Paul Newman's directional central piece (his fourth, after almost eight years of silence) is, by far, the best American film of the decade. Not only for its very controlled, moving, unusual tone and rhythm, nor for the exceptional actors and actresses, but mainly for the treatment of such a theme like this, the easiest to fall into a stupid tear jerker. "The shadow box" is like Naruse Mikio's "Midareru", the definitive proof that a great director (and Paul Newman is one of the best of his time) can make wonders with any argument, even with the most boring ones, the less "important", even if the plot is tedious and the ending predictable. A gem
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