If you’ve seen Boogie Nights, There Will Be Blood, or virtually any other film directed by Paul Thomas Anderson, you know that he is enamored of ornate tracking shots. So it’s no surprise that he’s a fan of Max Ophuls, often identified as cinema’s preeminent practitioner of this craft. Anderson contributed an introduction to Ophuls and his visual flourishes to our special edition of Ophuls’s The Earrings of Madame de . . . . In this two-and-a-half-minute clip from that supplement, he looks at the film’s first shot, with its gorgeous, psychologically motivated camera work. Wedded to the charisma of star Danielle Darrieux, the camera, Anderson says ”moves with her eyes.”
Digging Through Movie History at Chaplin’s Studios
Film scholar Craig Barron gives us a tour of the studios on whose back lot Charlie Chaplin built the set for his final film of the silent era, The Circus.
Career Women in the Land of Lubitsch
Critics Molly Haskell and Farran Smith Nehme talk about the highly idiosyncratic heroines who populate Ernst Lubitsch’s comedies, including the protagonist of his final film, Cluny Brown.
Ritwik Ghatak’s Pursuit of Truth Beyond Realism
Acclaimed Indian filmmakers Saeed Akhtar Mirza and Kumar Shahani discuss how the Bengali master mixed expressionism and naturalism in his devastating domestic tragedy The Cloud-Capped Star.