So Barry Lyndon is a failure. So what? How many “successes” have you seen lately that are half as interesting or accomplished, that are worth even ten minutes of thought after leaving them? By my own rough count, a smug little piece of engineering like A Clockwork Orange was worth about five. I’m reminded of what Jonas Mekas wrote about Zazie several years ago: “The fact that the film is a failure means nothing. Didn’t God create a failure, too?”
By far his most ambitious film to date technically and in the scope of its references, Taxi Driver shows Scorsese’s urgency working at full throttle—to the film’s considerable success and less considerable failure.
by Gavin Smith Gavin Smith: What was it that drew you to the GoodFellas material? Martin Scorsese: I read a review of the book; basically
To be blunt about it, it’s impossible at this moment to separate thoughts and feelings about Stanley Kubrick’s Eyes Wide Shut from the fact of his death. Or to put it another way, Kubrick’s death is the closure that his final film, for better or worse, resists to the last.
How are we supposed to watch Eyes Wide Shut? Really, how are we supposed to watch any Stanley Kubrick movie? Apprehension of so many of them has shifted between initial reviewing and years of re-viewing, of reconsideration from the vantage of a culture changed, often as not, by the films themselves.
by Marjorie Rosen In Hollywood circles the adage, “You’re as good as your last picture,” holds more truth than is comfortable or healthy. It could
Leone saw his gangster picture as the final ptych in his American triptych— three views of a country passing from anarchic heroism (the West) to revolution for the hell of it (the Revolution) to the beginnings of business-as-usual, through bribes and bullying.
A Fable for Adults by Elaine Lomenzo They asked Claude Lelouch which American director he likes the most and he says. “Sergio Leone!”—Sergio Leone It’s
It is hard to think of a recent American film which has been as classically and persistently misread as The Deer Hunter.
TAXI DRIVER’S SCREENWRITER Paul Schrader interviewed by Richard Thompson Richard Thompson is grateful to Jack Shafer for his help with this interview, which took place
Paul Schrader interviewed renowned French director Robert Bresson in 1976 at Bresson’s apartment in Paris overlooking the Seine, while on the way to Cannes where Taxi Driver was to be shown.
The Shining is a horror movie only in the sense that all Kubrick’s mature work has been horror movies—films that constitute a Swiftian vision of inscrutable cosmic order, and of “the most pernicious race of little vermin that nature ever suffered to crawl upon the surface of the earth.”
This study will point out how Dr. Strangelove is a sex allegory: from foreplay to explosion in the mechanized world.
Stanley Kubrick’s “Full Metal Jacket” review published in Film Comment, September/October 1998. By Robert Castle and Stephen Donatelli