De Palma: The master of excess and suspense
There is no doubt that one of the great directors of the modern age is Brian de Palma, a director who has a long list of classics, near classics and interesting gems to his name. Scarface, The Untouchables, Carlito's Way, Obsession, Dressed to Kill, Casualties of War, Mission Impossible, Raising Cain or Carrie. Even his duds – Bonfire of the Vanities, Mission to Mars or Snake Eyes – have moments of great interest to cinephiles and reveal a director with a real understanding, not only of the technical aspects of filmmaking, but of the filmic possibilities of the camera.
De Palma Trailer Brian De Palma Documentary
Woman In The Dunes (Suna No Onna) 1964 Trailer
Woman in the Dunes: A very sandy Japanese classic
I am always on the look of for new films, one reason why I like to comb the pages of Twitter is to find out what others are watching. It is the reason why I enjoy reading websites like Criterion as it is a treasure trove of information on some well known and not so well known classics. It is also why I am attracted to podcasts featuring those who share, discuss and wax lyrical about Criterion releases. Living in the UK means that Criterion releases are both few and far between as well as quite expensive, which is why I have not yet purchased any of them. Yet I dream of the days when I will be able to afford and collect these wonderful films myself, especially when I see that, amongst those limited UK releases, are such classics as Cat People, In A Lonely Place or 12 Angry Men.
Stromboli: Rossellini and Bergman's Volcanic Love Story
Sometime in 1947 Ingrid Bergman, the star of Casablanca and one of the biggest names in the Hollywood firmament, wrote a letter to the Italian Neo-Realist film director Roberto Rossellini. She didn't know where he was so she addressed the letter c/o the Minerva Film Corporation in Rome. The letter was then saved from the trash by a studio employee who passed it onto the director.
Stromboli Final Scene
The Wild Child: The dignity of Francois Truffaut
In my recent review of Francois Truffaut's last film Finally Sunday, I stated that he had 'the lightest of touches, even when dealing with some weighty subjects.' Now, putting aside for the moment the audacity of quoting myself (my apologies), I believe that this statement is especially true of his 1970 film The Wild Child.