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The Swindle
(1955)
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Vernon Young
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Although on a single viewing I would not rate the film equal to La Strada in human and evocative appeal, it does show Fellini at his cinematic best.
Posted Jan 30, 2024
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The Gold of Naples
(1954)
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Vernon Young
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A dazzling example of De Sica’s versatility and of his mastery of the tragicomic vein.
Posted Jan 30, 2024
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Raíces
(1953)
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Vernon Young
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Not since Sergei Eisenstein’s ill-fated incomplete epic has the monumental, bristling landscape of Mexico been photographed with such impact.
Posted Jan 30, 2024
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The Bandit
(1953)
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Vernon Young
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[The premise] gives no hint of the visual excitement of the movie, of the raffish style of the actors (Milton Ribeiro’s Galdino is unimaginable!), or of the pulsating Brazilian folk tunes which animate the score.
Posted Jan 30, 2024
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Sawdust and Tinsel
(1953)
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Vernon Young
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The greatest European film to be shown here in the past year -- always excepting La Strada -- is The Naked Night, directed by the virtually unknown Ingmar Bergman.
Posted Jan 30, 2024
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Devil's General
(1955)
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Vernon Young
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This one is enlarged beyond its scenario by its trenchant depiction of a man realizing too late that he has bartered his soul for an unspeakable political shibboleth.
Posted Jan 30, 2024
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The Last Ten Days of Adolf Hitler
(1956)
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Vernon Young
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[Director G. W. Pabst's] head continually interferes with his artistic sense. Again and again the film falls short of the concentrated horror it climbs to; but the performance of Oskar Werner makes it entirely worth seeing.
Posted Jan 30, 2024
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We Are All Murderers
(1957)
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Vernon Young
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The film breaks down under a surfeit of exhortations and climaxes.
Posted Jan 30, 2024
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Bullfight
(1956)
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Vernon Young
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It did project for me, more vividly idly than any prose description or verbal proselytizing ever has, the significance of the bullfight’s profound attraction.
Posted Jan 30, 2024
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La Strada
(1954)
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Vernon Young
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Like any deeply felt and realized symbol, La Strada is at once nuclear and radiating; within its deceptively simple span, an eternal pattern and a prophecy are established.
Posted Jan 30, 2024
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Limelight
(1952)
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Vernon Young
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A creative cinematic imagination gone to seed.
Posted Jan 18, 2024
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Forbidden Games
(1952)
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Vernon Young
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Summary is inadequate to convey anything but the general conception, surely the most extraordinary blend of tragedy and ferocious comedy ever achieved in the history of film-making.
Posted Jan 18, 2024
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The Third Man
(1949)
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Vernon Young
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These means to fluidity, surprise, and persuasion, combined with the unreal reality of war-stripped Vienna and the incidental locales... give the whole film a percussive fluency, like a plausibly scripted nightmare.
Posted Jan 18, 2024
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Caught
(1949)
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Vernon Young
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It succeeds as a qualitatively rich lesson in the art of the film director: the art of making an unexceptional story count for more than, in its preliminary form, it would seem to suggest -- or even to deserve?
Posted Jan 18, 2024
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The Queen of Spades
(1949)
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Vernon Young
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Although it would be invidious to slight the multiple skills that organized the complex wonders... it must be allowed that their manifold efforts would have missed fruition without the compelling performances of Anton Walbrook and Edith Evans.
Posted Jan 18, 2024
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Louisiana Story
(1948)
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Vernon Young
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Technique: No rhythm. No meaningful progression of shots. Yards of waste footage, based on the pedestrian assumption that what goes up must be shown coming clown or must be seen going all the way to the top.
Posted Jan 18, 2024
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Children of Paradise
(1945)
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Vernon Young
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Although it introduces no fresh mutation of cinema techniques, Marcel Carne’s film is expressively superb, conceived symbolically and acted with histrionic elegance and feeling -- a rich parable of the uses of love.
Posted Jan 18, 2024
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Umberto D
(1952)
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Vernon Young
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Few directors could manage... the beautiful cadence in this film where the coming of day is enacted through the actions of Maria as she gets out of bed. The scene is wordless, leisured and almost unbearably intimate.
Posted Jan 17, 2024
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