Certain films contain what I shall call "operatic montage," a form of montage which manipulates temporal and spatial relations in film, typically to melodramatic ends.
Charlie, who represents to such an extraordinary degree the whole human race caught in its habitual rattrap, does kick off his shoes, and we are abundantly convinced of the validity of his gesture of invincibility.
The Elephant Man is a very pleasurable surprise. Though I had seen Eraserhead, which is the only other feature directed by David Lynch, and had thought him a true original, I wasn't prepared for the strength he would bring out of understatement.
Bergman is not a playful dreamer, as we already know from nightmarish films like The Silence, which seems to take place in a trance. He apparently thinks in images and links them together to make a film.
The essay discusses the Stoic philosophy which characterizes Kubrick’s early noir films, specifically in the way the protagonist from The Killing ultimately surrenders to the police, in spite of his best efforts to evade the Law.
Sappiamo che Kubrick rifiuta un contratto della stessa casa [la United Artists] per produrre filmetti di seconda serie: non gli interessa arrivare in qualche modo a fare comunque del cinema. In parte, proprio la chiarezza con cui dal suo comportarsi si delinea l’esistenza di un progetto di cinema rende oscuro [...]
I kept my eyes wide open all through Eyes Wide Shut and saw more control-freak unreality than visual genius around the edges of the cluttered compositions.
Stanley Kubrick's film Barry Lyndon, spectacular as it is, flies in the face of an audience's usual expectations about "costume drama" as a cinematic form of historical fiction.
The movie works because it has the Mary Shelley story to lean on: we know that the monster will be created and will get loose. And Brooks makes a leap up as a director because, although the comedy doesn’t build, he carries the story through.