Word: films
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Dates: during 1960-1969
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...that it matters, but most of it is true," proclaims one subtitle. In fact, most of it is impossibly farcical. The difficulties begin precisely when the film tries to be "true" to the historical characters. On the way to a nice spoof of Bonnie and Clyde, the plot is forced into a serious vein in order to relate the demise of the real Butch and Sundance...
...noon. Film, 17th Parallel, shown every 2 hrs. Free. Central Square Cinema...
...Film-festival movies are like mistresses in a man's life: the later they come along, the more they have to do to please, or even be remembered. Judged from this jaundiced point of view, a few films of the second segment of the seventh New York Film Festival still achieved a modest fame...
Jean-Luc Godard would certainly resent the comparison, but he makes movies the way some manufacturers make washing machines-with planned obsolescence. Only a few years after their release, Godard films become museum pieces. His innovations are adopted by other film makers, who (like Haskell Wexler in the kinetic Medium Cool) either put his techniques to better dramatic use or (like Agnes Varda in the festival's ludicrous Lions Love) sink beneath the weight of aimless stylistic decoration. Le Go/ Savoir features Jean-Pierre Léaud and Juliet Berto sitting around a TV studio engaging...
...single film could justify the entire film festival, then this year that film is certainly Ermanno Olmi's One Fine Day. It harks back in some ways to the tradition of postwar Italian realism and its masters, among them Rossellini and De Sica. Yet Olmi's films seem more precise, more tightly constructed, more acute. He has a film maker's sense of composition and a novelist's sense of rhythm and construction. The plot of One Fine Day is much like an anecdote by Chekhov. A middle-aged Milanese advertising executive (Brunette Del Vita...