Thursday, April 2 2009
In Truffaut, the camera works not to keep the viewer out of the constructed reality of the film but rather to draw the viewer into the artifice, to make the viewer complicit in its feigned reality
Thursday, March 19 2009
The auteur is dead, long live the auteur: Orson Welles and Touch of Evil, 50 years on.
Sunday, July 20 2008
The violin is symbolic of our investment of objects with meanings and desires beyond their immediate uses, and it continues to entrance and engage even after the film's final shot.
Tuesday, March 25 2008
A beautiful movie. So very, very beautiful. Achingly beautiful, excruciatingly beautiful, tear-inducingly beautiful.
Monday, May 30 2005
'Truffaut had the dread of everything conventional. Above all, he detested the conventionality of the nonconventional,' Jean Gruault notes.
Monday, July 5 2004
Omar Sharif observes, 'It's very difficult for me to find parts at my age, because I have this very peculiar accent which is neither French nor English nor Italian. I'm sort of a foreigner.'
Wednesday, February 11 2004
Ibrahim is the sage, charismatic, and plainly desired father figure in this sentimental tale.
Tuesday, June 3 2008
Don't let anyone tell you differently - cinema is cyclical. Ever since the initial barrage of old school Hollywood studio glitter, films (and their maverick