Word: bergman
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Though the story of Don Juan as a man with a monumental libido, seems to have an inherent fascination in high and low art, he is ultimately only as complex and interesting as his interpreters make him. Igmar Bergman's "The Devil's Eye" drew us in, contextualizing Don Juan in a play within a movie. Byron's unfinished satire of the Romantic hero endlessly absorbs. Mozart created complex rhythms in music and character. Leven constructs a stock male stud from Hollywood's image repository...
...bulb performance of Marisa Tomei in Only You (1994) stand up to Carole Lombard's luminosity in My Man Godfrey (1936)? How can Winona Ryder, Uma Thurman, Sarah Jessica Parker and Drew Barrymore compete with Rita Hayworth's Gilda, Gene Tierney's Laura, Ingrid Bergman's Ilsa in Casablanca and Merle Oberon's Cathy in Wuthering Heights? It's the same twentysomething age group, but these actresses had more than faces. They were riper, more mature, more compelling and light-years ahead in performance power. Jean Harlow in any of her 1930s flicks on video is a greater presence than...
Harvard Film Archive. Carpenter Centerfor the Visual Arts. 24 Quincy St. 495-4700."Arizona Dream" at 5 and 9 p.m. (see March 10listing) Tickets $6.50. Bergman's psychodrama"Persona" at 7:30 p.m. Tickets $5 students/$6general...
Since 1981, ISABELLA ROSSELLINI, the astonishingly beautiful daughter of Ingrid Bergman and Roberto Rossellini, has been plugging Lancome cosmetics under a contract that has paid her as much as $315,000 a year for 35 days of work. Along the way, Isabella had two other, less successful careers-as a movie actress (Blue Velvet, Wyatt Earp) and wife (she is divorced from film director Martin Scorsese and model Jonathan Wiedemann). Now that she has reached a certain age-she's pushing 43-Lancome, according to some reports, has decided that it wants a fresher image. Whether she was pushed...
...awful, desperate Al (Brooks is, of course, a peerless portrayer of all the great American falsities -- piety, humility and the good cheer with which we habitually mask desperation). Steve also has his own violent innocence, which tests the limits of Al's smarminess hilariously. The script, by Brooks, Andrew Bergman and Monica Johnson, draws a specific parallel between Steve and another primitive creature imported to amuse jaded New Yorkers -- King Kong -- and it is a measure of director Michael Ritchie's deftness that he gets the right kind of laughs from the device. Ritchie avoids the kind of sentiment that...