Word: rashomon
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Dates: during 1960-1969
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...status of cinema has largely been achieved by movies from abroad, by an array of vigorous and original creators who live and work in every quarter of the globe. At the heart of the new movement is a hardy little band of inspired pioneers: Japan's Akira Kurosawa (Rashomon); Sweden's Ingmar Bergman (Wild Strawberries); France's Alain Resnais (Hiroshima, Man Amour) and Francois Truffaut (The 400 Blows); Italy's Federico Fellini (La Dolce Vita), Michelangelo Antonioni (L'Avventura) and Luchino Visconti (Rocco and His Brothers); England's Tony Richardson (Look Back in Anger...
Shadow of the Bomb. The historians of the new cinema, searching out its origins, go back to another festival, the one at Venice in 1951. That year the least promising item on the cinemenu was a Japanese picture called Rashomon. Japanese pictures, as all film experts knew, were just a bunch of rubber chrysanthemums. So the judges sat down yawning. They got up dazed. Rashomon was a cinematic thunderbolt that violently ripped open the dark heart of man to prove that the truth was not in it. In technique the picture was traumatically original; in spirit it was big, strong...
...Idiot and Sanjuro. These two films by Japan's Akira Kurosawa are not in a class with his Rashomon or Yojimbo. But Kurosawa's genius can make a miss almost as good as a masterpiece...
...Idiot and Sanjuro. These two films by Japan's Akira Kurosawa are not in a class with his Rashomon or Yojimbo. But Kurosawa's genius can make a miss almost as good as a masterpiece...
Akira Kurosawa is the Homer of the current cinema, and like Homer he some times nods. Yet in two pictures now showing in the U.S., the great Japanese director (Rashomon, Ikiru, Yojimbo) demonstrates that the energy of genius can make a miss almost as exciting...