Word: films
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Dates: during 1960-1969
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...York Film Festival shows signs of becoming a kind of Pre-Vue Theater. There are no winners or losers, since no prizes are given. Over half of the 23 films presented this year at Lincoln Center will show up in regular theaters soon (in some cases only days) after their festival screening. Begun seven years ago as a showcase for the choice of the European festivals, New York's staid and sometimes pompous affair has thus each year become more and more a distributors' proving ground. Oddly enough, the attitude of the festival's sponsors doesn...
...other variations on the theme of modern marriage. For Writers Paul Mazursky (who also directed) and Larry Tucker (who produced), satire is more often a matter of condescension than wit. These swimming-pool Swifts smugly mock a situation that they simultaneously exploit. Bob (Robert Gulp) is a documentary-film maker who, after telling his wife Carol (Natalie Wood) that he has had a casual affair with another woman, listens with surprised gratification as she begs, "Let me hear about it again. I feel closer to you than I ever have in my whole life." Their two best friends, Ted (Elliott...
...Ingmar Bergman awoke from a tortured sleep, seized a camera and began to film what he had just been dreaming. Reality is distorted and logic becomes madness in The Ritual, Bergman's most nightmarish fantasy since The Silence. In the claustrophobic office of some anonymous bureaucrat, three actors (Ingrid Thulin, Anders Ek and Gunnar Böornstrand) perform a bizarre masque, part psychodrama, part sexual charade. They are like the mummers from The Seventh Seal or the circus performers from The Naked Night imprisoned in an allegory of doom. Inevitably the object of the masque is death...
...Susan Sontag's prose style is laborious, her film making is absolutely benumbing. Duet for Cannibals, which looks alternately like a third-rate Monogram thriller and a dirty soap opera, has something to do with a young man who gets a job as secretary to a paranoid politician. "He's full of fantasies of persecution and disaster," the lad confides to his mistress, who eventually winds up in bed between the boss and his crazy wife. At film's end, characters die and are reborn again with a facility that suggests that Director Sontag is not without...
...himself cinematically, as a poet does with a pen," said Jean Cocteau of Robert Bresson. "There is a huge barrier between his greatness, his silence, his commitment and his dreams, and the world in which they are mistaken for stumbling and obsession." Une Femme Douce, Bresson's newest film, may go some small way toward razing the barrier. Adapted from a Dostoevski novella about the suicide of a young bride, Une Femme Douce finds Bresson dealing once again with the corruption of innocence, a theme that has dominated his work from Diary of a Country Priest to last year...