In 1966, Chaplin granted several extensive interviews to journalist Richard Meryman for a Life magazine article to promote 'A Countess from Hong Kong.' Only a small portion of Meryman's taped interviews was ever published. A copy of the complete transcript, from which this excerpt was taken, is preserved in the Chaplin Archives.
I suspect that James Dickey, who adapted his best-selling novel Deliverance for the screen, and John Boorman, who directed it, are trying to tell us something fairly important by subjecting four sober, settled, middle-class gentlemen in their thirties to a series of wilderness trials that test their courage and cunning in a manner we usually associate with the initiation of adolescents into primitive tribes.
Marlon Brando enjoys being mysterious. The grandfather of all cool actors becomes the Godfather. Interview by Shana Alexander
There’s nothing fun or funny to be found here. It offers us only the absorption of good acting and good storytelling combined with a plausible anthropology of a strange, terribly relevant culture. What more could we possibly want from a movie? How often, these days, do we get anything like all that?
This movie expresses what it means to be young with the lyricism and narcissism and self-consciousness of the intelligent young.
For a director like Stanley Kubrick, a novel like Anthony Burgess's A Clockwork Orange must have seemed an irresistible challenge. Kubrick is essentially a daring imagist, yet he has twice before been tempted by projects that pose powerful problems of language for the film maker.
A tragedy of false security by Richard Schickel The film looks as if it had been photographed through the mists of time. Often its characters seem to move with the strange deliberation of figures in a dreamed memory, their outlines softened by the years. Yet its images, its language (and [...]