Archive for the ‘film’ Category
Limelight [1952]
September 2nd, 2006 | 
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Limelight, the most emotional of films, is all about the death of emotions – as such a major theme developed with pathetic consistency in Hollywood films, whether screwball or noir or whatever. When we think of Chaplin’s art of combining the abstract and concrete, real and surreal, hard fact and dream, the present with the past and the imagined, and again the effortless mixing of the pantomime, ballet, burlesque, dialogue and monologue into an indivisible whole, simple as a moment in nature, we can well sense how far Limelight is from the ordinary Hollywood fare; it should sooner be placed among films like Citizen Kane, Ivan Groznyi and Alf Sjöberg’s Miss Julie. The differences between life and art, the personal and the historical and so on loose their point.
Bron: sensesofcinema.com
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The Incredible Shrinking Man
After an exposure to a strange mist, Scott Carey begins to shrink. After facing such trials as confounded doctors and his angry cat, he accidently gets locked in the basement. His very life then becomes a battle for survival, with only his wits to overcome the liability of his size.(…)
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Tobor The Great [ 1954 ]
Dr. Ralph Harrison (Charles Drake, of It Came from Outer Space and The Screaming Woman) is a rocket scientist hard at work on the problems of manned space flight— an endeavor which in this case entails showing us exactly the same stock footage of post-war test launches of captured V-2 ballistic missiles over and over and OVER AGAIN!!!!The commissioner of the space agency for which Harrison works is determined to send a man into space at the earliest opportunity, regardless of the risks. (Remember, in 1954, even the most up-to-date scientific thinking about the conditions prevailing in outer space amounted to little more than educated guesswork.) Harrison, on the other hand, finds the commissioner’s cavalier attitude toward the lives of his test pilots to be nothing short of disgraceful. After a particularly fierce row with the commissioner, Harrison tenders his resignation, and storms out of the office, the building, and the project as a whole. (…)
Bron: 1000misspenthours.com
Boccaccio ‘70 ( 1962 )
In Boccaccio ‘70 (1962) verfilmen drie van Italië’s beste en meest toonaangevende regisseurs elk één van Boccaccio’s erotische vertellingen (ieder met zijn favoriete leading lady). In Federico Fellini’s Le tentazioni del dottor Antonio prikkelt Anita Ekberg de overspannen verbeelding van een dokter. Eerste kleurenfilm voor Fellini en een teken van de dingen die nog komen gingen. Romi Schneider (opgegroeid en opengebloeid sinds Sissi) schittert in Il lavoro, LuchinoVisconti’s bittere pareltje over een vrouw (Schneider) die wraak neemt op haar overspelige minnaar. En Vittorio De Sica en ‘zijn’ Sophia Loren doen met La riffa wat ze later nog vaak met succes zullen herhalen : een pittige komedie maken met een temperamentvolle madame in de hoofdrol. De lichtverteerbare moraal van Boccaccio ‘70 : waar liggen de seksuele grenzen van elkeen en hoe die te herkennen.
Bron: cinebel.be
citizen kane ( 1941 )
The fresh, sophisticated, and classic masterpiece, Citizen Kane (1941), is probably the world’s most famous and highly-rated film, with its many remarkable scenes and performances, cinematic and narrative techniques and experimental innovations (in photography, editing, and sound). Its director, star, and producer were all the same genius individual – Orson Welles (in his film debut at age 25!), who collaborated with Herman J. Mankiewicz on the script (and also with an uncredited John Houseman), and with Gregg Toland as his talented cinematographer. [The amount of each person's contributions to the screenplay has been the subject of great debate over many decades.] Toland’s camera work on Karl Freund’s expressionistic horror film Mad Love (1935) exerted a profound influence on this film.
Bron: filmsite.org
from russia with love ( 1963 )
The elements of From Russia with Love move the movie closer to the recognizable “Bond formula” than was the case for its predecessor, Dr. No. Here, the action scenes are more numerous and generate added tension, the title sequence has a familiar flavor, John Barry’s distinctive score replaces the workmanlike music of Monty Norman, Q makes his first appearance, and Connery tones up 007’s sophistication while downplaying his cold-bloodedness.