Word: widerberg
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Working with these fragments of folklore and history, Swedish Film Maker Bo Widerberg has fashioned them into a touching tribute but an only intermittently successful film. 70e Hill works best in its early, New York City episodes. Joe falls in with an immigrant ragamuffin nicknamed "The Fox"-an Italian version of the Artful Dodger -who gives his friend harsh glimpses of life in the New World, where it is often necessary to steal food just to stay alive. Joe also meets a soft-eyed refugee named Lucia. They huddle together on the fire escape of the Metropolitan Opera, listening...
BRATTLE Sept. 22-288 1/2 Federico Fellini La Viaccia Mauro Bolognini Sept. 29-Oct. 5 Elvira Madigan Bo Widerberg Morgan Karel Reisz Oct. 6-12 Persona Ingmar Bergman Devil By The Tail Phillippe de Broca Oct. 13-19 The Seven Samurai Akira Kurosawa Oct. 20-26 Boy Nagisa Oshima Weekend Jean Luc Godard CENTRAL SQ. Oct 13-16 The Big Store Marx Brothers A Day at the Circus Oct. 17-19 Ninotchka Greta Garbo Anna Karenina Oct. 20-23 Lolita Peter Sellers The Night of the Iguana Richard Burton Oct. 24-26 Captains Courageous Spencer Tracy Mutiny on the Bounty...
...realities, ironing, shaving, dressing, playing, the aesthetics of routine. A working-class family preparing for the day. Until certain tensions begin to appear in faces, the intrusion of a political reality: they are on strike. The spectre of vertical economic structures lurks beneath the beautiful surfaces of every frame. Widerberg leaves nothing in the film unchallenged, nothing existing in and of itself...
...Widerberg maintains a constant ambiguity between surface and sign, opposing the artificiality of political rhetoric to the down-to-earthiness of human detail. The organic symbol of blood seeping into a white shroud mocks the high drama of red banners at the same time it confirms their political justification, as it pierces the pastels. And still its truth is only transitory: waving the bloody shirt gets Sweden into the mess of Social Democracy. "Equality has not been achieved," Widerberg comments in the final credits, and open end to a negative political critique...
...WIDERBERG leaves us with Kjell's resolve, "We must acquire knowledge. To get power we must have knowledge." We are given no false solutions, no catharsis, but are left to sort out the contradictions, surfaces and symbols of everyday, material life, truth and lies. Twenty-four times a second, a million times a day: truth and lies. The cinema must help...