As with so many of these movies about daughters who go astray, Test Tube Babies blames the uptight mothers who never told them about S-E-X. Meanwhile, Guilty Parents exploits poor impulse control and chorus girls showing their underwear.
Buster Keaton was aware that the camera can be a catalyst of violence, especially stereotypical violence, for audience consumption -- and that it could also evoke the shared joy of cathartic laughter.
Sinuous camera moves and stylish direction, endings that surely wouldn't have flown after the Code crackdown: four pre-code talkies from Cecil B. DeMille, Phil Goldstone, Victor Halperin, and Stuart Walker.
Films by Sam Newfield and W. Merle Connell in Kino Lorber's Forbidden Fruit series show how exploitation films are blueprints for mainstream cinema.
That today's viewers can't easily fall into the fantasy of Rock Hudson as an "Indian" in Taza Son of Cochise -- one of three films discussed here -- provides its own distancing and underlining of the themes that make it Sirkian, the rampant phoniness used as a vehicle for something true.
Alain Corneau's Série Noire is like a documentary of squalid desperation, albeit a slightly heightened and sardonic one.
The wealthy, spoiled, entitled, monstrously egotistical male protagonist in Visconti's L'Innocente spends his time in various states of suffering, often sweating profusely and sometimes with eyes puffy and tear-stained.
Is Susan Sontag's Duet for Cannibals a study in personal human behavior? Or is it an allegory of the seductions of fascism and power?
Directors Claude Sautet and Andrzej Zulawski turn the camera's gaze on the glorious Romy Schneider in these four drama, romance, and crime films available from Film Movement and Kino Lorber.
Have a peak behind the censored curtain, if you dare, with Dwain Esper's Marihuana and Narcotic, Crane Wilbur's Tomorrow's Children and Harry J. Revier's Child Bride. These exploitation films are certain to provoke.
The passage of time tends to make old films more interesting, such as these seven films of the late '40s and '50s from British directors John Boulting, Carol Reed, David Lean, Anthony Kimmins, Charles Frend, Guy Hamilton, and Leslie Norman.
Alastair Sim belongs to those character actors sometimes accused of "hamming it up" because they work at such a high level of internal and external technique that they can't help standing out.
The works of silent filmmakers Alice Guy Blaché and Julia Crawford Ivers were at risk of being forever lost. Kino Lorber offers their works on Blu-Ray. Three cheers for film historians and film restoration.
These WWII films from directors Alberto Cavalcanti, Guy Hamilton, Michael Anderson, Leslie Norman and J. Lee Thomson are excellent studies in history, filmmaking, and wartime propaganda.
Russell Rouse's The Oscar is fabulously gaudy and kitschy, with overdone sets and costumes. The film practically hyperventilates in mood, story, and acting. You should see it.
Inspired by D.W. Griffith's Intolerance, Vsevolod Pudovkin would leave his chemistry studies for cinema. His films Mother, The End of St. Petersburg, and Storm over Asia are presented in The Bolshevik Trilogy.
After the nymphs wave their diaphanous rags at the camera, the boys parody their terpsichorean poses with a magically appearing ball. These and other delights in Flicker Alley's 3-D Rarities II.
The character's in Claude Chabrol's The Third Lover, Line of Demarcation, and The Champagne Murders are obsessively doubled and mirrored, reflecting and refracting their hunger for sex, love, money, and power.