The Force

Apr 27, 2014 — A leading light of commedia all’italiana, Dino Risi specialized in fleet, satirical takes on contemporary Italian culture, and this road-trip smash was his most trenchant.

Feb 28, 2014 — Other first films exude the sparkling joy of filmmaking that one feels in Breathless, but how many can boast its sure-handedness?

Jul 18, 2013 — Repertory PicksThe Harvard Film Archive in Cambridge, Massachusetts, is currently celebrating one of the finest of all Hollywood actors with the retrospective A Burt Lancaster Centennial Tribute. This Saturday, July 20, you can catch an early breakout performance of Lancaster’s...

One of Japan’s most important filmmakers, Kenji Mizoguchi created a cinema rich in technical mastery and social commentary, specifically regarding the place of women in Japanese society.

Nov 13, 2012 — Moving to Chaucer’s gray-skied England, Pier Paolo Pasolini pushed his trilogy into darker realms.

Mar 13, 2012 — In the becalmed atmosphere of today’s Hollywood, it’s hard to imagine the tumult that greeted The Last Temptation of Christ when it was released in 1988. Brilliantly directed by Martin Scorsese, this adaptation of Nikos Kazantzakis’s imaginative retelling of the...

Feb 14, 2012 — For nearly three decades, Hideo Gosha (1929–1992) made some of the most explosive, artful, and original films in Japanese cinema. Along the way, he also became one of his country’s most established and acclaimed filmmakers. But his reputation in the...

Mar 29, 2011 — As the only film of a Gilbert and Sullivan opera brought to the screen with the participation of the D’Oyly Carte Opera Company, Victor Schertzinger’s 1939 Technicolor The Mikado is a unique specimen; however one rates it, there is nothing with...

Nov 11, 2009 — As a member of the Harlem Amateur Players, Robeson had heard a great deal about Brutus Jones from the Playhouse’s set designer, Cleo Throckmorton. Moved by Robeson’s performances with the Manhattan-based troupe, Throckmorton was the first to approach him about...

Jan 21, 2008 — As late as 1970, Alf Sjöberg’s boldly experimental 1951 adaptation of August Strindberg’s play was declared as inaugurating “a new cinematic language.”