To Have and Have Not

Aug 14, 2006 — “Some people think rohmer is in league with the devil,” wrote cinematographer Nestor Almendros in his book of autobiographical reflections on the cinema, A Man with a Camera. He was describing his working experience on My Night at Maud’s (1969)....

Nov 21, 2005 — Why would ambitious filmmakers simply film an opera? Many admirers of the work of Michael Powell and Emeric Pressburger have assumed that their decision to make The Tales of Hoffmann, in 1950, was in some way an admission by the...

Apr 15, 2002 — Jean-Pierre Melville’s first-class crime picture may be the most elegantly rigorous movie ever made about a cockeyed heist.

Nov 22, 1999 — Amarcord presents a scathing satirical critique of Italian provincial life during the 1930s, the height of the fascist period (1922–43). In this era, Mussolini’s dictatorship enjoyed its greatest popular support. While Fellini’s depiction of the provincial world under fascism provides...

Nov 15, 1999 — Great comedy cannot be confined within normally accepted boundaries of taste and sensitivity. The essence of the Pythons was that they were always ready to take on formidable, daunting subjects that others might find too dangerous to contemplate. The idea...

Jan 11, 1999 — It was quite a surprise to learn that David Lean had not read Charles Dickens’ Great Expectations before he embarked on his film version in 1945. The closeness of the adaptation, the understanding of the characters, make one swear it...

Jul 21, 1998 — Hiroshi Inagaki’s Samurai Trilogy, of which this release is the first part, was adapted from Eiji Yoshikawa’s epic novel Musashi Miyamoto, which has been called Japan’s Gone with the Wind. The comparison is valid, for the tale of the medieval...

Nov 18, 1997 — Erotic and antierotic, Crash the movie begins boldly enough with a vacantly lissome blonde (Deborah Kara Unger) dreamily opening her blouse to press a bare nipple against the enameled surface of an airplane fuselage before allowing a total stranger to...

Nov 19, 1990 — By facing death, Akira Kurosawa fashions an affirmation of life, characteristically clear-headed in its exploration of man’s fate.