By the time he made The Freshman in 1925, Harold Lloyd was already a superstar. His comedies, which combined jaw-dropping derring-do with loveable characters, were routinely among their years’ top box-office attractions. When Lloyd announced he was working on a football-themed film, anticipation was particularly high, as Lloyd expert John Bengtson explains in this excerpt from his new Criterion visual essay Harold Lloyd: Big Man on Campus.
Why Swing Time Is the Greatest of All Dance Films
In this excerpt from an interview on our new edition of the Astaire-Rogers classic, dance critic Brian Seibert explains how beautifully and cleverly the film integrates dance into the structure of a romantic-comedy plot.
A Moody Meditation from the Set of Blue Velvet
In a rarely seen documentary about David Lynch’s 1986 masterpiece, the director and his star, Isabella Rossellini, give their candid impressions about the creative journey they’ve embarked on together.