Word: film
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Dates: during 1970-1970
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...resolutely anti-political. The finale, when shots of all the dead heroes and villains are superimposed on a newspaper bearing the headline "Cuban Missile Crisis Over" ends with that newspaper being discarded on a park bench. In other words. Hitchcock says "so what?" to the entire enterprise. (The film is amusing in that...
...DAMNED. Surely one of the most perverse and decadent movies in recent film history, director Luchino Visconti's picture is a long and stunning tapestry of murder, corruption, sexual abberation and power-lust...
...during the years when Hitler was consolidating his power within Germany. Presumably what happens within the confines of the mansion is a microcosm of what is happening in the nation outside-but that's neither important nor worth thinking about. What is important is the incredible richness of the film visually: blood, transvestism, child molestation and all the rest come together to form a lushly orchestrated grand opera of emotional sickness. To be sure, Visconti has indulged himself to the fullest: he takes his sweet time in depicting each sick ritual of his metaphorical family. But while...
STOLEN KISSES. Francois Truffaut takes time out from paying homage to Hitchcock ( The Bride Wore Black and his most recent film, yet to be released in this country, The Mississippi Mermaid) to provide a deceptively simple piece about unfulfilled love that is as fine as any movie he has made to date...
...autobiographical persona of The 400 Blows grown up-and he is great as he takes a variety of jobs in Paris and tries to romance with the boss' wife, a whore, and the proverbial girl-next-door. While Stolen Kisses is beautiful as a pure romantic ballad (the film unfolds within the context of the song "I Wish You Love"), Truffaut throws in enough wildly dissonant notes (the pathetic clients at the detective agency where Leaud works, the strange man who confesses love to the heroine at the end) to undermine one's hope that love can ever...