Word: films
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Dates: during 1960-1969
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...characters. Raymond Durgnat (I think) points out that Bunuel's preoccupation with fetishist love differs little from, say, Max Ophuls' preoccupation with sentimental romance--that all forms of love are pure, and identical in the eyes of whatever strange God Bunuel worships. Belle de Jour is a film-maker's film, uncompromisingly unclinical, its often shocking material bathed in the warm yellow-brown glow conveyed by sensuous moving shots...
Weekend, Jean-Luc Godard's version of the apocalypse, will undoubtedly be reviewed at greater length when some enterprising distributor brings it to Boston; it is at once a film so brilliant and so infuriating thta it not only provokes controversy in a given audience but within any single mind. Renata Adler's answer to reconciling its disparate elements was her suggestion to walk out and have a cup of Colombian coffee during the dull parts; I really haven't got the nerve to go that far, and suggest only that you accept the film's steady degeneration after...
...better, and the special effects are revolutionary. I don't honestly think anything more need be said about 2001 at this point. Should anybody want to read the official CRIMSON interpretation, the long review by Peter Jaszi, Steve Kaplan, and myself, has been reprinted in the current issue of Film Heritage...
...legend of Lylah Clare was met by complete critical indifference and/or scorn and generally written off as a disaster. Well, film critics don't know anything about anything, as everyone knows, and Robert Aldrich has (perhaps inadvertently) put together a sensational picture. Lest potential Aldrich cultists get their hopes up unduly, his recent Killing of Sister George turned out truly mediocre, the same restless cutting that compels in Lylah Clare working against him in Sister George. Aldrich is a heavy-handed man, and Lylah Clare deals in heavy-handed mysticism, heavy-handed acting stylization, heavy-handed melodrama, heavy-handed tragedy...
...perhaps simplistic to speak of Preminger as a determinist, yet running through his work are characters controlled by social and economic pressures, most distinctly by their immediate surroundings. In the early films (Fallen Angel, Angel Face), money, sexual abberation, and class distinction had much to do with the ultimate failure of Preminger's struggling protagonists. But increasingly, external dramatic pressures play a less important part--the determining factor becoming instead Preminger's own camera treatment of space, his cross-cutting techniques, his ultimate vision. No one seeing Skidoo can deny that the Mafia threat (central to the plot) is secondary...