Favorite Movies: Critics' Choice
Language: English
Pages: 311
ISBN: 0025898000
Format: PDF / Kindle (mobi) / ePub
Prominent movie writers of the time select their masterpieces and their makers, including The Searchers, Ugetsu, The Third Man, The Rules of the Game, Psycho, Howard Hawks, Madame de ..., 2001, and others.
Back to the Future (BFI Film Classics)
Cléo de 5 à 7 (BFI Film Classics)
This portrait of the artist as a middle-aged man is the most brilliant, varied and entertaining movie I‘ve seen since Citizen Kane. I saw it twice in as many weeks, and the second time I discovered many points that had escaped me in the rst viewing, so headlong is its tempo, so fertile its invention. A great deal is packed into every scene, as in Kane: of well-observed detail; of visual pleasure; of ne acting in minor roles (Guido Alberti's The Producer, Edra's La Saraghina, Madeleine Lebeau's
the performance and laughed a good deal. Still, since I had always taken Wayne seriously, I wished the affectionate recognition had eome sooner, and for something, not better necessarily, but closer to him; closer, anyway, to my idea of him and all he represented. She Wore a Yellow Ribbon, say, or Red River. The Searchers would have been best of all. But I settled for True Grit, FIRST TIME 34 -< T 1 and gladly. Besides everything else, , it gave me the chance to meet 4 ~ - I ' ‘ ' ‘
on no expertise whatsoever, are taken seriously. JOHN SIMON: A. Because, more patently than in other forms of criticism, there are two ways of approaching lm: the low road, coming from movies as pure entertainment, lm buery, the Loew's as an escape from and a substitute for education, learning, work, thought, living; the high road, coming from a view of lm as an art among and involving other arts, having a similar potential and making like demands as the best of literature, music, ne arts,
the argument. lt’s perfectly true, our feelings of pity lessen to nothing as we move further and further away from our victims. Harry’s evil is insidious because he knows how to free himself from guilt (never look a victim in the face), and he offers the same freedom to others. Martins resists (perhaps because he lacks Harry’s imagination), but he’s the only one who does. Harry possesses the supreme nasty secret of the modern age which makes mass murder possible and even enjoyable, and he can’:
objectively, like a cultural customs oicer, “Approved for Entry to Posterity." But rather the ones I’ve enjoyed the most——and still do, after a halfcentury of experiencing cinema. The objective-subjective categories should largely overlap, else one becomes uneasy if one is, like me, a central-minded, classicist kind of critic—as against solipsistic romantics like Parker Tyler, Jonas Mekas (really a fan not a critic) or the early Andrew Sarris, before he kicked that polilique-des-auleurs monkey
