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L’INTERVISTA DI PLAYBOY: STANLEY KUBRICK (1968) – di Eric Nordern

2017-12-18T16:28:53-08:00 December 18th, 2017|Categories: INTERVIEWS, STANLEY KUBRICK|Tags: , |

di Eric Nordern PLAYBOY: La maggior parte delle polemiche a proposito di 2001 riguardano il significato dei simboli metafisici che abbondano nel film: i monoliti neri e lucidi, la congiunzione dell'orbita di terra, luna e sole a ogni ricorrenza dell'intervento dei monoliti sul destino dell’umanità, l’impressionante e caleidoscopico vortice finale di [...]

BARRY LYNDON: NARRATIVE AND DISCOURSE IN KUBRICK’S MODERN TRAGEDY – Essay by Michael Klein

2017-12-17T14:21:12-08:00 December 17th, 2017|Categories: STANLEY KUBRICK|Tags: , |

by Michael Klein Even inept films sometimes carry with them a certain mesmerizing authority. Stanley Kubrick's Barry Lyndon, a flawed work based upon a rather uninspiring novel, can be enjoyed, for instance, for its visual effects: sheer photography. And the background music is superb.1 The music offputtingly classical under the [...]

ONCE UPON A TIME IN THE WEST (1968) – Review by Andrew Sarris [The Village Voice]

2017-12-17T11:25:38-08:00 December 17th, 2017|Categories: SERGIO LEONE|Tags: , , , |

Once Upon a Time in the West is Sergio Leone’s most American Western, but it is still dominantly and paradoxically European in spirit, at one and the same time Christian and Marxist, despairing and exultant, nihilistic and regenerative.