Author Spotlight

Andrew Sarris

Andrew Sarris is the film critic for the New York Observer, Professor of Film at Columbia University, and author of the recent “You Ain’t Heard Nothin’ Yet”: The American Talking Film: History and Memory, 1927-1949.

7 Results

French Cancan

French Cancan, produced at the Francoeur Studios in Saint–Maurice, had its Paris premiere in May 1955 and was mostly successful as a fun musical with both the critics and the public. In later decades, the critics around the world hailed the magnit

By Andrew Sarris


The Golden Coach

The Golden Coach, adapted very freely from Prosper Mérimée’s Le Carosse du Saint Sacrément, takes place in the eighteenth century and revolves around the golden coach that the viceroy of Peru had delivered from Europe. His mistress hopes that he

By Andrew Sarris


Stolen Kisses

The Antoine Doinel of Stolen Kisses—the third of five screen incarnations—was almost a decade older than the movingly delinquent child who electrified audiences in The 400 Blows at the 1959 Cannes Film Festival as he ran for salvation across the

By Andrew Sarris

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Variety Lights

Variety Lights (Luci del varietà, 1950) is the ironically grandiose title of an Italian movie featuring the onstage and backstage antics of a provincial troupe of lovably inept vaudeville performers. Their hand-to-mouth existence is bathed in a warm

By Andrew Sarris

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Alphaville

When Jean-Luc Godard’s Alphaville opened the 1965 New York Film Festival, the American Civil Liberties Union Benefit audience seemed genuinely baffled by the abrupt shifts in tone: from satirically tongue-in-cheek futurism, to a parody of private-e…

By Andrew Sarris

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The Woman Next Door

The French do not have to take crash courses in order to deal with the man/woman thing. It is in their blood and in their civilization. Hence, they do not have to compensate for a habitual sexism with extravagant portraits of adventurous Amazons and …

By Andrew Sarris


Lola Montès

“Tout Paris” surged into the Marignan Theatre on a Thursday evening, December 22, 1955 for the first public showing of Max Ophuls’ Lola Montès. A 140-minute Cinemascope super-production budgeted at 648 million francs with hordes of extras and

By Andrew Sarris