Stanley Kauffmann

Blade Runner – Review by Stanley Kauffmann

To enjoy Blade Runner, you need only disregard, as far as possible, the actors and dialogue. (And the score) The script is another reworking of a threat to humans by humanoids —one more variation on the Invasion of the Body Snatchers theme.

The King of Comedy – Review by Stanley Kauffmann

The picture is virtually bare of Scorsese style, such touches, heavy or helpful, as the opening manhole shot of Taxi Driver or the opening prize-ring sequence of Raging Bull. I saw nothing in The King of Comedy that couldn’t have been done by any competent director. Cinematically, it’s flavorless.

Raging Bull (1980) De Niro and Scorsese on set

Raging Bull – Review by Stanley Kauffmann

Seeing Martin Scorsese’s new film is like visiting a human zoo. That’s certainly not to say that it’s dull: good zoos are not dull. But the life we watch is stripped to elemental drives, with just enough decor of complexity—especially the heraldry of Catholicism —to underscore how elemental it basically is.

Apocalypse Now - Dennis Hopper

Apocalypse Now (1979) – Review by Stanley Kauffmann

When I read three years ago that Vittorio Storaro had been chosen as the cinematographer for Apocalypse Now, I was shocked. Storaro, the lush Vogue-style photographer of Last Tango in Paris and The Conformist, for a picture that was being billed as the definitive epic about Viet­nam!

The Deer Hunter (1978) – Review by Stanley Kauffmann

I submit that, if we are going to be moved to thought and action by The Deer Hunter, it ought to be by the implications of its true subject: the limitations for our society of the traditions of male mystique, the hobbling by sentimentality of a community that, after all the horror, still wants the beeriness of “God Bless America” instead of a moral rigor and growth that might help this country.

Chaplin: History And Mystery

The Tramp. The Little Fellow. Naturally the obituaries were full of those terms, full of references to the bowler-hatted, cane-swinging, corner-skidding outsider who had become one of the perdurable icons in the collective mind of the world. All true; still it’s not quite enough. Yes, the Tramp is now a deathless image. Yes, he made us laugh and cry and presumably always will.

‘The Godfather’ and the Decline of Marlon Brando – Review by Stanley Kauffmann

Hurricane Marlon is sweeping the country, and I wish it were more than hot air. A tornado of praise—cover stories and huzzahs—blasts out the news that Brando is giving a marvelous performance as Don Corleone in The Godfather, the lapsed Great Actor has regained himself, and so on. As a Brando-watcher for almost 30 years, I’d like to agree.

ACCATTONE: POET AND THE PIMP – Review by Stanley Kauffmann

Accattone lives as a work of narrow but intense vision—a film about viciousness and criminality that evokes compassion. Its style is neorealist: it was made on locations, not in studios, with nonprofessional performers. Sometimes this method makes merely vernacular films, but it gives Accattone a grainy, gripping authenticity.