In which Luchino Cinema Visconti gives the world the debut it never expected. No one is expecting someone to burst on the scene and pop out a study version of Rocco and His Brothers ('60) complete with sweeping score and VISCONTI proudly emblazoned across the screen. While the story has a way to go to get to Rocco and His Brothers, the technique impresses, and Massimo Girotti is beyond hot.
A brief stop at Wikipedia found 14 film depictions of John Dillinger, which is superfluous, at least for me, a searcher for great art who finds the biopic rarely worthy of being categorized as such. At least this one, with its attractive '70s aesthetic, certainly isn't the worst of the 14 attempts.
The only Kurosawa I had seen was Rashomon (1950) in a class I took in college called Philosophy and Film. I remember dreading it. I don't care for period pieces. Rashomon surprised me. I was impressed by it. I remember the imagery being awe-inspiring and the film being masterfully put together. That said, I still feel as though Rashomon is overrated. The trifurcated plot device is gimmicky, not in the sense that it is lame, but that it is cause…
After seeing Yi Yi (2000) many years ago, and now this, the best word I can think of to describe director Edward Yang is overkill.
His movies consist of perfectly composed scene after perfectly composed scene after perfectly composed scene after perfectly composed scene.
Much action occurs, but Yang moves things along in so stately a manner that the most frequent sound is silence.
The experience of going to see a Yang film is like being excited to dress up…