The River (1951) - News Poster



The Nature of Evil: Close-Up on Jean Renoir’s "The Testament of Dr. Cordelier"

  • MUBI
Close-Up is a feature that spotlights films now playing on Mubi. Jean Renoir's The Testament of Dr. Cordelier (1959) is playing August 3 - September 2, 2017 in the United States as part of the series Jean Renoir.Jean Renoir frequently focused on complicated characters who toe the line between right and wrong. They are often trapped by social mores, for better or for worse. In works like The Crime of Monsieur Lange (1936) or The River (1951), characters are unfairly confined, while in films like La chienne (1931) or La bête humaine (1938), a breaking from custom is fatally dangerous. Even in more light-hearted fare, such as French Cancan (1954), a bold flaunting of convention is cause for conflict and scandal. It seems only logical, then, that Renoir in his interest in the imposed customs of community and the social construction of morals would be drawn to Robert Louis Stevenson’s Strange Case of Dr. Jekyll and Mr. Hyde
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Wes Anderson Movies Ranked From Worst To Best

Wes Anderson Movies Ranked From Worst To Best
Let’s get this out of the way right from the top: Wes Anderson has never made a bad movie, and — in all likelihood — he probably never will. He’s too particular, too immaculate, too in command of his craft. Of course, the fact that he has always been so sure of himself only makes it more tempting to chart the progress of his career and to measure his films against each other. Or maybe it’s just fun because there are still only eight of them, and everyone seems to have their own favorite. Who could say?

Read More: Wes Anderson’s Style: Watch 10 Iconic Movies That Influenced Him

Here are all of Wes Anderson’s feature films, ranked from “worst” to best.

8. “Bottle Rocket

Wes Anderson arrived fully formed (or close to it), and so much of his cinematic ethos can be distilled from the very first shot of his very first film,
See full article at Indiewire »

Wes Anderson’s Style: Watch 10 Iconic Movies That Influenced Him

Wes Anderson’s Style: Watch 10 Iconic Movies That Influenced Him
Editor’s Note: This article is presented in partnership with FilmStruck. Developed and managed by Turner Classic Movies (TCM) in collaboration with the Criterion Collection, FilmStruck features the largest streaming library of contemporary and classic arthouse, indie, foreign and cult films as well as extensive bonus content, filmmaker interviews and rare footage. Learn more here.

Wes Anderson has one of the most original voices of any filmmaker working today, but his movies are full of clues as to which directors have influenced him the most. From Orson Welles to François Truffaut to Federico Fellini, some of the most iconic filmmakers in the history of cinema have had a hand in inspiring Anderson’s distinctive style. Here are 10 films that had a lasting impact on the indie auteur.

The Magnificent Ambersons” (1942)

Orson Welles’ period drama about a wealthy family that loses its entire fortune at the turn of the 20th century
See full article at Indiewire »

The London Indian Film Festival brings cinematic diversity to London and Birmingham: 14-24 July

Challenging stereotypes of India and South Asia, and wrestling with some very hard issues the 7th Bagri Foundation London Indian Film Festival returns this Summer.

The Director of the Bagri Foundation London Indian Film Festival, Cary Rajinder Sawhney states,”We aim to showcase films that entertain but challenge and make one think about the many social issues happening in India today, and that includes many positive changes including the fact that so many emerging Indian women filmmakers who are producing world-class films that are giving their male counterparts a serious run for their money.”

The diverse programme of brand new features, documentaries and shorts includes seven films directed by power-packed women filmmakers that give the Bechdel Test a run for its money, including the Thelma and Louise-esque opening night buddy movie, Parched, set in the desert villages of India’s Gujarat (female director Leena Yadav and Producer and Bollywood star Ajay Devgn, is expected). Double Oscar® winner Sharmeen Obaid-Chinoy, introduces her punch in the guts, documentary, A Girl In The River – The Price of Forgiveness.

With a strong Lgbtq+ following, the festival proudly hosts its first Transgender movie based on an empowering true story – I am Not He…She, at BFI Southbank, supported by Mac Cosmetics and Sun Mark Ltd, amongst others. Bangalore Director Bs Lingadevaru, is expected.

Reflecting the linguistic diversity of UK’s South Asian communities, the carefully curated programme will include 15 major languages, including films from Bangladesh, Pakistan, Nepal and Sri Lanka. All films are English subtitled.

This celebration of Indian regional diversity includes a very rare on-stage Q&A at BFI Southbank with one of South India’s greatest ever superstars – Kamal Haasan, who moved from child actor to Tamil cinema star, to produce, write and direct some of India’s most acclaimed features, including many Bollywood hits. He is adored by millions of fans, worldwide.

The closing night gala, is the world premiere of the incredibly moving and intense Toba Tek Singh, which focuses on patients locked in a Punjabi mental health hospital during the Partition (legendary director Ketan Mehta, is expected).

Sri Lankan breakout filmmakers Kalpana & Vindana Ariyawansa explore the taboo subject of obsessive compulsive disorder (Ocd) in a very personal family drama Dirty, Yellow, Darkness, while at the Ica, Director Jayaraj from Kerala, presents the Berlinale Crystal-Bear winner, Ottaal (The Trap), a heart-wrenching drama, based on the roots of child slave labour.

On a lighter note the festival also celebrates two icons of cinema with on-stage interviews with Satyajit Ray’s favourite actress Sharmila Tagore from Kolkata and the only Indian filmmaker to truly cross from Bollywood to Hollywood – Shekhar Kapur, who will discuss his plans for Elizabeth 3. Let’s hope that Cate Blanchett continues her reign in this expected sequel.

Also in the line-up is a special screening of the risque film Brahman Naman, directed by India’s leading indie director Q, the hilarious coming-of-age comedy is exclusive to Netflix. The Mumbai music industry focused Jugni, shows that love and a damn-good Punjabi song, can conquer even the toughest hearts (female director, Shefali Bhushan, is expected).

As well as synchronous screenings in London and Birmingham from 14-24 July, the Bagri Foundation London Indian Film Festival goes live on digital, with the festival showing a selection of films on BFI Player into the Autumn.

Festival Patron Tony Matharu, who is also our founding sponsor, from Grange Hotels, continues to support with full fervour, and the festival welcomes back supporters including title sponsor, the Bagri Foundation, who share our passion for South Asian arts and culture. The British Film Institute and Cineworld Cinemas have supported Liff since year one. The festival enjoys on-going essential support from major sponsor, Sun Mark Ltd.

Title Sponsor Alka Bagri of the Bagri Foundation says, “We are delighted to support such an incredible festival which reveals the richness of South Asian culture and offers a wonderful platform for emerging talent. This year’s programme epitomises the diversity and dynamism of South Asian cinema, and through films, debates and panel discussions, we will explore topical issues such as gender, identity, mental health and equality. We look forward to being joined by two acclaimed figures of Indian cinema: Kamal Haasan and Shekhar Kapur who will take us on their cinematic journey”.

Liff presents the prestigious annual Satyajit Ray Short Film Competition, in association with the Bagri Foundation, with a prize of £1,000 to the winning film. The short film programme screens at the Ica on Wednesday 20th July and the winning short will be announced at the closing night gala, on 21st July, at BFI Southbank. The festival continues in Birmingham, until 24th July.

Participating cinemas’ in London are: Cineworld (Haymarket, O2, Wandsworth, Wembley), BFI Southbank, Ica, Picture House Central, Crouch End Picturehouse, East London’s rustic Boleyn Cinema, with Cineworld Broad Street and Midland Arts Centre (Mac), in Birmingham.

Opening Night | Dual English Premiere: Parched

– Hindi with English subtitles | 117 min | India 2015 | Dir: Leena Yadav | with: Radhika Apte, Tannishtha Chatterjee, Surveen Chawla, Lehar Khan.

Director Leena Yadav tells a wonderfully joyous and inspiring tale of female comradery.

– Q&A with Director Leena Yadav and other special guests.

14 July | 18:00 | Cineworld Haymarket, London

15 July | 19:00 | Cineworld Broad Street, Birmingham

16 July | 17.30 | Cineworld Wembley, London

20 July | 20.40 | BFI Southbank, London

Closing Night | World Premiere: Toba Tek Singh

– Hindi / Punjabi with English subtitles | 75 min | India 2016 | Dir: Ketan Mehta | with: Pankaj Kapur, Vinay Pathak.

Acclaimed director Ketan Mehta delivers this unforgettably moving and at times joyous version of Manto’s legendary story, produced by the Zeal for Unity project.

– Q&A with Director Ketan Mehta and other special guests.

21 July | 18:00 | BFI Southbank, London

24 July | 18:00 | Cineworld Broad Street, Birmingham

– Icons from India, polymath Kamal Haasan (whose films have the highest number of Academy Award submissions from India), and director of the exquisite BAFTA & Oscar® winning Elizabeth & The Golden Age films, Shekhar Kapur, will give masterclasses at BFI Southbank, with the famous female scion of the Tagore family, who married into Indian royalty, Sharmila Tagore, speaking at the historic art deco cinema, Cineworld Haymarket.

– A 2016 highlight, is a rare opportunity to hear female filmmakers like Pakistan’s double Oscar®-winning Sharmeen Obaid-Chinoy, Mumbai’s multi-award winning Leena Yadav, documentary filmmaker Rinku Kalsy and other special guests, talking about their unique careers and exploring commonalities of experience, with women filmmakers around the world.

– The UK premiere of the restored verison of the 1948 film Kalpana (Imagination), by the legandary dancer, Padma Vibhushan Uday Shankar (brother of the late Sitar stalwart Ravi Shankar), starring the legendary dancer and actress Padmini (Mera Naam Joker/Thillana Mohanambal), in her cinematic debut, gets a one off special screening in Birmingham.

– Winner of the best directing debut at the Venice Film Festival, the Hindi language film directed by Ruchika Oberoi, Island City, tells three stories, of a drone employee at a soulless corporation wins an office competition entitling him to a whole day of fun at the mall; a domineering head of a family who suffers a stroke and is on life support, and a woman who is leading a mechanical existence blossoms, when she gets a series of anonymous love letters.

– Actor, Leader, Hero, God. For his fans, the superstar Rajinikanth is all of these. Men from various generations alter their lives, sell their belongings, and place fandom above their families in devotion to the iconic actor, a man who has inspired a fanatic cult following across the world ranging from India to Japan. This is explored in the riveting documentary, For The Love Of A Man.

– Made under the Zeal for Unity India-Pakistan filmmaking initiative, Khaema mein matt jhankain (Don’t Peek Into The Tent) and Jeewan Hathi (Elephant In The Room) explore different facets of life in Pakistan. Tamil Naidu’s hottest young filmmaker M Manikandan returns to the festival, after last year’s hit Kaaka Muttai (Crow’s Egg), with the stylish, twisted plot thriller, with Kutrame Thandanai.

– The new tale by Kaushik Ganguly, one of West Bengal’s most accomplished directors, depicts a love-torn nostalgia for the passing age of film called Cinemawala, while Liff’s first Nepali screening is directed by new hot-property director Min Bahadur Bham, who has been delighting audiences around Europe with his film Kalo Pothi (The Black Hen).

– For more information on the festival please visit:

– The full festival programme for London and Birmingham:

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The Films of Roberto Minervini: Capturing a Complicated Portrait of the American South

In the early 1970s, while in the midst of making his Trilogy of Life, Pier Paolo Pasolini publicly remarked that a kind of “cultural genocide” had overtaken his home country of Italy. Essentially, he pointed his finger at the overwhelming dominance of consumerism that he believed had begun to erase the positive values instilled by the nation’s history of peasantry.

Even decades removed, many will still find this statement heavily contentious, as it seems representational of a debate that’s raged in film culture — that, of course, over “aestheticizing poverty,” or, in some cases, romanticizing it. Among the many figures in contemporary world cinema who can be branded with this label, Pasolini’s countryman of a different generation, Roberto Minervini, certainly embraces the act while still complicating it.

His first three films forming a “Texas trilogy” showcase a deeply religious and increasingly abandoned milieu far from, say, the conservative
See full article at The Film Stage »

Adrienne Corri obituary

Actor who played Shakespearean roles and in Hammer horror movies, as well as such well-known films as Dr Zhivago

Adrienne Corri, who has died aged 85, was an actor of considerable range and versatility whose career ranged from the high – with Shakespearean roles alongside Ralph Richardson and Alec Guinness – to the decidedly low, including appearances in many quota quickies and low-budget horror movies that showcased her striking red-haired beauty. Although seen regularly on big and small screens in the 1950s and 60s, Corri is mainly remembered for her participation in the short but notorious gang rape scene from Stanley Kubrick’s A Clockwork Orange (1971). Despite complaining to Kubrick about the multitude of takes, Corri retained a friendship with the director for a short while afterwards. One Christmas she gave him a pair of bright red socks, a reference to the scene, in which she is left naked but for such garments.
See full article at The Guardian - Film News »

Jacques Rivette’s 10 Favorite Films

If one wishes to highlight what made Jacques Rivette a significant figure in the cinematic landscape, it’s key that they cite his cinephilia — the rabid sort that is uncommon in even our smartest voices, filmmaking or otherwise. More than one who saw a bunch of movies, though, the late, great director maintained a critical fashioned at Cahiers into our contemporary day, sharing a wide, sometimes unexpected range of thoughts on what made works of all kinds stand tall or fall apart.

All of which is to say that his list of favorite films should come from a wellspring of knowledge and passion. In any case, his selection, shared by critic Samuel Wigley — rather a selection, being that it’s from the 1962 Sight & Sound ballot — is a fine one for spanning from the form’s earlier days to its then-contemporary masters, and perhaps as an immediate window into the Cahiers critical mindset.
See full article at The Film Stage »

Criterion Picks on Fandor: Directing in Color

Each week, the fine folks at Fandor add a number of films to their Criterion Picks area, which will then be available to subscribers for the following twelve days. This week, the Criterion Picks focus on nine films where some of the most famous directors in the Criterion Collection first directed a feature in color.

Saturate yourself in the vivid stylings of some of our favorite directors, wielding a whole new spectrum of expression for the very first time.

Don’t have a Fandor subscription? They offer a free trial membership.

Dodes’ka-den, the Japanese Drama by Akira Kurosawa

The unforgettable Dodes’Ka-den was made at a tumultuous moment in Kurosawa’s life. And all of his hopes, fears and artistic passion are on fervent display in this, his gloriously shot first color film.

Equinox Flower, the Japanese Drama by Yasujirô Ozu

Later in his career, Yasujiro Ozu started becoming
See full article at CriterionCast »

“The Apu Trilogy” (Directed by Satyajit Ray, 1955/1956/1959) (The Criterion Collection)

  • CinemaRetro
“Songs Of Humanity”

By Raymond Benson

I’ll bet many of you cinephiles out there have heard of Indian filmmaker Satyajit Ray’s acclaimed trilogy of films from the 1950s (Pather Panchali, aka Song of the Little Road, 1955; Aparajito, aka The Unvanquished, 1956; and Apur Sansar, aka The World of Apu, 1959), but have never actually seen them. Here is your chance to rectify that egregious error. Quite simply put, anyone interested in film history needs to have this trio of motion pictures under the belt.

Satyajit Ray, who received an Honorary Oscar for Lifetime Achievement in 1992, began his career as an illustrator of books. One of these was Pather Panchali, a classic of Bengali literature (1928) written by Bibhutibushan Bandyopadhyay, and its sequel, Aparajito (1932). They comprise the story of the growth of a boy from infancy to adulthood over the course of twenty-five years or so (from the 1910s to the 1930s
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In Inner Space: David Lean's Indian Investigations

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Adela Quested (Judy Davis) finishes A Passage to India in the same manner she started the movie: her face is deformed by a window full of drops of rain. In both cases, she is looking at something more or less out of frame, blurred or uncertain, imaginary or physical. The placement of the camera, in the beginning and in the end, is at a different location. When the film starts, we are inside of a traveling agency and Adela is walking past the panoramic window. She stops for a second and stares at a large-sized model of a ship. We can’t see the ship entirely: just some chimneys, masts and ropes. We only know this is a ship because the previous shot—the first shot of the picture, actually—showed us this model.In the end of the movie, Adela is reading a letter concerning events that we have seen.
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Daily | DVD/Blu-ray | Costa-Gavras, Visconti, Ozu

Olivier Assayas has managed to squeeze 22 films onto his list of top ten Criterion releases. His #1: Luchino Visconti's The Leopard. And we've rounded up reviews of three crime dramas by Yasujiro Ozu, Jean-Pierre Melville's Le silence de la mer, Jean Renoir's The River, Rainer Werner Fassbinder's The Merchant of Four Seasons, Helma Sanders-Brahms’s Germany Pale Mother, Charlie Chaplin's Limelight, Mario Bava's Blood and Black Lace, Walerian Borowczyk's The Strange Case of Dr. Jekyll and Miss Osbourne and twelve films by Koji Wakamatzu. Plus two video interviews with Costa-Gavras and reviews of his Z, The Confession and State of Siege. » - David Hudson
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New on Video: ‘The River’

The River

Written by Rumer Godden and Jean Renoir

Directed by Jean Renoir

France/India/USA, 1951

As the camera looks down upon an ornamental design created from rice powder and water, the narrator (voiced by June Hillman), who speaks throughout the film, welcomes us to the world of The River. This is Bengal, “where the story really happened,” and this is Harriet speaking, reflecting back on her life at a very confusing and significant time. For all intents and purposes, The River is primarily her story. And in this, the film is an intimately personal cinematic memoir. But The River is also something else. In its depiction of the “river people” who inhabit this region of India, the film also takes on an ethnographic appeal, capturing the “flavor” of the setting and its inhabitants.

Guiding this journey is the great French director Jean Renoir, fresh off a tumultuous sojourn in Hollywood,
See full article at SoundOnSight »

The Noteworthy: 29 April 2015

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We are saddened to hear of the passing of Time's inimitable critic, Richard Corliss (1944 - 2015), pictured above. Visit David Hudson's roundup at Keyframe Daily for coverage. In the past week there's been more additions to the Cannes Film Festival lineup, including new movies by Apichatpong Weerasethakul, Naomi Kawase and Gaspar Noé.When Manoel de Oliveira died earlier this month, word spread that he had made a film that would be released only upon his death, Memories and Confessions. Now word has come that its premiere screening will be on the 4th of May in Porto.Above: We're on the fence whether we should be excited for this, but the trailer for M. Night Shyamalan's The Visit certainly has us intrigued.New York's essential film listing site Screen Slate has turned to Kickstarter to help fund its project. Speaking of New York, this May the Museum of the Moving
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Daily | Silver Discs | Rivette, Renoir, Ozu

Big news via Carlotta Films and Carlotta Films Us will send a new 2K restoration of Jacques Rivette's Out 1 (1971), with Juliet Berto, Bernadette Lafont, Jean-Pierre Léaud, Michael Lonsdale and Bulle Ogier, out to theaters before releasing a Blu-ray edition in France and the Us later this year. More silver discs under review: Ignatiy Vishnevetsky on Jean Renoir's The River, J. Hoberman on Orson Welles's The Lady of Shanghai and Robert Montgomery's Ride the Pink Horse, Carson Lund and Jeremy Carr on a total of four films by Yasujiro Ozu, Imogen Sara Smith on Carol Reed's Odd Man Out and Howard Hampton on Vincente Minnelli’s The Band Wagon. » - David Hudson
See full article at Keyframe »

Criterion Collection: The River | Blu-ray Review

Criterion repackages Jean Renoir’s 1951 classic The River for Blu-ray, one of the master filmmaker’s several titles in the collection (fans may recall that Renoir’s Grand Illusion was the very first Criterion title). A title significant in many respects, being the first Technicolor film in India and Renoir’s first color feature, it’s simplistic beauty has gone on to influence future generations of filmmakers, including its prominently vocal champion Martin Scorsese. It also served as a launching pad for Satyajit Ray, who worked as an assistant on the film, and who would go on to create his own stunning debut four years later with the first chapter of his Apu trilogy, Pather Panchali (1955).

We experience the childhood of Harriet (Patricia Walters) in retrospect, her off-screen adult voice recounting one particular stretch of time while growing up in India with her mother (Nora Swinburne) and father (Esmond Knight
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Berlinale 2015. Correspondences #2

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Dear Danny,

The pleasure is all mine. To count myself as your partner in this correspondence is an honour, albeit an intimidating one. You accurately describe our friend Fernando as inimitable, and indeed I find myself in a position with big shoes to fill. Rather than to naively hope to imitate the insightful and often inspiring exchanges you’ve had with Fern these past few years in Toronto, I’ve made a point of not looking back at those pieces and instead intend to rely on whatever differences I bring to distinguish our written conversations from those. I'll be writing eagerly in pursuit of my discoveries. Do you find, like myself, that your ideas develop as you write, that you don’t begin to truly understand what you're writing on until your fingers are typing away, seemingly ahead of your thinking? I'm equally excited for your discoveries, which have intrigued
See full article at MUBI »

The Criterion Collection announces April releases

Criterion has announced five titles for Blu-ray release in April, which are sure to get film lovers on both sides of the pond excited.

On April 14th, it will release Preston Sturges’ Sullivan’s Travels (1941) and Carol ReedOdd Man Out (1947).

On April 21, it will release Jean Renoir’s The River (1951). And on April 28th, it will release Jean-Pierre Melville’s Le silence de la mer (1949) and Peter YatesThe Friends of Eddie Coyle (1973).

All details of each release, as well as the artworks are below, and all available to pre-order over at

Sullivan’s Travels

Tired of churning out lightweight comedies, Hollywood director John L. Sullivan (Joel McCrea) decides to make O Brother, Where Art Thou?—a serious, socially responsible film about human suffering. After his producers point out that he knows nothing of hardship, Sullivan hits the road disguised as a hobo. En route to enlightenment,
See full article at Flickeringmyth »

Martin Scorsese's Top 10 Criterion Films

The Criterion Collection has just released a new filmmaker top ten and this time it's Martin Scorsese getting the honors and he has quite a lot to say about each. The list includes obvious titles such as The Red Shoes, 8 1/2, The Leopard, Ashes and Diamonds and others as they were all on his list of Top 12 Films of All-Time from back in 2012. Nevertheless, it remains fascinating to read his words and reasoning. For example, I find it interesting to see him placing Roberto Rossellini's Paisan at #1. So often Rome Open City is the most talked about of Rossellini's fabulous War Trilogy (read my review) and so infrequently you hear about Paisan or Germany Year Zero, the latter of which is an absolute stunner. I've never sen Jean Renoir's The River or Francesco Rosi's Salvatore Giuliano, but the rest I've viewed. I'm not a huge fan of The Leopard,
See full article at Rope Of Silicon »

Poetry And Misery: The Early Works Of Satyajit Ray At The Austrian Filmmuseum

From December 4 to January 8, the Austrian Filmmuseum presented a retrospective of the early works by famous Indian director Satyajit Ray. Not only did it show a complete overview of Ray's work from 1955 to 1965, but also some of the most spectacular works in the history of world cinema that were shot in India. I got completely lost inside the cinema and once again the strange force of the screen has taken me on a trip to different places, different feelings and different times. One of the most famous films shown was Jean Renoir's The River, a film that many filmmakers such as Martin Scorsese cite as one of their favorite films ever. Seeing this colorful cinematic innocence projected on film was not...

[Read the whole post on]
See full article at Screen Anarchy »

The Big City – review

Satyajit Ray's enduring 1963 masterpiece about one woman's struggle for independence is back on the big screen

Satyajit Ray, who died in 1992 at the age of 70, is one of the giants of world cinema. The son of a prominent Bengali literary figure, he was an accomplished writer, composer, editor and artist as well as a great movie director. His passionate interest in the cinema developed early on, and shortly after the second world war he accompanied Jean Renoir when he travelled to India to scout locations for The River. Subsequently he wrote a wonderfully perceptive article about this experience for Sequence, the film magazine edited by Lindsay Anderson, Gavin Lambert and Karel Reisz.

During a visit to Europe to work in the London headquarters of his Calcutta advertising agency, he saw Vittorio De Sica's Bicycle Thieves and decided that on his return he wanted to make a movie in
See full article at The Guardian - Film News »
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