3 items from 2010
Max Ophüls, 1934, PG, Eureka!
Max Ophüls (1902-57) was firmly established in Germany as a director for stage, radio and cinema with one minor movie masterpiece (Liebelei) to his credit when the Nazis came to power. As a prominent Jewish artist, he went into exile never to return, working elsewhere in Europe, then in Hollywood, before returning to France to make La Ronde and three other masterworks before his untimely death. Stories of love at first sight, frustrated affairs, tragic encounters – these were his forte, with haunting, romantic music, and exquisite tracking shots that take the audience down streets, through rooms, up and down staircases.
All this is here in the one movie he made in Italy, La Signora di tutti ("Everybody's Lady"), which brought him the prize for technical achievement at the second Venice film festival. The enchanting Isa Miranda (left)plays a chanteuse and Italian movie star who reviews »
- Philip French
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Video Sundays: Cinema »
After seeing Kiju Yoshida’s debut film Good for Nothing (1960), we can add the filmmaker’s name to the rare list of studio directors whose first films signal immediate, restless talent, vision fully formed, grasp of cinematic tools and expressions already mature. While other Japanese New Wavers were trying to capture a youth audience through filming flighty takes on the too young and too irresponsible, Yoshida aims squarely at the malaise of post-college new adults and the newfound prospect of becoming a tired salaryman in your twenties. Or salarywoman—because as tightly hued as Yoshida’s picture is of lean, exasperated men fidgeting for meaning in their impassive apathy, Good for Nothing devotes just as much time to its female heroine—out of her 20s but wants to be no simple lover, housewife, or member of society, and is just as beset with a need for fulfillment and meaning. With »
3 items from 2010
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