Based upon the novel The Good Shepherd by C S Forester, this is the thrilling story of the leader of an Allied convoy crossing the North Atlantic in 1942 as he faces relentless attack by a Nazi submarine wolf pack.
Ennio Morricone occupies a unique place in the history of twentieth-century music. He is without question one of the world's most successful, and brilliant, composers for film, although he continues to write surprising music for the concert hall as well.
In 'Stardust Memories' we get more of the same thoughts over and over—it's like watching a loop. The material is fractured and the scenes are very short, but there was not a single one that I was sorry to see end. 'Stardust Memories' doesn't seem like a movie, or even like a filmed essay; it's nothing.
On set, Leone relied for atmosphere upon tapes of Ennio Morricone’s main musical themes, which, this time, had all been written, performed and recorded in advance: ‘Everyone acted with the music, followed its rhythm, and suffered with its “aggravating” qualities, which grind the nerves.’
Leone had started discussing the music for Once Upon a Time in America immediately after completing Giù la testa, and the score was more or less complete by 1975-6, seven years before a foot of film was shot, which must be a record.
Brazil is the kind of ornery, intellectually fuzzy labor of love that is bound to strike some people as just about “the worst thing I’ve ever seen,” and perhaps it will affect others as a picture they want for their VCRs, so they can look at it over and over.
Pauline Kael has brought the same fierce passion, independence, and incisiveness to her movie reviews since she took on Charlie Chaplin’s Limelight in 1952. When her first book, I Lost It at the Movies (1965), and her 1968 appointment as a movie critic for The New Yorker brought her national prominence, some people raised eyebrows, others glasses, to her revolutionary style.
After the early acclaim, The Deer Hunter has been subjected in recent months to an extraordinarily coarse and brutal hazing. Everywhere one encounters people convinced that the movie is racist or fascist, while in the press indignant critics compete with one another in manic overstatement.
Pauline Kael is a singular voice in the history of American film criticism. Cineaste interviewed Kael in the summer of 1999, discussing her critical career and early influences, her philosophy of criticism, great American films of the Seventies, her thoughts about retirement, and her provocative views on some recent American movies.
Slovenly plotting and characterization, but consistently fascinating detail: exploitative violence and humanistic regrets: shallow formulas and philosophical questioning—this is the mix of banality and brilliance to be found in Blade Runner.