Sarris's "Far Side of Paradise" entry for Walsh in The American Cinema (1969). "Far Side of Paradise" refers to "the directors who fall short of the Pantheon either because of a fragmentation of their personal vision or because of disruptive career problems."
If the heroes of Ford are sustained by tradition, and the heroes of Hawks by professionalism, the heroes of Walsh are sustained by nothing more than a feeling for adventure. The Fordian hero knows why he is doing…
Sarris's "Far Side of Paradise" entry for Walsh in The American Cinema (1969). "Far Side of Paradise" refers to "the directors who fall short of the Pantheon either because of a fragmentation of their personal vision or because of disruptive career problems."
If the heroes of Ford are sustained by tradition, and the heroes of Hawks by professionalism, the heroes of Walsh are sustained by nothing more than a feeling for adventure. The Fordian hero knows why he is doing…
Robert Bresson's Les Dames du Bois de Boulogne deserves a few explanatory notes, if only because this brilliant work has been so widely and wildly vilified by so-called realistic criticism. Realism, as Harold Rosenberg has so sagely remarked, is but one of the 57 varieties of decoration. Yet, particularly where movies are concerned, the absurdly limited realism of the script girl and the shop girl is too often invoked at the expense of the artist's meaning. Why, oh why, whines…
Satyajit Ray's The Chess Players is said to represent a radical departure in the director's career from the Bengali-language works he has made up to now: It is his first feature in Hindi. The non-Indian viewer can hardly be expected to understand all the ramifications of this movie. The question then arises as to where The Chess Players fits in Ray's career as subtitled cinema. Actually, since much of the film is concerned with British colonialism, about a third of…
