Word: films
(lookup in dictionary)
(lookup stats)
Dates: during 1960-1969
Sort By: most recent first
(reverse)
...NIXON ADMINISTRATION (NET, 8-10 p.m.). The program 1) profiles the people around the new President, 2) discusses the problems facing the new Administration, 3) presents a film of the transition from one Administration to another, and 4) gives a view of the 91st Congress...
Danger: Diabolik. So you've never heard of Danger: Diabolik, or for that matter anything else by Mario Bava, Italy's greatest hack (Black Friday, Planet of the Vampires, Kill Baby Kill). In the tradition of Edgar G. Ulmer and the more outlandishly-scripted Charbol melodramas, Bava films wretched nonsense with great style, color, and originality. Don't attempt to inject meaning into this tale of a Super-thief and his sexy girlfriend who inhabit a sumptuous underwater playground which makes Dr. No's look like Rindge Tech. It doesn't matter: film-making as slick and out-landish...
Romeo and Juliet, Franco Zeffirelli's second film, is an honorable job of audience, grabbing romanticism, a fascinating and valid reading of the text (particularly those parts which concern Juliet), and a hell...
Hour of the Wolf. Ingmar Bergman's best film in a long time poses some weighty questions and has the sense to treat them violently in stark and terrifying images reminiscent of Hitchcock (Bergman's favorite director). If you are interested in current discussions of artistic impotence, the dementia of Bergman's protagonist (Max von Sydow) becomes the film's focal point. I found myself more involved by his wife (Liv Ullman) who, in loving him, tries to share his madness but cannot ultimately follow...
...Bride Wore Black is Truffaut's most calculated film, yet for all its style and detail, I'm not sure it amounts to very much, and prefer the romantic perception of Soft Skin, Truffaut's best film to date. But you have to give him points: the scenes between Julie (Jeanne Moreau) and the artist (Charles Denner) blend exposition and characterization as cinematically as anything this side of Chabrol. Also Truffaut's obsession with Hitchcock has finally left the realm of shot-copying, resulting in some interesting notions about audience identification, point-of-view cutting, and flashback structure...