Líto

Oct 21, 1991 — Written under the German occupation of France, and produced with the sanction of occupation censors, Marcel Carné’s masterpiece began shooting on August 17, 1943, at the Victorine Studios in Nice.

Aug 12, 1991 — It is 1945. For the first time in four years, the Southern Pacific stops in Black Rock.  A one-armed man named John J. MacReedy (Spencer Tracy) steps off the train. This brooding stranger makes the few residents who inhabit the...

Jul 15, 1991 — For only his second studio film, Peter Bogdanovich chanced directing an adaptation of Larry McMurtry’s elegiac novel about teenagers who come of age in a dying Texas town in the early fifties.

Jun 3, 1991 — Jean Marais on the set of Beauty and the Beast An excerpt from Cocteau: A Biography (1970) by Francis Steegmuller Beauty and the Beast, the first film of Cocteau’s own since The Blood of a Poet, and his finest poem since...

Mar 31, 1991 — In Jacques Tati’s final work, the physical borders of spectacle and audience are broken down through a variety of means.

Jan 28, 1991 — The following review, one of the most renowned in the history of film criticism, appeared in The New Yorker magazine on October 28, 1972. It is reprinted with the permission of the author, Pauline Kael. Bernardo Bertolucci’s Last Tango in...

Jan 7, 1991 — Vittorio de Sica remembers the inspirations behind and the making of his classic film.

Dec 3, 1990 — Over the years I have had a recurrent nightmare in which I am summoned to a large, unfamiliar building in a middle-European satellite country (Bulgaria, perhaps) to tell the idea of Annie Hall to the Bulgarian Minister of Green Lights,...

Nov 12, 1990 — For a twenty-seven-year-old director with a smattering of television experience and only one prior feature, Steven Spielberg demonstrated an awesome mastery of the film medium when his first big production hit the screen in 1975. An instant and certifiable phenomenon,...

Jul 1, 1990 — Molded by Alfred Hitchcock’s direction and David O. Selznick’s editing, the film plays upon the conventions of the Gothic melodrama without ever losing its characters’ humanity.