One of the most beloved movie epics of all time, Akira Kurosawa’s Seven Samurai (Shichinin no samurai) tells the story of a sixteenth-century village whose desperate inhabitants hire the eponymous warriors to protect them from invading bandits. This three-hour ride—featuring legendary actors Toshiro Mifune and Takashi Shimura—seamlessly weaves philosophy and entertainment, delicate human emotions and relentless action into a rich, evocative, and unforgettable tale of courage and hope.
(Criterion Collection) Continue reading
A well-crafted film, 24 February 2001
Author: jeffreynothing from Toronto, Canada
I saw this film at a screening several years ago at the Edinburgh Film Festival. The picture was actually introduced by Mr.Ulmer’s daughter. It’s a typical 1940’s melodrama that is well directed. It is apparent in viewing the film that Ulmer knew exactly what he was doing when he made a movie. It was only the second Ulmer film I had seen, the first being the superior Detour. I can’t remember the plot in too much detail because it was a while ago, but it involves an illegitimate child. It has a good social message in that it sheds light on how so-called “bastard” children are sometimes the subjects of social discrimination. I’m surprised it hasn’t received more votes. I guess I was lucky to catch that screening. Continue reading
Jan Němec’s original proposal in 1966 to adapt Kafka’s Metamorphosis as a theatrical feature was rejected by the Czech state film board. In 1974, he was forced into exile — first seeking refuge in Germany: Continue reading
This Russian film adaptation of Nikolai Gogol’s story was for a long time the only horror film made in the Soviet Union. Khoma (Leonid Kuravlev), a young novice, travels across the countryside and stays for a night in a barn that belongs to an ugly old woman. When she attacks him at night and takes him for a broom ride, the scared novice fatally wounds her, and before she dies, she turns into a beautiful young noblewoman (Natalya Varley). The latter leaves a will, according to which Khoma should pray for her for three nights in the chapel until her body is buried. At night, the witch rises from the coffin and tries to catch Khoma. She flies around but she can’t reach him or see him because he stays inside the circle that he has drawn around himself. During the third and last night, the witch makes the last attempt to scare him out of the circle, and she calls all sorts of ugly creatures to help her… Gogol wrote several stories based on Ukrainian folklore, many of them dealing with the Devil and the supernatural. ~ Yuri German, All Movie Guide Continue reading
M stands for murder and also for mindfuck in this, one of Hitchcock’s best films. Based on a stage play by Frederick Knott (whose credits also include another great thriller, Wait Until Dark), Dial M For Murder includes one of the most intricate plots of any murder mystery as well as maximum amounts of Hitchcock’s trademark suspense.
A quietly evil Ray Milland plays a cold fish who plots to kill his wife (Grace Kelly) for her insurance money. As he explains at the beginning of the movie, he also wants to commit the “perfect murder” – i.e. one that is complicated and dangerous, yet foolproof and never suspected. John Williams is the Scotland Yard inspector who may be onto him.
It doesn’t matter that the movie starts with a lengthy exposition… or even that the identity of the villain is revealed in the first twenty minutes. Dial M will pull you to the edge of whatever you’re sitting on and keep you there. (If you don’t pay attention, you won’t be able to follow all the twists and turns of the plot.) Hitchcock’s direction was never better. In fact, the film is a good model to follow for mystery directors; Hitchcock draws exactly the right amount of attention (but not too much) to the subtle actions and details that are crucial to the murder plot.
Dial M For Murder is not always regarded as one of Hitch’s best. Critics seem to prefer the more theatrical, psychological melodramas to the brainy whodunits. But pay no attention – this film is definitely a classic. Continue reading
Luis Bunuel classic from 1950. It is a tale of savage acts committed by impoverished youths in Mexico City. It is a film that has been kept fresh by its spirit and its style. Far from being puppets in a sermon on poverty, the characters are vivid creatures whose fierce desires are the focus of Bunuel’s attention.
In his unique storytelling, he not only finds forceful images in the dramas reality, but adds a masterful dream sequence.
Genius. Continue reading
The last person to die on New Year’s Eve before the clock strikes twelve is doomed to take the reins of Death’s chariot and work tirelessly collecting fresh souls for the next year. So says the legend that drives The Phantom Carriage (Körkarlen), directed by the father of Swedish cinema, Victor Sjöström. The story, based on a novel by Nobel Prize winner Selma Lagerlöf, concerns an alcoholic, abusive ne’er-do-well (Sjöström himself) who is shown the error of his ways, and the pure-of-heart Salvation Army sister who believes in his redemption. This extraordinarily rich and innovative silent classic (which inspired Ingmar Bergman to make movies) is a Dickensian ghost story and a deeply moving morality tale, as well as a showcase for groundbreaking special effects. (-Criterion) Continue reading