Persona (1966)

in memory of Ingmar Bergman

(July 14, 1918 - July 30, 2007)

The most famed and honored filmmaker ever to emerge from the nation of Sweden, Ingmar Bergman radically altered the nature and meaning of the motion picture form, transfiguring a medium long devoted to spectacle into an art capable of profoundly personal meditations into the myriad struggles facing the psyche and the soul. He died yesterday...God rest his soul.

Persona. Director Ingmar Bergman is modern cinema's most persistent observer of the human condition. He examines the Eden that is Sweden and sees—much as Bruegel once did in Flanders—that the occupants are really having a Hell of a time. Persona, his 27th film, fuses two of Bergman's familiar obsessions: personal loneliness and the particular anguish of contemporary woman. It is the story of a great stage actress (Liv Ullman), suddenly become mute and detached while starring in a production of Electra. She is afflicted with what medieval theologians called accidie—a total indifference to life. Her doctor insists that her inactivity is simply another form of roleplaying, and he sends her packing to a villa on the Baltic in the company of a nurse (Bibi Andersson).

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Kafka (1991)

Jeremy Irons plays a fictional Franz Kafka, living in Prague in 1919. By day, Kafka works in a massive, impersonal insurance company. At night, he spends his time alone writing stories about men who turn into giant cockroaches. Although quiet and solitary, he becomes a suspect in a murder investigation conducted by Inspector Grubach (Armin Mueller-Stahl) when a friend of his turns up dead. Rather than being harassed by Grubach, Kafka decides to investigate his friend's murder on his own. Kafka speaks to his dead friend's girlfriend, Gabriela (Theresa Russell) and talks with gravestone carver Bizzlebek (Jeroen Krabbe). Kafka follows the clues to the Castle, a menacing tower that casts its shadow over the city and houses files on everything. He winds his way through the cellars and tunnels of the Castle, where he encounters the evil and insidious Dr. Murnau (Ian Holm), whom he hopes holds the solution to the murder.


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Abismos de Pasión (1954)

Director Luis Buñuel constructs this 1954 motion picture on the foundation of Emily Bronte's Gothic novel set in England. However, Buñuel substitutes a Mexican setting for the English one and Spanish names for the novel's central characters. He also alters the plot to heighten tension and maximize the effect of imagery. In the Bronte novel, Mr. Earnshaw rescues a foundling named Heathcliff from the streets and raises the boy at his estate on the moors, Wuthering Heights, along with his daughter, Catherine, and son, Hindley. (more)

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Deus e o Diabo na Terra do Sol (1964)

Black God, White Devil is a 1964 Brazilian film directed and written by Glauber Rocha. Its original Portuguese title is Deus e o Diabo na Terra do Sol, which translates as "God and the Devil on the Land of Sun". Considered Rocha's masterpiece, the movie stars Othon Bastos, Maurício do Valle, Yoná Magalhães and Geraldo Del Rey. It belongs to the Cinema Novo movement, addressing the socio-political problems of 1960s Brazil.
Luis Buñuel claimed that Deus e o Diabo na Terra do Sol (Black God, White Devil ) was ‘the most beautiful thing I have seen in more than a decade, filled with a savage poetry.’ Rocha's second feature stems from the director’s deep fascination with the mystical legends and folk traditions of the scarred and barren region in northeastern Brazil. The powerful, mind-bending imagery details the saga of two murderous peasants and a messianic priest whose disturbing and violent beliefs threaten the Catholic Church. Rocha’s dazzling masterpiece is a cry for man to determine his own path.

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Ladri di Biciclette (1948)

This landmark Italian neorealist drama became one of the best-known and most widely acclaimed European movies, including a special Academy Award as "most outstanding foreign film" seven years before that Oscar category existed. Written primarily by neorealist pioneer Cesare Zavattini and directed by Vittorio DeSica, also one of the movement's main forces, the movie featured all the hallmarks of the neorealist style: a simple story about the lives of ordinary people, outdoor shooting and lighting, non-actors mixed together with actors, and a focus on social problems in the aftermath of World War II. (more)

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Midnight Cowboy (1969)

Based on a James Leo Herlihy novel, British director John Schlesinger's first American film dramatized the small hopes, dashed dreams, and unlikely friendship of two late '60s lost souls. Dreaming of an easy life as a fantasy cowboy stud, cheerful Texas rube Joe Buck (Jon Voight) heads to New York City to be a gigolo, but he quickly discovers that hustling isn't what he thought it would be after he winds up paying his first trick (Sylvia Miles). He gets swindled by gimpy tubercular grifter Rico "Ratso" Rizzo (Dustin Hoffman) but, when Joe falls in the direst of straits, Ratso takes Joe into his condemned apartment so that they can help each other survive. (more)

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The Sting (1973)

Four years after setting box offices ablaze in Butch Cassidy and the Sundance Kid, Paul Newman, Robert Redford, and director George Roy Hill re-teamed with similar success for The Sting. Redford plays Depression-era confidence trickster Johnny Hooker, whose friend and mentor Luther Coleman (Robert Earl Jones) is murdered by racketeer/gambler Doyle Lonnegan (Robert Shaw). Hoping to avenge Luther's death, Johnny begins planning a "sting" -- an elaborate scam -- to destroy Lonnegan. He enlists the aid of "the greatest con artist of them all," Henry Gondorff (Paul Newman), who pulls himself out of a drunken stupor and rises to the occasion. (more)

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Evita (1996)

Evita is the Oscar-winning film adaptation of Andrew Lloyd Webber's stage musical based on the life of Eva Perón. Directed by Alan Parker and starring Madonna, Antonio Banderas and Jonathan Pryce, it was released on December 25, 1996 and grossed $50,047,179 in the U.S. box office and $143 million worldwide. The film received a warm reception from many critics. It was nominated for five Academy Awards and won the award for "Best Song" for "You Must Love Me". Evita also had five Golden Globe nominations and three wins (Best Picture - Comedy or Musical; Best Original Song, "You Must Love Me"; and Best Actress in a Comedy or Musical, Madonna) and was one of the National Board of Review's Top Ten Films of the Year.

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The Egyptian (1954)

The Egyptian is a 1954 epic film made in Cinemascope by 20th Century Fox, directed by Michael Curtiz and produced by Darryl F. Zanuck. It is based on Mika Waltari's novel and the screenplay was adapted by Philip Dunne and Casey Robinson. Leading roles were played by Jean Simmons (Meryt), Victor Mature (Horemheb), Gene Tierney (Baketamon), Michael Wilding (Akhenaton), Edmund Purdom (Sinuhe), Bella Darvi (Nefer), Peter Ustinov (Kaptah) and Tommy Rettig (Thoth). Cinematographer Leon Shamroy was nominated for an Oscar in 1955.

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Harold and Maude (1971)

A rich, suicidal young man regularly feigns his own death. At a funeral he meets Maude who is old, poor, and full of life. Their friendship develops into love.

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The Hunger (1983)

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49th Parallel (1941)

49th Parallel is a British wartime entreaty for Empire solidarity, concentrating on rousing the patriotic fervor of the citizens of Canada. A group of Nazi naval officers and crewmen are stranded on Canadian soil (we have no sympathy for the castaways, inasmuch as we have just seen them refusing food and water to a group of torpedoed British seamen). Led by lieutenant Eric Portman, the Nazis try to stir up sympathy amongst the Canadians, beginning with apolitical Quebeckian trapper Laurence Olivier. Failing to convert Olivier--even by force--the Germans move on to a Hutterite farming community, where again they are unsuccessful in winning adherents (though, conversely, German seaman Niall Mac Ginnis defects to the other side). They then cross the path of professorial author Leslie Howard, who is living amongst the Indians to soak up "local color". Even Howard proves too formidable for the Nazis, and by film's end the surviving invaders are hiding out in a train, where they are discovered and captured by AWOL Canadian soldier Raymond Massey.by Hal Erickson (Allmovie)

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Splendor in the Grass (1961)

As florid and overwrought as the teen scandal it dramatizes, Elia Kazan's lush melodrama may not withstand the test of time very well, but its glamorous histrionics and martyred-lover plot line make it perhaps the quintessential breakup film. Audiences today may have trouble believing that anyone would literally go crazy over losing Warren Beatty to another woman, but Natalie Wood's Wilma does just that, and her eventual tranquility at the insane asylum is hardly the sort of satisfying ending the filmmakers might have intended. But, as with much of the rest of the film, it works on another, more bitterly enjoyable level: the look-what-you've-done-to-me school of Hollywood catharsis (see also Douglas Sirk, Tennessee Williams). Viewed through this prism, the film's earlier half is the most effective, with Audrey Christie supplying the same kind of maternal, puritanical repression Piper Laurie would channel 15 years later for her role in Carrie. Beatty and Wood accurately convey the sort of hormonally induced confusion and angst that most teenagers experience, the former playing the role of the taciturn stud as if he invented it (which, in a way, he did), and the latter turning in perhaps her finest impersonation of a dewy, weepy adolescent (in a career full of them). Her money shot -- in which a post-breakup Wilma interprets the Wordsworth poem that gives the movie its title -- is full of the kind of righteous self-pity that only Splendor in the Grass can provide. ~ Michael Hastings, All Movie Guide

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The Net (1995)

Sandra Bullock stars as Angela Bennett, Cathedral Systems' top analyst. As a well-paid freelancer, she spends her days ironing out bugs in games designed for adolescent boys or tracking down viruses hacked into unsuspecting systems, and her nights "chatting" with other shy cyber-jockeys on the 'Net'. She's quite happy with her sheltered, if somewhat lonely routine...until the very life she's made for herself pushes her headlong into the middle of a murderous web of corruption and conspiracy.

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The Long Good Friday (1980)

John Mackenzie's masterfully directed British crime drama features a star-making performance by Bob Hoskins as Harold Shand, a successful London gangster whose world falls apart over the course of one weekend. Shand controls the London docks and is planning a big real estate deal, financed by money from the American mob and given the okay by the London organization. His world is sweet -- he lives in a fancy penthouse, he owns a yacht, and has a sensitive and intelligent mistress. But suddenly a bomb explodes inside his Rolls Royce, another bomb destroys a pub he owns, and a third is found inside his casino. Shand can't understand who would suddenly want him dead, particularly over the Easter weekend, when representatives from the American mafia are coming into town to discuss investing in Shands's real estate project. ~ Paul Brenner, All Movie Guide

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Walkabout (1971)

The contrast between modern, urban civilization and life in the natural world lies at the heart of Nicolas Roeg's visually dazzling drama Walkabout. In broad outline, the plot might resemble a standard fish-out-of-water tale: two city children become stranded in the Australian outback, and struggle to find their way back to civilization with the help of a friendly aborigine boy. But Roeg and screenwriter Edward Bond are concerned with far more than the average wilderness drama, as a shocking act of violence near the story's beginning makes clear.(more)

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Captain Blood (1935)

Captain Blood is a 1935 swashbuckling film made by First National Pictures and Warner Brothers. It was directed by Michael Curtiz and produced by Harry Joe Brown and Gordon Hollingshead with Hal B. Wallis as executive producer. The screenplay, written by Casey Robinson, is based on the novel of the same name by Rafael Sabatini. It features a stirring musical score by Erich Wolfgang Korngold. Some of the impressive sea-battle footage was taken from The Sea Hawk (1924).

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Lancelot du Lac (1974)

Lancelot du Lac is 1974 film that was written and directed by Robert Bresson. It is based on Arthurian legend, and is told in a highly stylistic manner. It relates the story of Lancelot and Guinevere's love, as Camelot and the Round Table fall apart. It is also based on medieval romances, especially the Lancelot-Grail cycle, and the works of Chrétien de Troyes.

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Saturday Night Fever (1977)

Saturday Night Fever is a 1977 film starring John Travolta as Tony Manero, a troubled Brooklyn youth whose weekend activities are dominated by visits to a local discotheque. While in the disco, Tony is the king, and the visits help him to temporarily forget the reality of his life: a dead-end job, clashes with his unsupportive and squabbling parents, racial tensions in the local community, and his associations with a gang of dead-beat friends.

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It's a Wonderful Life (1946)

Wonderful Life is a triumphant Hollywood homecoming for two efficient ex-soldiers. Producer-Director Frank Capra (It Happened One Night, Mr. Deeds Goes to Town), ex-Signal Corps colonel who bossed the making of such outstanding wartime documentaries as San Pietro, has lost none of his civilian cunning at whipping up top-drawer entertainment. He is still one of Hollywood's most talented moviemakers.Actor James Stewart, who worked his way up without ballyhoo from buck private to Air Forces colonel (and bomber-wing commander), has also boosted his rank as an actor. Having put aside his aggressively boyish, aw-shucks screen mannerisms, Stewart's first postwar performance is certain to be eyed respectfully by the people who award annual statuettes for superior acting.(more)

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L'Avventura (1960)

This ground-breaking film won a Special Jury Prize at the 1960 Cannes Film Festival and established its director, Michelangelo Antonioni, as a major international talent. The plot concerns a yachting trip by a small group of jaded socialites, including Sandro (Gabriele Ferzetti), an aging architect who sold out for easy money long ago, his mistress Anna (Lea Massari), and her friend Claudia (Monica Vitti), who doesn't fit in with the wealthy jet-setters' dissolute ethics. When Anna disappears during a tour of a volcanic island, Claudia initially blames Sandro's emotionally barren behavior toward her.

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Eclisse, L' (1962)

L'eclisse (The Eclipse) is a 1962 film directed by Michelangelo Antonioni. It is considered the last of a trilogy also comprising L'avventura and La notte. The film tells the story of a young woman who meets an energetic young man, but who is unable to form a solid relationship with him because of the man's materialistic nature. Parts of the movie consist mostly of a drifting narrative. The film won the Jury Special Prize at the Cannes Film Festival and was nominated for the Palme d'Or (Golden Palm).

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La Notte (1961)

La Notte (The Night), the 1961 film by Michelangelo Antonioni, and the second of his Alienation Trilogy, after L’Avventura and before L’Eclisse, is a huge artistic leap up from its predecessor film. It’s not so much that L’Avventura was such a bad film- it’s not. It has its moments, and a good premise that swiftly decays into anomie and melodrama, whereas La Notte, even at an hour and fifty-five minutes in length, is a highly focused, layered, and concentrated, adult drama about the ennui that occurs in a marriage of dilettantes where all of one’s life has been plotted out beforehand, yet happiness still eludes its participants. Yet, La Notte is not Italian neorealism, in the vein of what dominated that country’s cinema in the prior decade, and this is clear from this film’s opening shots, of slowly scaling down the side of a skyscraper to the strains of an otherworldly jazz-like score.

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Johnny Got His Gun (1971)

This movie concerns a nameless young soldier in a veteran's hospital in the World War I period. The young man has had his face blown off, he is without the use of any of his senses save touch, and also has no arms or legs. He is in a coma at the beginning of the film, and his doctors doubt that he will regain consciousness. This is also what they hope.

Johnny Got His Gun is a novel written in 1938 (published 1939) by American novelist and screenwriter Dalton Trumbo. It has strong anti-war, pro euthanasia and anarchist themes. It also explores individual morality and the interplay between science, medicine, religion and politics.

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Being Julia (2004)

Being Julia takes place in London, 1938. Julia Lambert (Annette Benning) is a popular stage actress, whose running a bit dry on inspiration. She is reaching a sort of feminine mid-life crisis; after all it’s hard being a stage diva night-in and night-out. Her marriage to theatre producer Michael Gosselyn (Jeremy Irons) is sensible and stable, but low on the passion and flare it takes give the artist a glow.

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Wagon's East (1994)

Comedian John Candy, who died during the making of this poorly received comic western, plays James Harlow, a 19th century wagon master who is heading back east with a wagon train full of oddball characters who have had their fill of Western life.
This "backwards" western directed by Peter Markle, was based on a story by Jerry Abrahamson.

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Quatre Nuits d'un Rêveur (1971)

Quatre nuits d'un rêveur is Robert Bresson’s melancholic and highly individual ode to young love. More of a visual poem than a piece of drama, it is made in the cold minimalist style of the director’s later works, yet it is profoundly moving in its humanity and perceptiveness. As in all Bresson’s films, the actors were trained to give unemotional performance, and whilst this would at first appear strange for a love story, it actually serves the film well. By playing down the outwards signs of love, the film gives us a keener insight into how it affects the soul. As is typical of Bresson’s cinema, we are drawn to matters spiritual rather than things corporal, and the result is one of his most stirring, and surprising, works.

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À Bout de Souffle (1960)

Jean-Luc Godard's first feature still looks like it's breaking a whole lot of rules 40 years on. Basically it's a classic chase movie. The action is set off when a young hood Michel Poiccard (his alias is Laszlo Kovacs – in tribute to the great cinematographer of the same name), who adores Humphrey Bogart (the screen persona, that is), kills a cop and goes on the run with a young American girl, the iconic Patricia Franchini, played by Jean Seberg. 26-year-old Jean-Paul Belmondo's performance as the hood marks the real beginning to an extraordinary career as the biggest French star since Jean Gabin.

Breathless was instantly hailed as a truly revolutionary movie and the logical outcome of the French New Wave (Nouvelle Vague) rejection of what they called 'Le Cinema de Papa' (Dad's Cinema).

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Angelitos Negros (1948)

Beautiful on the outside but prejudiced on the inside, orphaned Ana Luisa (Emilia Guiu) romances a talented singer (Pedro Infante). But when she announces her plans to marry him, her black nanny tries to stop the wedding and is finally obligated to reveal a shocking secret to Ana Luisa about her family's heritage.
Mexican Movie.

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American History X (1998)

Tony Kaye made his feature directorial debut with this dramatic exploration into the roots of race hatred in America. In a shocking opening scene, teen Danny Vinyard (Edward Furlong) races to tell his older brother, neo-Nazi Derek (Edward Norton), about the young blacks breaking into his car in front of the house, whereupon Derek gets his gun and with no forethought shoots the youths in their tracks. Tried and convicted, Derek is sent away for three years in prison, where he acquires a different outlook as he contrasts white-power prisoners with black Lamont (Guy Torry), his prison laundry co-worker and eventual pal. Meanwhile, Danny, with a shaved head and a rebellious attitude, seems destined to follow in his big brother's footsteps. After Danny writes a favorable review of Hitler's Mein Kampf, black high-school principal Sweeney (Avery Brooks) puts Danny in his private "American History X" course and assigns him to do a paper about his older brother, who was a former student of Sweeney's. This serves to introduce flashbacks, with the film backtracking to illustrate Danny's account of Derek's life prior to the night of the shooting. Monochrome sequences of Derek leading a Venice, California gang are intercut with color footage of the mature Derek ending his past neo-Nazi associations and attempting to detour Danny away from the group led by white supremacist, Cameron (Stacy Keach), who once influenced Derek. (In Allmovie)

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