Sons and Lovers
At the Brattle through Saturday
By William A. Nitze, March 26, 1962
Sons and Lovers does not lend itself easily to a movie script, but Jack Cardiff has transformed Lawrence’s novel into a superb film. The reader must follow a slow and agonizing series of conflicting passions presented in a style which is often deceptively complex. Through a skillful rearrangement of plot elements and dialogue Cardiff has condensed the novel into an hour and 45 minutes without sacrificing its subtlety and force.
The film opens halfway through the story: Paul Morel is in his early twenties. Within the first ten minutes one grasps all of the important relationships of the drama: the abandonment of Walter Morel by his wife and sons, who detest him because of his weakness and cruelty; Paul’s desperate attachment to his mother, and his frustrated love for Miriam. The film then concentrates on the final failure of Miriam to break through Mrs. Morel’s hold on her son, Paul’s unsuccessful affair with Clara Dawes and his final liberation through his mother’s death. Continue reading
A woman believes she is beginning to lose her mind when she begins seeing ghosts and spirits.
As a comment on religious repression, familial ostracism, and subliminal incestuous urges, this film might have some value. Continue reading
A well-off young woman decides to become a nun, joining a convent that rehabilitates female prisoners. Through their program, she meets a woman named Thérèse who refuses any help because she says she was innocent of the crime she was convicted for. After being released from prison, Thérèse murders the actual perpetrator of the crime and comes to seek sanctuary in the convent. Continue reading
Brief Synopsis from TCM:
Zani is an unusual young man who has spent his entire life in a zoo in Budapest. His only true friends are the zoo’s animals. When Zani meets Eve, a young orphan girl, they fall in love. To be together Eve must somehow escape from her strict orphan school. When she does she and Zani must hide overnight in the zoo – where everyone is looking to find them. Continue reading
Plot (Babelfish translation):
Antonio goes to Rome, the great city center of the ” dolce vita”, with the money collected from the fellow countrymen, in order to spend them on a project: To construct a freeway for the home town. But the countrymen do not have more news and they send Peppino to search for him. But when Peppino meet Antonio he is also dragged into metropolian habits and the sweet roman life, between beautiful actresses, cocaine exchanged for borotalco (?) and orgies. The town folks impatiently await news… Continue reading
I am Twenty is notable for its often dramatic camera movements, handheld camerawork and heavy use of location shooting, often incorporating non-actors (including a group of foreign exchange students from Ghana and the poet Yevgeny Yevtushenko) and centering scenes around non-staged events (a May Day parade, a building demolition, a poetry reading). Filmmakers Andrei Tarkovsky and Andrei Konchalovsky both play small roles in the film. The dialogue often overlaps and there are stylized flourishes that echo the early French New Wave, especially François Truffaut’s black and white films. The screenplay, co-written by Gennadi Shpalikov, originally called for a film running only 90 minutes, but the full version of the film runs for three hours. Continue reading
Le Jour se lève (or Daybreak) is a 1939 French film directed by Marcel Carné and written by Jacques Prévert, based on a story by Jacques Viot. It is considered one of the principal examples of the French film movement known as poetic realism.
In 1952, it was included in the first Sight and Sound top ten greatest films list.
After committing a murder, a man locks himself in his apartment and recollects the events the led him to the killing. Continue reading