What is particularly striking about the film, once we get over the sight of Marlon Brando performing anal sex, is that it is, in disguise, the most political of Bertolucci’s films so far—his most ambitious attempt to integrate Marx and Freud.
Pasolini’s recent death, apparently stemming from an episode that might have figured in one of de Sade’s stories, brings to an end a career that deeply influenced Italian literature (he was also a poet and novelist), linguistic thought, and film.
The conversation took place in 1964 between Pasolini and the students and faculty of the Centro Sperimentale di Cinematografia—the Italian film-school in Rome
by Tracy Biga Much of the humor in David Lynch’s reworked fifties crime thriller/horror/gothic film Blue Velvet comes from mundane statements which, when filtered by his personal vision, appear weird, but still oddly familiar, just as the opening shots of flowers against a white picket fence and a waving fireman [...]
by Flo Leibowitz and Lynn Jeffress To all appearances, The Shining is simply a hopelessly clichéd gothic horror film. Can this be serious? A lonely house on a hill haunted by ancestral ghosts that curse successive generations and force them to re-enact the original horror. It is not even redeemed [...]
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, [...]
by Michael Dempsey In director Ridley Scott’s $30-million noir thriller, Blade Runner, set in Los Angeles 36 years from now, sophisticated new robots known as “replicants” have drastically narrowed the gap between humans and machines. Prize creations of the cadaverous, ironic Dr. Eldon Tyrell and his superconglomerate, they not only [...]