The poster child of cinematic modernism, one of those early-‘60s event films that seemed to break every rule classical Hollywood ever codified, Alain Resnais’s Last Year at Marienbad left its initial audiences in equal measure ravished by Sacha Vierny’s sumptuous cinematography, capturing in rapturous detail every element of its chateau setting’s florid production design, and baffled by its deliberately disorienting puzzle-picture narrative, so willfully inscrutable that its three main characters don’t even have names. You have to trouble yourself to read Alain Robbe-Grillet’s screenplay in order to glean that they’re called A, X, and M, as if to emphasize that they’re variables in some erotic algorithm.
Unlike the testimonials to the politique des auteurs, all the rage with the Cahiers du Cinéma crowd, Last Year at Marienbad draws its power from a different engine, the disparate and ultimately divergent sensibilities of its director and screenwriter.
Unlike the testimonials to the politique des auteurs, all the rage with the Cahiers du Cinéma crowd, Last Year at Marienbad draws its power from a different engine, the disparate and ultimately divergent sensibilities of its director and screenwriter.
- 8/19/2024
- by Budd Wilkins
- Slant Magazine
Severin follows up their 2023 collection of Italian gothic titles with an essential second volume that brings together three films and a miniseries. Each work takes a very different approach to the gothic as both a visual aesthetic and a set of thematic preoccupations. The results range from virtually archetypal to resolutely revisionist. For this well-appointed set, Severin provides a veritable bounty of bonus materials: new restorations, alternate cuts, commentary tracks, cast and crew interviews, visual essays, even a soundtrack CD.
Antonio Margheriti’s Danza Macabra, from 1964, is one of the very best Italian gothic films. It simply oozes with atmosphere courtesy of Riccardo Pallottini’s moody monochrome cinematography, and, while the violence remains relatively restrained, Margheriti brazenly pushes the envelope when it comes to nudity and some suggestive sexual content. Likely as a bid to cash in on Roger Corman’s Poe Cycle, Danza Macabra not only claims to be...
Antonio Margheriti’s Danza Macabra, from 1964, is one of the very best Italian gothic films. It simply oozes with atmosphere courtesy of Riccardo Pallottini’s moody monochrome cinematography, and, while the violence remains relatively restrained, Margheriti brazenly pushes the envelope when it comes to nudity and some suggestive sexual content. Likely as a bid to cash in on Roger Corman’s Poe Cycle, Danza Macabra not only claims to be...
- 2/7/2024
- by Budd Wilkins
- Slant Magazine
Christophe Honoré selected Catherine Breillat’s 36 Fillette: “Her work is very important for French cinema.” Photo: Anne-Katrin Titze
Jacques Demy’s Lola (starring Anouk Aimée with Marc Michel), Wim Wenders’ Paris, Texas, Zhangke Jia and composer Yoshihiro Hanno, Yves Robert’s La Guerre des Boutons, Alain Resnais’ Providence and L'Année Dernière à Marienbad, Kenneth Lonergan’s Manchester By The Sea, Sophie's Misfortunes, and Catherine Breillat’s 36 Fillette all came up in our discussion.
Christophe Honoré with Anne-Katrin Titze on why Alain Resnais is a king: “I’m interested in narrative play and people who have a ludic relationship to storytelling.” Photo: Anne-Katrin Titze
Christophe Honoré was in New York to present Winter Boy, starring Paul Kircher, Vincent Lacoste, Juliette Binoche, and Erwan Kepoa Falé, shot by Rémy Chevrin (Guermantes, [film]On...
Jacques Demy’s Lola (starring Anouk Aimée with Marc Michel), Wim Wenders’ Paris, Texas, Zhangke Jia and composer Yoshihiro Hanno, Yves Robert’s La Guerre des Boutons, Alain Resnais’ Providence and L'Année Dernière à Marienbad, Kenneth Lonergan’s Manchester By The Sea, Sophie's Misfortunes, and Catherine Breillat’s 36 Fillette all came up in our discussion.
Christophe Honoré with Anne-Katrin Titze on why Alain Resnais is a king: “I’m interested in narrative play and people who have a ludic relationship to storytelling.” Photo: Anne-Katrin Titze
Christophe Honoré was in New York to present Winter Boy, starring Paul Kircher, Vincent Lacoste, Juliette Binoche, and Erwan Kepoa Falé, shot by Rémy Chevrin (Guermantes, [film]On...
- 3/13/2023
- by Anne-Katrin Titze
- eyeforfilm.co.uk
Is Joseph Losey’s elusive, maudit masterpiece really a masterpiece? Stanley Baker’s foolish lout of a writer ruins his life pursuing the wanton Jeanne Moreau, and it’s hard to tell if she’s punishing him or he’s punishing himself. Losey’s directing skills are in top form on location in Venice and Rome for this absorbing art film. Pi’s overdue and very welcome disc sorts out the multiple release versions for the first time, and in so doing finally makes the show critically accessible. Co-starring (swoon) Virna Lisi and James Villiers.
Eve
Region B Blu-ray
Powerhouse Indicator
1962 / B&w / 1:85 widescreen / 126 109, 108 min. / Eva, The Devil’s Woman / Street Date October 19, 2020 / available from Powerhouse Films UK / £15.99
Starring: Jeanne Moreau, Stanley Baker, Virna Lisi, James Villiers, Riccardo Garrone, Lisa Gastoni, Checco Rissone, Enzo Fiermonte, Nona Medici, Roberto Paoletti, Alexis Revidis, Evi Rigano.
Cinematography: Gianni Di Venanzo, Henri Decaë
Film...
Eve
Region B Blu-ray
Powerhouse Indicator
1962 / B&w / 1:85 widescreen / 126 109, 108 min. / Eva, The Devil’s Woman / Street Date October 19, 2020 / available from Powerhouse Films UK / £15.99
Starring: Jeanne Moreau, Stanley Baker, Virna Lisi, James Villiers, Riccardo Garrone, Lisa Gastoni, Checco Rissone, Enzo Fiermonte, Nona Medici, Roberto Paoletti, Alexis Revidis, Evi Rigano.
Cinematography: Gianni Di Venanzo, Henri Decaë
Film...
- 9/26/2020
- by Glenn Erickson
- Trailers from Hell
“Open To Interpretation”
By Raymond Benson
Last Year at Marienbad should have had the marketing tagline: “Open to Interpretation,” for the film belongs at the top of a list entitled Movies That Make You Go ‘Huh??’
Alain Resnais’ enigmatic, surreal, and puzzling experimental picture from 1961, the follow-up to his acclaimed Hiroshima mon amour (1959), won the Golden Lion at the Venice Film Festival. The picture has been simultaneously praised and reviled since its release because audiences generally don’t know what to make of it.
Yes, it’s beautiful to look at. The cinematography by Sacha Vierny is magnificent in its black and white, widescreen splendor. The settings at such Baroque palaces as Nymphenburg and Schleissheim in Munich evoke a mysterious past that might be an alternate timeline. The music by Francis Seyrig might belong in a creepy cathedral with its gothic horror organ. The pace is slow, but the picture...
By Raymond Benson
Last Year at Marienbad should have had the marketing tagline: “Open to Interpretation,” for the film belongs at the top of a list entitled Movies That Make You Go ‘Huh??’
Alain Resnais’ enigmatic, surreal, and puzzling experimental picture from 1961, the follow-up to his acclaimed Hiroshima mon amour (1959), won the Golden Lion at the Venice Film Festival. The picture has been simultaneously praised and reviled since its release because audiences generally don’t know what to make of it.
Yes, it’s beautiful to look at. The cinematography by Sacha Vierny is magnificent in its black and white, widescreen splendor. The settings at such Baroque palaces as Nymphenburg and Schleissheim in Munich evoke a mysterious past that might be an alternate timeline. The music by Francis Seyrig might belong in a creepy cathedral with its gothic horror organ. The pace is slow, but the picture...
- 8/5/2019
- by [email protected] (Cinema Retro)
- Cinemaretro.com
Franco Zeffirelli, the stylish and sometimes controversial theater, opera and film director, has died. He was 96.
Zeffirelli, who was Oscar-nominated for his 1968 version of “Romeo and Juliet,” died at his home in Rome at noon on Saturday, his son Luciano told the Associated Press. “He had suffered for a while, but he left in a peaceful way,” Luciano said.
While Zeffirelli was fond of making films with literary antecedents such as “Romeo and Juliet,” “Hamlet,” “Taming of the Shrew” and “Jane Eyre,” his legacy as director of extravagant opera and theater productions is probably more consistent and long-lasting.
He directed, co-wrote and co-produced the 1966 production of “Taming of the Shrew,” starring Elizabeth Taylor and Richard Burton, one of the twice-married celebrated pair’s most successful co-starring assignments. Spirited and amusing, it paved the way for a youthful and sexy “Romeo and Juliet,” which was a major box office success in the U.
Zeffirelli, who was Oscar-nominated for his 1968 version of “Romeo and Juliet,” died at his home in Rome at noon on Saturday, his son Luciano told the Associated Press. “He had suffered for a while, but he left in a peaceful way,” Luciano said.
While Zeffirelli was fond of making films with literary antecedents such as “Romeo and Juliet,” “Hamlet,” “Taming of the Shrew” and “Jane Eyre,” his legacy as director of extravagant opera and theater productions is probably more consistent and long-lasting.
He directed, co-wrote and co-produced the 1966 production of “Taming of the Shrew,” starring Elizabeth Taylor and Richard Burton, one of the twice-married celebrated pair’s most successful co-starring assignments. Spirited and amusing, it paved the way for a youthful and sexy “Romeo and Juliet,” which was a major box office success in the U.
- 6/15/2019
- by Richard Natale
- Variety Film + TV
To mark the release of Last Year in Marienbad on 17th September, we’ve been given 1 copy to give away on Blu-ray.
A stunning new restoration of one of the most enigmatic and distinctive films ever made, this astounding collaboration between director Alain Resnais (Night and Fog) and leading French novelist Alain Robbe-Grillet is a key moment in the French New Wave.
In a baroque spa hotel, an unnamed sophisticate (Giorgio Albertazzi) attempts to persuade a similarly unnamed married woman (Delphine Seyrig) that they have not only previously met, but that they were also romantically involved and had planned to elope together. The woman recalls no such encounter and so begins a sensual and philosophical examination of the uncertainty of truth. Strikingly composed and beautifully shot in Cinemascope by Sacha Vierny, Last Year in Marienbad hypnotically merges chronology to radically blur the boundaries of reality and fantasy. A seductive and utterly fascinating cinematic puzzle,...
A stunning new restoration of one of the most enigmatic and distinctive films ever made, this astounding collaboration between director Alain Resnais (Night and Fog) and leading French novelist Alain Robbe-Grillet is a key moment in the French New Wave.
In a baroque spa hotel, an unnamed sophisticate (Giorgio Albertazzi) attempts to persuade a similarly unnamed married woman (Delphine Seyrig) that they have not only previously met, but that they were also romantically involved and had planned to elope together. The woman recalls no such encounter and so begins a sensual and philosophical examination of the uncertainty of truth. Strikingly composed and beautifully shot in Cinemascope by Sacha Vierny, Last Year in Marienbad hypnotically merges chronology to radically blur the boundaries of reality and fantasy. A seductive and utterly fascinating cinematic puzzle,...
- 9/16/2018
- by Competitions
- HeyUGuys.co.uk
Actor best known for his role as X in Alain Resnais’s Last Year in Marienbad
Of the 40 or so film appearances by Giorgio Albertazzi, the Italian actor-manager, who has died aged 92, the best known was his unsettling role as X in Alain Resnais’s L’Année Dernière à Marienbad (Last Year in Marienbad, 1961). In the surreal film, set in a dreamlike hotel, Albertazzi plays a man who claims to have had a relationship with a woman, A, and who has come to take her away from her husband, M (Sacha Pitoëff), 12 months later, as she asked him to. But A (Delphine Seyrig) appears to have no recollection of this.
The film won the Golden Lion at Venice that year, after which Albertazzi also appeared in two Joseph Losey films: Eva (1962) and The Assassination of Trotsky (1972). His first hit on TV had been in 1959 in The Idiot and he was...
Of the 40 or so film appearances by Giorgio Albertazzi, the Italian actor-manager, who has died aged 92, the best known was his unsettling role as X in Alain Resnais’s L’Année Dernière à Marienbad (Last Year in Marienbad, 1961). In the surreal film, set in a dreamlike hotel, Albertazzi plays a man who claims to have had a relationship with a woman, A, and who has come to take her away from her husband, M (Sacha Pitoëff), 12 months later, as she asked him to. But A (Delphine Seyrig) appears to have no recollection of this.
The film won the Golden Lion at Venice that year, after which Albertazzi also appeared in two Joseph Losey films: Eva (1962) and The Assassination of Trotsky (1972). His first hit on TV had been in 1959 in The Idiot and he was...
- 6/10/2016
- by John Francis Lane
- The Guardian - Film News
Reel-Important People is a monthly column that highlights those individuals in or related to the movies that have left us in recent weeks. Below you'll find names big and small and from all areas of the industry, though each was significant to the movies in his or her own way. Giorgio Albertazzi (1923-2016) - Italian Actor. His film credits include Last Year at Marienbad, Le Notti Bianchi and the Italian dub of Zeffirelli's Romeo and Juliet. He died on May 28. (THR) Moidele Bickel (1937-2016) - Costume Designer. She earned an Oscar nomination for her work on Queen Margot. She also did the costumes for The White Ribbon and was a wardrobe supervisor on Valmont. She died on May 16. (DiePresse) Joe Fleishaker (1954-2016...
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- 5/31/2016
- by Christopher Campbell
- Movies.com
There’s something claustrophobic about a film set entirely in a single location, an unsettling feeling of being cornered in a confined environment, cut off from the rest of the world. Stories such as these require nuanced characters and thoughtful attention to narrative detail, many of which employ a theatrical feel, while others were literally sprung from a playwright’s pen. Their action sequences are merely verbal, characters revealing shocking truths and saying the unthinkable, while the setting forces them together until an often brutal conclusion. When people are trapped like rats, it’s no surprise they sometimes eat each other.
A new entry in this sub-genre, Green Room, a violent thriller from Blue Ruin director Jeremy Saulnier expands this weekend. In the film, after a punk band witnesses a vicious murder, they find themselves trapped in the club’s green room, forced to fight their way out to freedom.
A new entry in this sub-genre, Green Room, a violent thriller from Blue Ruin director Jeremy Saulnier expands this weekend. In the film, after a punk band witnesses a vicious murder, they find themselves trapped in the club’s green room, forced to fight their way out to freedom.
- 4/28/2016
- by Tony Hinds
- The Film Stage
“I have never stayed so long anywhere,” says Delphine Seyrig’s “A” in Alain Resnais’s enigmatic 1961 film Last Year at Marienbad. She can’t recall meeting Giorgio Albertazzi’s “X” at the same château the previous year, but her words capture the film’s disorienting sense of time and place. X’s pursuit of A is a reminder that the…
The post The Beyond: Footprints on the Moon appeared first on Shock Till You Drop.
The post The Beyond: Footprints on the Moon appeared first on Shock Till You Drop.
- 4/7/2015
- by Samuel Zimmerman
- shocktillyoudrop.com
Last Year at Marienbad
Directed by Alain Resnais
Written by Alain Robbe-Grillet
France, 1961
Where Alain Resnais’ first film, Hiroshima mon amour, was the unconventional story of two people haunted by the imagery of a distant war, his follow-up, Last Year at Marienbad, expanded upon the themes of troubled memory and the imagined past in a convoluted series of conversation and flashbacks between a woman and two men, all unnamed. Famous for its confounding narrative structure, the film excels at making truth and fiction indistinguishable. Its surreal, dream-like nature is at once fascinating and baffling, prompting some to call the film a masterpiece and others incomprehensible. Encompassing all the passion and pain of a love triangle and the intrigue of a mystery, Last Year at Marienbad maintains its outwardly staid atmosphere throughout to haunting effect.
The film begins at a social gathering at a château when a man (Giorgio Albertazzi) approaches...
Directed by Alain Resnais
Written by Alain Robbe-Grillet
France, 1961
Where Alain Resnais’ first film, Hiroshima mon amour, was the unconventional story of two people haunted by the imagery of a distant war, his follow-up, Last Year at Marienbad, expanded upon the themes of troubled memory and the imagined past in a convoluted series of conversation and flashbacks between a woman and two men, all unnamed. Famous for its confounding narrative structure, the film excels at making truth and fiction indistinguishable. Its surreal, dream-like nature is at once fascinating and baffling, prompting some to call the film a masterpiece and others incomprehensible. Encompassing all the passion and pain of a love triangle and the intrigue of a mystery, Last Year at Marienbad maintains its outwardly staid atmosphere throughout to haunting effect.
The film begins at a social gathering at a château when a man (Giorgio Albertazzi) approaches...
- 8/7/2013
- by Katherine Springer
- SoundOnSight
Who are these people? What's going on? Half a century after audiences first asked these questions of Last Year in Marienbad, it is clear that Alain Resnais's masterpiece is about time, memory and film itself
Pauline Kael called it the snow job in the ice palace, and the film hasn't got much warmer in the 50 years since its appearance, even if the term snow job seems to belong to yesterday's slang. But Last Year in Marienbad, now showing as part of an Alain Resnais retrospective at the BFI, doesn't seek to trick us, it seeks to portray self-trickery, asks what we might do about it, and why we might be afraid of its alternatives, if it has any.
Some aspects of the film have aged severely. The heavy music-track, for example, especially the omnipresent organ tootling, was meant perhaps to suggest a mixture of horror movie and automated toyshop,...
Pauline Kael called it the snow job in the ice palace, and the film hasn't got much warmer in the 50 years since its appearance, even if the term snow job seems to belong to yesterday's slang. But Last Year in Marienbad, now showing as part of an Alain Resnais retrospective at the BFI, doesn't seek to trick us, it seeks to portray self-trickery, asks what we might do about it, and why we might be afraid of its alternatives, if it has any.
Some aspects of the film have aged severely. The heavy music-track, for example, especially the omnipresent organ tootling, was meant perhaps to suggest a mixture of horror movie and automated toyshop,...
- 7/14/2011
- The Guardian - Film News
The Tree Of Life (12A)
(Terrence Malick, 2011, Us) Brad Pitt, Jessica Chastain, Hunter McCracken, Laramie Eppler, Sean Penn, Tye Sheridan. 139 mins
Successor to Kubrick's 2001 or extended perfume ad? Either way, Malick's macro/microcosmic take on life, the universe and family life makes most films look unadventurous. Beyond the head-trip "creation of the universe" sequences, it's largely Sean Penn's impressionistic reminiscence of his conflicted childhood, rendered in gorgeous imagery, with introspective voiceovers and a dreamy intensity.
The Princess Of Montpensier (15)
(Bertrand Tavernier, 2010, Fra) Mélanie Thierry, Gaspard Ulliel, Lambert Wilson. 140 mins
There's costumes and courtliness, but this 16th-century saga remains unstuffy. Sought-after Thierry's quest for self-determination is the focus, and the treatment is modern and immediate.
Trust (15)
(David Schwimmer, 2010, Us) Liana Liberato, Clive Owen, Catherine Keener. 106 mins
Those who saw Catfish will know where this teen's online relationship with an apparently nice boy is headed. But what follows is an exercise in parent-worrying technophobia.
(Terrence Malick, 2011, Us) Brad Pitt, Jessica Chastain, Hunter McCracken, Laramie Eppler, Sean Penn, Tye Sheridan. 139 mins
Successor to Kubrick's 2001 or extended perfume ad? Either way, Malick's macro/microcosmic take on life, the universe and family life makes most films look unadventurous. Beyond the head-trip "creation of the universe" sequences, it's largely Sean Penn's impressionistic reminiscence of his conflicted childhood, rendered in gorgeous imagery, with introspective voiceovers and a dreamy intensity.
The Princess Of Montpensier (15)
(Bertrand Tavernier, 2010, Fra) Mélanie Thierry, Gaspard Ulliel, Lambert Wilson. 140 mins
There's costumes and courtliness, but this 16th-century saga remains unstuffy. Sought-after Thierry's quest for self-determination is the focus, and the treatment is modern and immediate.
Trust (15)
(David Schwimmer, 2010, Us) Liana Liberato, Clive Owen, Catherine Keener. 106 mins
Those who saw Catfish will know where this teen's online relationship with an apparently nice boy is headed. But what follows is an exercise in parent-worrying technophobia.
- 7/8/2011
- by Steve Rose
- The Guardian - Film News
Alain Resnais's mysterious masterpiece is 50 years old, and looks more brilliant than ever
Alain Resnais's Last Year in Marienbad is now 50 years old, but it is more brilliant than ever – profoundly mysterious and disturbing, a para-surrealist masterpiece whose nightmarish scenario appears to have been absorbed from Buñuel and Antonioni and transmitted onward to Greenaway. In a colossal, eerie mansion, the well-dressed classes pass the time at some eternal house party. Are they in limbo, in hell, in heaven? One handsome man (Giorgio Albertazzi) expectantly approaches a beautiful woman (Delphine Seyrig), alluding to their clandestine romantic encounter the previous year – but she claims never to have met him before. Who is telling the truth? What really happened last year? What is really happening now? All these people, apparently so replete with culture and civilisation, are utterly, frozenly empty, and the truth seems to vanish in a glittering world of misleading surfaces and perspectives.
Alain Resnais's Last Year in Marienbad is now 50 years old, but it is more brilliant than ever – profoundly mysterious and disturbing, a para-surrealist masterpiece whose nightmarish scenario appears to have been absorbed from Buñuel and Antonioni and transmitted onward to Greenaway. In a colossal, eerie mansion, the well-dressed classes pass the time at some eternal house party. Are they in limbo, in hell, in heaven? One handsome man (Giorgio Albertazzi) expectantly approaches a beautiful woman (Delphine Seyrig), alluding to their clandestine romantic encounter the previous year – but she claims never to have met him before. Who is telling the truth? What really happened last year? What is really happening now? All these people, apparently so replete with culture and civilisation, are utterly, frozenly empty, and the truth seems to vanish in a glittering world of misleading surfaces and perspectives.
- 7/7/2011
- by Peter Bradshaw
- The Guardian - Film News
L'ANNÉE DERNIÈRE À Marienbad / Last Year At Marienbad (1961) Direction: Alain Resnais Cast: Delphine Seyrig, Giorgio Albertazzi, Sacha Pitoëff Screenplay: Alain Robbe-Grillet Oscar Movies Alain Resnais' Last Year at Marienbad By Dan Schneider of Cosmoetica: Forget all prior claims you've read about Alain Resnais," 90-minute, black-and-white effort L'année dernière à Marienbad / Last Year at Marienbad (1961) — from the bad to the good, from publicity nonsense which declaims the three main characters are named after letters (they are actually unnamed), and watch it raw, for only then you'll realize why greatness is its own company. That's because the differences are minimal between the great Last Year at Marienbad, a work of art considered a cinematic high point, and Herk Harvey's 1962 B-horror film Carnival of Souls. Their similarities, on the other hand, are considerable, even though I doubt that Harvey had even seen Last Year at Marienbad while making his [...]...
- 3/25/2011
- by Dan Schneider
- Alt Film Guide
Last Year at MarienbadShemaroo/Studio Canal, Rs 349Rating: **** Among the leading filmmakers of the French New Wave, Alain Resnais was probably the most theatrical. He used the camera as if looking through a proscenium. His actors’ movements were often melodramatic, whether in animation or in stasis. And his music heightened all of this. Nowhere is this unique Resnais treatment better defined than in Last year in Marienbad, a surreal 1961 film in which we are never sure what the unnamed characters know. Delphine Seyrig as woman A and Giorgio Albertazzi as man X meet at an ornate baroque palace. The man ...
- 5/21/2010
- Hindustan Times - Cinema
DVD Playhouse—July 2009
By
Allen Gardner
Do The Right Thing: 20th Anniversary Edition (Universal) Spike Lee’s groundbreaking fable about race relations in an ethnically mixed Brooklyn neighborhood during a sweltering New York summer remains as potent, timely and prescient as it was in 1989. Lee is among the cast, which also includes John Turturro, Danny Aiello, Samuel L. Jackson, Ossie Davis, Ruby Dee, and Rosie Perez (to name a few), that provide the tableaux-like framework for this stunning work. Criminally ignored by Oscar (it wasn't even nominated for Best Picture, but did garner nods for Supporting Actor Danny Aiello and Lee’s screenplay), it endures as a timeless classic. Also available on Blu-ray disc. Bonuses: Commentary by Lee, Ernest Dickerson, Wynn Thomas, Joie Lee; Documentary; Deleted and extended scenes; Featurettes. Widescreen. Dolby and DTS 5.1 surround.
Coraline (Universal) A young girl moves into an old Victorian house with her parents...
By
Allen Gardner
Do The Right Thing: 20th Anniversary Edition (Universal) Spike Lee’s groundbreaking fable about race relations in an ethnically mixed Brooklyn neighborhood during a sweltering New York summer remains as potent, timely and prescient as it was in 1989. Lee is among the cast, which also includes John Turturro, Danny Aiello, Samuel L. Jackson, Ossie Davis, Ruby Dee, and Rosie Perez (to name a few), that provide the tableaux-like framework for this stunning work. Criminally ignored by Oscar (it wasn't even nominated for Best Picture, but did garner nods for Supporting Actor Danny Aiello and Lee’s screenplay), it endures as a timeless classic. Also available on Blu-ray disc. Bonuses: Commentary by Lee, Ernest Dickerson, Wynn Thomas, Joie Lee; Documentary; Deleted and extended scenes; Featurettes. Widescreen. Dolby and DTS 5.1 surround.
Coraline (Universal) A young girl moves into an old Victorian house with her parents...
- 7/14/2009
- by The Hollywood Interview.com
- The Hollywood Interview
Forget Who's Your Favorite Beatle, or Who's Your Favorite Monkee, or even Who's Your Favorite Little Rascal (for me, it's Wheezer, God save him) -- if you ask someone What's Your Favorite French New Wave Landmark and they say Alain Resnais' "Last Year at Marienbad" (1961), you'd better start a endless tab for cocktails, hunker down for a long and glorious night of gamesmanship and bedevilment, and forget about tomorrow. Famous as the über-art film openly mocked by Pauline Kael and the authors of "The Fifty Worst Films of All Time," Resnais' saturnine masterpiece remains exactly the film experience it was originally intended to be: a dream inside a puzzle inside a story that never actually takes place. Is there a better, more eloquent way to define movies?
Cavils are absurd, because "Marienbad" so obviously avoids being a "normal" movie in every frame. On the most fundamental level, it's a ravishing formal achievement,...
Cavils are absurd, because "Marienbad" so obviously avoids being a "normal" movie in every frame. On the most fundamental level, it's a ravishing formal achievement,...
- 6/30/2009
- by Michael Atkinson
- ifc.com
Part 1 Part 2 Part 4 101. The Last Unicorn (1982. Jules Bass & Arthur Rankin Jr) It’s surprising how few people have seen this. Wonderful animation, and a great rendition of the story. 1982 was pretty early for big names doing the voices of animated features, at least a whole cast of them. But, Rankin and Bass (and you’ve got to love getting them on your list) had been pulling in some of the biggest names in entertainment for years to do voices for them. 102. Last Year at Marienbad (1961. Alain Resnais. Delphine Seyrig. Giorgio Albertazzi. Sacha Pitoeff. Francoise Bertin) Nominated Best Original Screenplay. Nominated Best Film Any Source - BAFTA. 103. Lawrence of Arabia (1962. David Lean. Peter O’Toole. Alec Guinness. Anthony Quinn. Omar Shariff. Jose Ferrer) Won Best Art Direction, Best Cinematographer Continue reading...
- 11/9/2008
- by Marc Eastman
- AreYouScreening.com
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