Bonnie and Clyde (1967): Gangsters on the Road to Nowhere – Review by Richard Gilman

2018-08-15T13:29:43+01:00August 15th, 2018|CINEMA|

Bonnie and Clyde is about violence and crime, and the desire of the ego to define itself, to live in violence and crime if it can't in anything else. To this end it remains properly sympathetic to the characters it has plucked from history, the sympathy being given not to crime but to a process in which crime figures, to the action by which the ego displays itself as the embattled source of everything—crime, love, violence, goodness, error, dream.

The Bible (1966) – Review by Pauline Kael

2019-07-13T17:27:02+01:00June 6th, 2018|CINEMA|

One of the worst failures of the movie is, implicitly, a rather comic modern predicament. Huston obviously can't make anything acceptable out of the Bible's accounts of sinfulness and he falls back upon the silliest stereotypes of evil

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

2019-10-09T08:50:58+01:00March 2nd, 2018|CINEMA|

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.

PERSONA: SWEDISH SUMMER – Review by Pauline Kael

2020-04-25T20:30:24+01:00August 30th, 2017|CINEMA|

Bergman's movies have almost always had some kind of show within the show: a ballet, a circus, a magic show, a bit of animation, many pieces of plays and even whole plays. In Persona, as in the very early Prison, Bergman involves us in the making of a movie.