Jun 18, 2007 Yasujiro Ozu had already directed forty-five features by the time he started work on Early Spring, in 1955, but the artistic and commercial success of his previous film, Tokyo Story (1953), had rejuvenated him.

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...

Oct 24, 2005 Kihachi Okamoto’s subversion of the samurai movie possesses the same gritty, stark realism with regard to imagery and body count, yet the tone is decidedly comic.

Oct 24, 2005 Mirroring changes in awareness, politics, and lifestyle occurring across the globe, the chanbara (or Japanese swordplay film) underwent a significant metamorphosis in the early 1960s, acquiring a decidedly more radical spirit. Seemingly without warning, groundbreaking cinematic styles from beyond the...

Oct 24, 2005 The hero in Masahiro Shinoda’s popular samurai movie is both a genre figure and an ordinary character, both killer and savior, both larger than life and lost in the mists.

Sep 19, 2005 When I was a teenage cinephile, in the mid-1970s, Masculin féminin was enormously significant to me. It repre­sented France’s nouvelle vague of the sixties, with its youthful, anarchic spirit of freedom and spontaneity. It was in black and white and...

Jan 31, 2005 With this early work, Bernardo Bertolucci confidently demonstrated the instinctive lyricism and sensuality that in his maturity would become his very own signature.

Jan 10, 2005 Seijun Suzuki made a breakthrough with his second feature, a yakuza thriller full of devil-may-care assurance and try-anything imagination.

May 9, 2004 With his vibrant chronicle of an Oedipal revolt, Volker Schlöndorff captures the source novel’s singular recreation of the German past.

Mar 13, 2004 With uncharacteristic warmth and affection for human frailty, Ingmar Bergman raises the question of how love can possibly last forever.

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