In Nazi Germany in 1936 seven men escape from a concentration camp. The camp commander puts up seven crosses and, as the Gestapo returns each escapee he is put to death on a cross. The ... See full summary »
The group's "Trances" are our equivalent of "soul music", our irrationality. I followed the example of the Nass El Ghiwane themselves: I went back to the roots. They draw their music from ... See full summary »
Edwin, a taxi driver, lives with Annie, a neurasthenic model. They plan to spend Sunday at the Nikolassee beach with Wolfgang, an officer, gentleman, antiquarian, gigolo, at the moment a ... See full summary »
This is not a great movie: the characters are made out of cardboard, the plot is standard "Waiting for Lefty" with a heavier emphasis on historical materialism, and some of the actors are barely that. But it is still worth seeing, for two reasons: Paul Strand's beautiful pictures and Silvestre Revueltas' beautiful score.
Strand was not cut out to be a cinematographer: his shots are as static as a still photo. Not surprising, considering that Strand was one of the greatest photographers of the last century. You can see how much he loved taking the portraits of clouds, the sea, and the fishermen who are the heroes of this film-which doesn't make a good movie, but is still a delight to watch. As for Revueltas' score, someone who knows more about music will have to comment on it. It is enough to say that it is powerful, not overstated, and modern. He apparently wrote much of the score before the movie was finished, so it doesn't have the interplay with the film itself that Herrmann's score for Vertigo or Fumio Hayasaka's score for Seven Samurai does. But it is still wonderful, particularly if you hear it played by a good orchestra.
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