giorni, è venuto per il festival cinematografico, vi davano due dei suoi film. Sono proprio curiosa di saper se l’America piace a questo marxista convinto, a questo cristiano arrabbiato, insomma a Pasolini.
by Dilys Powell The Grapes of Wrath is not just a film, not just a tragedy, not just a social indictment even; it is an experience; it is history unfolding like a terrible fungus; it is America. Not the cinema America; no lovely silk legs, no Civil War; not the [...]
by Vivian C. Sobchack Since its release in 1940, the film version of The Grapes of Wrath has attracted enormous and enduring critical and popular attention.1 Yet, in some ways it has also remained a neglected film, a film obscured by the shadow of its illustrious parentage (John Ford out [...]
"The most important thing I wanted to do in the making of Apocalypse Now was to create a film experience that would give its audience a sense of the horror, the madness, the sensuousness, and the moral dilemma of the Vietnam war. "