Word: cinemas
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Dates: during 1980-1989
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...family, although it is hard to know how much is fact and how much is the work of Soviet mythmakers. The name of Chernenko's wife is Anna Dmitrievna. She is in her 60s and is apparently in good health. She is said to love the theater and the cinema, and on occasion has arranged private screenings of Soviet movies for other Kremlin wives. Chernenko's son Vladimir, who is in his late 30s, is an executive of Goskino, the state-run film-making organization. A graduate of the Institute of Foreign Relations, which trains young diplomats and journalists, Vladimir...
...cinema's immutable rules holds that any remake must invariably be inferior to the original. We do not reward embezzlers with good-citizenship prizes, do we? But rules are made to be broken, and the new version of Preston Sturges' 1948 comedy, Unfaithfully Yours, scores a narrow but clean win over one's nostalgic sentiment for the old master's original. Director Howard Zieff has retained the classic farcical premise: a jealous husband (Dudley Moore) is erroneously convinced that his young wife (Nastassja Kinski) is cuckolding him and is maniacally determined to gain revenge. Sturges...
...film is neverthe-less intricately worked out psychologically. It plays like a lovely chamber piece, and its actors work with a good musical quartet's instinctive politesse and self-effacing skill, muting individual flights in deference to total effect. Carpi may never be a Beethoven of the cinema, but he could perhaps be a Schubert, and there are few enough of those making movies these days...
With small change she supported avant-garde film making, Close-Up, the first important cinema magazine, and contributed to the psychoanalytic movement...
...AUTOBIOGRAPHY My Last Sigh, Luis Bunuel, the father of the surrealist cinema, remarks that the one unifying principle of his first film, "Un Chien D'andalou," was that "no idea or image that might lend itself to a rational explanation of any kind would be accepted." In telling his life story, Bunuel likewise rejects interpretation. His memoirs are a rambling collection of disparate reveries, images, jokes, each of them entirely absorbing. Bunuel does not draw upon these to form conclusions of any sort, to make aesthetic judgements or to evaluate the importance of various events in the development...