In ‘Next Time We Love’ Absence Makes the Marriage Grow Stronger
Margaret Sullavan’s character in Next Time We Love is canonized for pursuing a successful career separately from her husband, wherever the heck he is.
Margaret Sullavan’s character in Next Time We Love is canonized for pursuing a successful career separately from her husband, wherever the heck he is.
Argentine noir El Vampiro Negro is a visual mastery of Expressionist nightmare with a bravura style that makes film buffs of the high studio era swoon.
Akira Kurosawa’s collaborative writing process on Ikiru complicates the cliché of the film auteur whose artistic vision is solely their own.
Frank Capra’s America is always on the edge of madness and nightmare. The deeper you dig into his Arsenic and Old Lace, the darker and queasier it becomes.
James Whale’s pre-code comedy/romance, ‘By Candelight’ is a perfect example of Depression-era escapism into Art Deco consumer porn.
There are wild numbers in the raunchy pre-code 1934 musical Murder at the Vanities but “Sweet Marijuana” really stirred up the uptights. Paramount shrugged.
The world of the silent film ‘Casanova’ is where every wife is glad to cheat on her bullying husband or flee from her possessive lover because authority is always repressive.
Although the films in Martin Scorsese’s World Cinema Project No. 4 come from different countries, decades, and languages, they reveal similarities in social conscience and film experiments.
Love in the Afternoon deserves credit for its artistic merit but also for serving as the beginning of a beautiful affair between Billy Wilder and I.A.L. Diamond.
Robert Siodmak’s Time Out of Mind, based on the novel by first National Book Award winner, Rachel Field, mixes gothic, classical, and literary elements in an unappreciated film.
Stanley Kwan’s 1987 fantasy drama based in Hong Kong, Rouge, is part romance, part ghost story, part political fable, and all gorgeous.
Crime stories by Cornell Woolrich, The Guilty, and Raoul Whitfield, High Tide, are masterfully adapted by director John Reinhardt in two restored film noirs.