A CINEMATIC VIEW
Robert E. Lauder
Kurosawa dramatizes the truth that the sins of the parents are visited on their children. The harm Ran has done has returned to haunt his old age.
Is moviemaking such a risky business that even an extraordinarily gifted performer cannot be sure in advance how a proposed project will turn out?
Hollywood's standard view of sexuality frequently works against a film’s best intentions. Is all the bed-hopping supposed to have any real significance?
An artist who apparently works very much from his feelings and intentions, Fellini turns his camera on people and lovingly watches their foibles and failures.
Contemporary film is quite advanced; the tools are available for making significant films. What is obviously lacking is insight.
There may be a benevolent God and life may have a meaning because how else can you account for the marvelous humor in a Marx Brothers’ movie?
Robert E Lauder
It was from her 17-year experience in Africa that Karen Blixen, under the pen name of Isak Dinesen, wrote her highly acclaimed stories of Africa.
"The Official Story" explores the conversion of an upper-class Argentinian interested only in the happiness of her own family into a deeply caring, unselfish woman ready to perform heroic acts of justice and charity.
The classic battle between science/secularism and faith/religion seems like a preliminary for a main event that never happens.
Truffaut made five more or less autobiographical films, starting with "400 Blows" when actor Jean-Pierre Leaud was 14 and ending 20 years later.
The Kiss of the Spider Woman powerfully portrays the almost magical changes that friendship can bring about in people’s lives.
John Huston’s film career, which has spanned more than 50 years, has been a curious blend of the sublime and, if not the ridiculous, the strikingly mediocre.
With Forster’s A Passage to India Lean reached for something a bit deeper: to film the specifically spiritual against the background of the clash between English and Indian cultures.
Rohmer’s films are uniquely cinematic, bearing the mark of his simple visual style and nuanced outlook on and delicate treatment of human relationships.
Places in the Heart stands with Chariots of Fire as one of the few films in recent years with both a sympathetic and profound view of religion.
Two films that are interesting adaptations from another medium are "Amadeus" and "Cal," each rewritten by its original author for the screen.
His typical work is at times a beautiful blend of intuition, sensitivity, and compassion but at other times a maddening mixture of overly long scenes, aimless dialogue, and directionless plot.
What evil an artist can legitimately and accurately depict depends on the altitude from which the artist sees that evil.
- Karl Keating