Undeniably, as Dana Polan exhibits in his refined and clever account, there are autobiographical undertones within the film--the marriage of Gloria Grahame to its director, Nicholas Ray, started to get a divorce in the course of construction. but regardless of its bleak finishing and its widespread noir kind, argues Polan, the wise-cracking among Dix and Laurel offers the movie the element of a screwball comedy.
Critics have been doubtful how one can reply to this mixture of genres while the movie first seemed. considering the fact that then although, In a Lonely Place has rightfully been stated as a vintage and compelling tale of blighted love.
By Robert S. C. Gordon
Bicycle Thieves (Ladri di biciclette) Vittorio de Sica, 1948 is unarguably one of many primary movies within the background of cinema. it's also the most beguiling, relocating and (apparently) easy items of narrative cinema ever made. The movie tells the tale of 1 guy and his son, as they seek fruitlessly throughout the streets of Rome for his stolen bicycle; the bicycle which had eventually freed him from the poverty and humiliation of longterm unemployment.
One of a cluster of impressive motion pictures to return out of post-war, post-Fascist Italy after 1945 – loosely labelled ‘neo-realist’ – Bicycle Thieves gained an Oscar in 1949, crowned the 1st Sight and Sound ballot of the easiest motion pictures of all time in 1952 and has been highly influential all through international cinema ever since. It is still an important aspect of reference for any cinematic engagement with the labyrinthine adventure of the trendy urban, the travails of poverty within the modern international, the advanced bond among fathers and sons, and the skill of the digicam to trap whatever just like the essence of all of these.
Robert S. C. Gordon’s BFI movie Classics quantity indicates how Bicycle Thieves is ripe for re-viewing, for rescuing from its necessary prestige as a neo-realist ‘classic’. It seems to be on the film’s drawn-out making plans and creation historical past, the colourful and riven context during which it used to be made, and the dynamic geography, geometry and sociology of the movie that resulted.
By Roger Ebert
America’s so much depended on and best-known movie critic Roger Ebert offers 100 superb essays on the very best video clips ever made.
For the earlier 5 years Roger Ebert, the famed movie author and critic, has been writing biweekly essays for a characteristic referred to as "The nice Movies," within which he bargains a clean and fervent appreciation of a superb movie. The nice Movies collects 100 of those essays, every one of them a gem of severe appreciation and an amalgam of affection, research, and historical past that might ship readers again to that movie with a clean set of eyes and renewed enthusiasm–or probably to an avid first-time viewing. Ebert’s decisions diversity largely throughout genres, sessions, and nationalities, and from the top achievements in movie paintings to justly loved and wildly profitable renowned entertainments. Roger Ebert manages in those essays to mix a really populist appreciation for our most vital type of well known artwork with a scholar’s erudition and intensity of information and a convinced aesthetic feel. splendidly greater by means of stills chosen through Mary Corliss, movie curator on the Museum of contemporary paintings, The nice video clips is a treasure trove for movie fanatics of all persuasions, an unmatched consultant for audience, and a booklet to come back to back and again.
The nice Movies contains: All approximately Eve • Bonnie and Clyde • Casablanca • Citizen Kane • The Godfather • Jaws • los angeles Dolce Vita • city • at the Waterfront • Psycho • The 7th Seal • candy odor of luck • Taxi driving force • The 3rd guy • The Wizard of Oz • and eighty-five extra films.
From the Hardcover edition.
By Eric Rohmer, Jean Narboni
Cet ouvrage est une sélection des articles reviews les plus importants écrits par Éric Rohmer entre 1948 et 1979, dans des courses aussi différentes que Les Temps modernes, Arts, strive against ou, principalement, les "Cahiers du cinéma", dont il fut l’un des principaux evaluations depuis sa création, et, entre 1957 et 1963, le rédacteur en chef.
L’essentiel du cinéma est du côté de son ontologie en tant qu’art et non du côté de l. a. spécificité de son langage. Le cinéma ne consiste pas à dire autrement ce que d’autres arts ont pu dire, mais, avec des moyens qui lui sont propres, il dit aussi autre selected : telle est los angeles thèse qui parcourt l’ensemble de ces écrits, jalonnés par l. a. présence constante des noms de Renoir, Murnau, Hitchcock, Rossellini, Dreyer…
Dans l’entretien Le temps de l. a. critique, réalisé par Jean Narboni qui avait réuni les textes de ce recueil en 1983, l’auteur revient sur ses écrits pour les nuancer ou les prolonger, parfois pour corriger ce qu’il estime avoir été, en leur temps, des erreurs ou des excès dans l’évaluation. « Le Goût de l. a. beauté » a été publié pour l. a. première fois en 1984, dans l. a. assortment Écrits des Cahiers du cinéma. Son caractère de « classique » amène naturellement à le rééditer en Petite bibliothèque.
By David Forgacs
Victim (1961) was once a landmark movie, not just for Dirk Bogarde in taking over the position of the title’s sufferer - the gay barrister who takes at the blackmailers who prey on homosexual males - but in addition within the own lives of many that went to determine the movie. Its message concerning the desire for society to take away, by way of decriminalization, a method of persecuting a selected minority was once one with which Bogarde pointed out totally, yet may possibly, for noticeable purposes, champion in basic terms via a piece of fiction. James Mason and Jack Hawkins had became down the position; Bogarde, with extra to lose than both of them, seized it with enjoy. released to mark the fiftieth anniversary of the film’s liberate, John Coldstream’s insightful learn addresses the film’s significance within the crusade to decriminalize homosexuality; the contribution of its stars Dirk Bogarde and Sylvia Syms to its emotional influence; and the danger Bogarde took in taking over the critical function.
By Ed Guerrero
By Geoff Andrew
From Amazon: "This appreciative account of the "Three Colours" trilogy communicates the facility and imagery of the movies, and demonstrates how Kieslowski's paintings is delivered to endure of their relocating renditions of the lives of its characters. An interview with Kieslowsi almost immediately prior to his dying concludes this tribute."
By Richard Boston