‘SPARTACUS’: HAILED IN FAREWELL (1960) – by Eugene Archer

2017-12-18T16:31:27-08:00 August 30th, 2017|Categories: CINEMA, INTERVIEWS|Tags: , , , , |

by Eugene Archer Critics have always debated the correct way to apportion the credit for a multi-million-dollar production among producers, writers, actors and corps of technicians, but Stanley Kubrick, the youthful director of Spartacus, has no such doubts. If any critical bouquets are available after the elaborate costume spectacle opens [...]

SPARTACUS (1960) and THE GUNS OF NAVARONE (1961) – The Guardian Review

2017-08-30T08:36:37-07:00 August 30th, 2017|Categories: CINEMA|Tags: , , , , |

EPIC FILMS ANCIENT AND MODERN A week of epics. It is true that neither Spartacus (Gaumont) nor The Guns of Navarone (Regal) conform to Bible thumping traditions but as both last for over three hours, including intermissions for the audience to recuperate on orange squash, and are littered with stars, [...]

STANLEY KUBRICK: AT A DISTANCE – Interview by Lloyd Rose

2017-10-07T08:43:56-07:00 August 28th, 2017|Categories: CINEMA, INTERVIEWS|Tags: , , , |

by Lloyd Rose PINEWOOD GREEN, ENGLAND – The board room at Pinewood Studios is disturbingly baroque. The ceiling sags with chandeliers. Gilt-edged paneling dresses every inch of wall. At one end a cold-eyed movie mogul, the late J. Arthur Rank, grins from his painted portrait. It hangs above a sideboard [...]

LE NOTTI DI CABIRIA (1957) – Review by James Kerans [Film Quarterly]

2017-08-23T15:33:29-07:00 August 23rd, 2017|Categories: CINEMA|Tags: , , , , |

by James Kerans All the Fellini virtues are here: the fluent camera, the wit, the elegant composition, the theme-and-variations style, the melange of theatrical and religious symbol, the parabolic eloquence, the vocabulary of private motifs. La Strada is more exciting, because it calls for the management of material more coarse, [...]

LAST TANGO IN PARIS (1972) – Review by Bosley Crowther

2017-08-23T11:51:59-07:00 August 23rd, 2017|Categories: CINEMA|Tags: , , , |

by Bosley Crowther The vast attention that Bernardo Bertolucci’s Last Tango in Paris received while it was several months in the making and when it opened in the fall of 1972 was not due to the prospect of its being a likely worldshaking film. It was because Marlon Brando was [...]

DOUG STANHOPE: NO REFUNDS (2007) – Trascrizione italiana

2017-08-23T09:23:28-07:00 August 23rd, 2017|Categories: COMEDY|Tags: , |

È finita. Ultima chiamata. Questa generazione fa schifo, è la generazione più fottutamente noiosa nella storia della gente. È tutto moscio e annacquato... quand'è stata l'ultima volta che avete sentito parlare di gruppi rock che lanciano televisori dalle finestre di un albergo? Dov'è finita quella roba che era... divertente! Dov'è finito il divertimento?

KUBRICK’S STRANGE LOVE – Review by Gerard Fay [The Guardian]

2017-08-21T23:08:49-07:00 August 21st, 2017|Categories: CINEMA|Tags: , , , |

by Gerard Fay Stanley Kubrick is unusual among American film directors for a complete lack of flamboyance. He dresses without distinction, talks quietly and modestly, eats and drinks frugally, reads and thinks a lot. He is not an Austrian or even an Hungarian but was born in the Bronx, New [...]

NEO-NEO-REALISM: BANDITS AT ORGOSOLO

2017-08-21T20:03:35-07:00 August 21st, 2017|Categories: CINEMA|

by Jean-Andre Fieschi Original article: ‘Néo-néo-réalisme’, Cahiers du Cinéma 141, March 1963 No one could be more pleased than we are that American cinema has on the whole won the war that history said it had to win (and not just by winning over the critics). We don't deny that [...]

A CLOCKWORK ORANGE – Review by Don Daniels [Sight and Sound]

2017-08-21T15:21:59-07:00 August 21st, 2017|Categories: CINEMA|Tags: , , , , |

by Don Daniels Stanley Kubrick's films seem to provoke the kind of mindless praise and attack that is called 'controversy' these days. In the case of A Clockwork Orange, the responses have ranged from 'brilliant' to 'boring', with special attention to the film's depictions of violence. If the viewer responds [...]

THE WILD BUNCH: MAN AND MYTH – Time Magazine Review

2017-08-19T16:44:36-07:00 August 19th, 2017|Categories: CINEMA|Tags: , , , |

"When the legend becomes fact," says the canny newspaper editor in John Ford's The Man Who Shot Liberty Valance, "print the legend." Sam Peckinpah is a filmmaker dedicated to telling truths and still preserving the legend of the American West. In feature films (Ride the High Country, Major Dundee) and [...]

INDIANA JONES AND THE LAST CRUSADE (1989) – Review by Pauline Kael

2017-08-18T15:32:09-07:00 August 18th, 2017|Categories: CINEMA|Tags: , , , , |

by Pauline Kael A friend of mine who’s in his early fifties and is eminent in his field says that when he grows up he wants to be Sean Connery. He doesn’t mean the smooth operator James Bond; he means the bluff, bare-domed Connery of The Man Who Would Be [...]

THE GODFATHER PART III (1990) – Review by Pauline Kael

2017-08-19T10:34:04-07:00 August 18th, 2017|Categories: CINEMA|Tags: , , , , |

by Pauline Kael At the end of The Godfather Part II (1974), the story was complete—beautifully complete. Francis Ford Coppola knew it, and for over a decade he resisted Paramount’s pleas for another sequel. But the studio’s blandishments became more honeyed, his piggy bank was smashed, and late in 1988 [...]

GOODFELLAS (1990) – Review by Pauline Kael

2017-08-18T14:33:02-07:00 August 18th, 2017|Categories: CINEMA|Tags: , , , , |

by Pauline Kael Martin Scorsese’s GoodFellas has a lift. It’s like Raging Bull, except that it’s not domineering. It’s like Raging Bull made in a jolly, festive frame of mind. It’s about being a guy and guys getting high on being a guy. In the Nicholas Pileggi book Wiseguy, which [...]