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When neorealism was gospel, Vittorio De Sica was one of the evangelical influences in world cinema. Times changed, tastes changed, and De Sica tried to adapt himself to the commercial film. The results were at best fluff (Marriage-Italian Style), more frequently flubs (Woman Times Seven, The Condemned of Altond). Now, after more than a decade of indifferent and impersonal work, De Sica has returned to form. If The Garden of the Finzi-Continis does not fully rival The Bicycle Thief and Umberto D., it is good enough to stand comparison with them...

Author: /time Magazine | Title: Cinema: Requiem | 1/17/1972 | See Source »

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