One of Luis Bunuel's most free-form and purely Surrealist films, consisting of a series of only vaguely related episodes - most famously, the dinner party scene where people sit on ... See full summary »
London 1969 - two 'resting' (unemployed and unemployable) actors, Withnail and Marwood, fed up with damp, cold, piles of washing-up, mad drug dealers and psychotic Irishmen, decide to leave... See full summary »
Richard E. Grant,
Presents a day in the life in Austin, Texas among its social outcasts and misfits, predominantly the twenty-something set, using a series of linear vignettes. These characters, who in some ... See full summary »
This is about a self-styled New York hipster who is paid a surprise and quite unwelcome visit by his pretty sixteen-year-old Hungarian cousin. From initial hostility and indifference a ... See full summary »
US Army war veteran Hazel Motes may not be a believing Christian, somehow observations like the state of a run-down country church, meeting the ridiculous frauds on the streets and memories inspire him to take up, after initially fierce refusal, the part of a traveling preacher when a cab driver insists he looks like one in his new hat. He starts his own new Church of Truth, without the crucified Jesus, his first disciple being an 18-year old simpleton with a 'prophetic gift'... Written by
As Hawks touches Hazel's face, in the next shot he's touching Hazel's hat. See more »
Your conscience is a trick, it don't exist, and if you think it does, then you had best get it out in the open, hunt it down and kill it.
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Director John Huston is credited in all the titles as "Jhon Huston". Producer Michael Fitzgerald later explained that, wanting to have a child-like look to the credits, they had an actual child write the names. The child misspelled Huston's first name, but they liked it and kept it, as a metaphor for the artificial, off-kilter tone of the story. See more »
It is rare to find an great film adaptation of a great book. One can think of great films that have been made from novels of the second or third rank: Dodsworth, The Age of Innocence,L.A. Confidential,The Magnificent Ambersons, Barry Lyndon. However, one can think of very few great film adaptations of great novels. In fact, great novels are often made into badly flawed or even poor films. One thinks of all the bad adaptations of Faulkner,Dostoevsky, and Tolstoy, as well as the seeming near impossibility of making a great film from Joyce or Proust. There are a few exceptions to this rule. Interestingly, two of the best were directed by John Huston. The first was that perfect adaptation of one of the five best short stories ever written, The Dead. The other was this incredibly powerful, chilling, sardonic, profoundly moving, and superbly acted version of Flannery O'Connors tale of the "Christ-haunted" American south, Wise Blood. Huston was by his own account, a less than religious man. It is therefore ironic that the very Catholic friends and executors of that supremely ironic Catholic novelist, Flannery O' Connor should have chosen him to direct this, her masterpiece. I can hardly think of a more faithful, a more precise or a more literate transcription of one of the supreme masterpieces of literature to the screen. A truly great, searing, blackly humorous, extraordinarily moving, film.
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