The Reckless Moment (1949)
Letter from an Unknown Woman
1948 / B&W / 1:37 flat Academy / 87 min. / Street Date December 5, 2017 / available through the Olive Films website / 29.98
Starring: Joan Fontaine, Louis Jourdan, Mady Christians, Marcel Journet, Art Smith, Carol Yorke, Howard Freeman, John Good, Leo B. Pessin, Erskine Sanford, Otto Waldis, Sonja Bryden.
Cinematography: Franz Planer
Film Editor: Ted J. Kent
Original Music: Daniele Amfitheatrof
Written by Howard Koch from a story by Stefan Zweig
Produced by John Houseman
Directed by Max Ophüls
A young woman’s romantic nature goes beyond all limits, probing the nature of True Love.
Reviewed by Glenn Erickson
Amazing! Just when one thinks one won't see another top-rank film noir, the
Reviewed by Glenn Erickson
There's almost no point in reviewing Father of the Bride, as one doesn't need insights,
Reviewed by Glenn Erickson
Is 'domestic noir' even a category? I think so. Some of the creepiest late- '40s noir pictures take intrigue,
The Criterion Collection have revealed their February 2016 line-up (click titles for more information):
On The Cinephiliacs, Peter Labuza talks with Jonathan Rosenbaum about his career and Out 1.
Watch Roger Deakins talk Sicario and more in a recent talk, and read our interview with him:
David Bordwell discusses the women crime writers of the 1940s and 1950s:
You might say that Double Indemnity and Out of the Past are quintessentially 1940s-1950s films, and I’d agree. But so too are works based on women writers. The list of Highsmith adaptations, starting with Strangers on a Train (1951), is too long to recite here, but let’s remember that
This is the final weekend for marathon screenings of Out 1. We highly recommend taking the plunge.
Museum of the Moving Image
“Lonely Places: Film Noir and the American Landscape” highlights a different atmosphere of the noir picture, and it makes its case with some great films. Out of the Past shows on Friday; Saturday
Henry James famously failed in his attempts to become a popular playwright in the 1890s and apparently never thought, like his friend Joseph Conrad, to engage with the new medium of the cinema. But starting some 30 years after his death, his fiction has reached a larger audience as a source of screenplays. Immediately after the second world war The Aspern Papers, shot in Hollywood on stylised Venetian sets, became the underrated The Lost Moment (the only film directed by the actor Martin Gabel) and was followed by William Wyler's highly regarded The Heiress (a version of Washington Square). Since then there have been a dozen or more James movies, adapting such complex books as The Golden Bowl, The Portrait of a Lady and The Wings of the Dove, and "the Master" has
“What Maisie Knew” is amazingly based on a novel by Henry James (“The Turn of the Screw,” “The Bostonians”) written in 1897. Two screenwriters adapted the story into contemporary times 18 years ago, and the co-directors McGehee and Siegel brought it up to date in the post technological age. They worked with a stellar cast, including Julianne Moore, Steve Coogan and Alexander Skarsgard, plus a child actor named Onata Aprile, who brings Maisie to life with heartbreaking sensitivity.
Julianne Moore and Onata Aprile in ‘What Maisie Knew’
Photo credit: Millennium Entertainment
Scott McGehee and David Siegel
Above: Cinetract 2: Revolution Is in the Eye of the Beholder, a video essay by David Phelps. The video is part of a new issue of one of our very favorite—and one of the best—film magazines in the world, La Furia Umana, which is now out. Each issue is focused on dossiers on particular directors, and this issue includes essential articles on Leo McCarey, Paul Vecchiali, Jean-Claude Rousseau and José Luis Guerín. In the McCarey dossier are pieces by our very own Daniel Kasman—on the Cary Grant & Ginger Rogers vs. the Nazis film, Once Upon a Honeymoon—and Ted Fendt on McCarey's Charley Chase comedy shorts. But don't ignore the depth and variety of articles outside this center, which include searing video pieces by Notebook regulars David Phelps—on Lang, Vertov and protest—and Gina Telaroli on Joan Bennett, Max Ophüls, The Reckless Moment and the reflections of American presidents.
The evening of Max Ophüls in Hollywood is followed by two of his greatest French films, La Ronde (1950) and The Earrings of Madame de… (1954), but while they are well represented in superb DVD editions stateside, the four American films showing Monday night — Letter from an Unknown Woman (1948), The Reckless Moment (1949), Caught (1949) and the rarity The Exile (1947), his Hollywood debut — have still not been released on DVD in the Us.
The films of Ophüls haunt the space between the idealism of unconditional love and the reality of social barriers and fickle lovers. Yet his greatest films are anything but cynical; ironic certainly, but also melancholy, sad and wistful, and always respectful of the dignity of those who love well if not too wisely. His fluid, elegantly choreographed camerawork and intimate yet
According to Criterion, the Tiff, formerly known as the Cinematheque Ontario, will be bringing out a rather superb and cartoonishly awesome summer schedule, that will include films ranging from Kurosawa pieces, to films from Pier Paolo Pasolini. Other films include a month long series dedicated to James Mason, Eric Rohmer’s Six Moral Tales, a tribute to Robin Wood, and most interesting, a retrospective on the works of one Catherine Breillat.
Personally, while the Kurosawa, Pasolini, and Rohmer collections sound amazing, the Breillat series is ultimately the collective that I am most interested in. Ranging from films like the brilliant Fat Girl, to the superb and underrated Anatomy of Hell, these are some of the most interesting and under seen pieces of cinema of recent memory, and are more than
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