Word: films
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Dates: during 1970-1979
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...anyone who has not been there, the Cannes Film Festival sounds like paradise: free movies, bountiful booze, great food and beautiful people all converge under the sunny skies of the Cóte d'Azur. Would that it were so. In reality, the festival is a grotesque trade fair. The few good movies are mobbed; the best restaurants are overbooked; traffic jams glut the countryside; it often rains. The festival celebrates money, not art, and only the industry's hustlers seem to have fun. For anyone else, a day in Cannes is like a week in Vegas...
...interpretation and backs it up with several pages of the press conference transcripts. Wills points out that Nixon lashed out and backed off, lashed out and backed off, on the edge but never breaking, always hedging his bets. Wills notes that when Larry O'Brien in 1968 screened the film of the press conference, hoping to find a segment to use in Humphrey commercials, O'Brien came up with nothing, so thoroughly had Nixon covered...
Yojimbo. This is one of the funniest of Akiro Kursawa's Samurai films, telling the story of a Samurai (Toshiro Mifune) who offers his services to each of two factions warring in village. After some reversals, he of course ends up helping the side that deserves his skills. The film served as a model for the first block-buster spaghetti western, Fistful of Dollars, which brought Clint Eastwood to fame...
Rules of the Game. A case could be made for this film as the best film comedy ever made. It is certainly Renoir's best film. His work generally involves a search for a community to identify with in French society, whether aristocracy bourgeoisies, peasantry or working class. This quest often leads to the sentimental conclusion that such an identification is possible. But in Rules of the Game Renoir rejects false resolutions. Though the film seems to identify itself sporadically with the aspirations of different characters--the eccentric aristocrat, his Viennese wife, the romantic aviator, and Octave (played by Renoir...
...same disease ravaged Allen's last film, Interiors, and laid low his high-serious intentions. In Manhattan, it is less severe, and Allen's clever lines flow as copiously as ever, insuring that Manhattan is an entertaining movie. But the sheer wordiness of its characters keeps them from being engaging and distances them from any emotional contact with the audience. In farces like Sleeper or Love and Death, of course, no one expected the characters to reach out and seize viewers' hearts. But Allen has broadcast his intention to write serious comedies, or funny dramas. Judged by the standards...