The Sorrow and the Pity (1969) – Review by Stanley Kauffmann
20/01/2021
The Sorrow and the Pity is, first, a record. Second, it is a reminder. Third, most important from any view, The Sorrow and the Pity is a fine film.
Menu
Stanley Kauffmann
Reds (1981) – Review by Stanley Kauffmann
23/12/2020
A radical American journalist becomes involved with the Communist revolution in Russia, and hopes to bring its spirit and idealism to the United States.
Amadeus (1984) – Review by Stanley Kauffmann
22/12/2020
The story takes off from the myth that Salieri, the Viennese court Kapellmeister more successful than Mozart yet jealous of him, poisoned the younger man.
Blade Runner – Review by Stanley Kauffmann
20/12/2020
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 Shining – Review by Stanley Kauffmann
18/12/2020
The Shining doesn’t scare. The only pang in it is that it’s another step in Kubrick’s descent.
The King of Comedy – Review by Stanley Kauffmann
18/12/2020
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 – Review by Stanley Kauffmann
18/12/2020
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 (1979) – Review by Stanley Kauffmann
27/12/2019
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
11/11/2019
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
05/11/2019
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.
Barry Lyndon (1975) – Review by Stanley Kauffmann
05/11/2019
Beautiful pictures are not film style. Kubrick’s latter-day work is solipsist and smug, isolated and sterile. For me Barry Lyndon is an anti-film, a gorgeous, stultified bore.
‘The Godfather’ and the Decline of Marlon Brando – Review by Stanley Kauffmann
02/03/2018
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.
Full Metal Jacket: Blank Cartridge – Review by Stanley Kauffmann
02/03/2018
Full Metal Jacket betrays Kubrick’s avant-garde admirers.
ACCATTONE: POET AND THE PIMP – Review by Stanley Kauffmann
08/02/2018
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.
2001: A Space Odyssey: Lost in the Stars – Review by Stanley Kauffmann
08/02/2018
Stanley Kubrick’s 2001: A Space Odyssey took five years and $10 million to make, and it’s easy to see where the time and the money have gone. It’s less easy to understand how, for five years, Kubrick managed to concentrate on his ingenuity and ignore his talent.