The Dark Side of the Screen
Although it can be traced to German Expressionism and French Poetic-Realism, Film Noir is quintessentially an American idiom. Not a genre but a mood, it centres on fatalistic dread.
Although it can be traced to German Expressionism and French Poetic-Realism, Film Noir is quintessentially an American idiom. Not a genre but a mood, it centres on fatalistic dread.
In The Marriage of Maria Braun, Rainer Werner Fassbinder mixed Hollywood melodrama, historical drama and political indictment.
Described as the most evil film ever made, Henri George Clouzot’s masterpiece resembles Hemingway, Hitchcock, neo-realism and Casablanca.
What makes for a great scene? Performance? Conflict? Dialogue? Visuals? Music? Combine them and you have atomic weight.
The legend has endured for 500 years and Hollywood has filmed it a dozen times. But Errol Flynn is still the only Robin Hood.
Joan Crawford’s portrayal of martyred mother Mildred Pierce is the stuff of legend. It not only won her an Oscar but provided her with a career defining role.
You can divide Hollywood rom-coms into two eras; before and after Annie Hall. The film also marked the arrival of one of America’s most individual artists.
“Here’s looking at you, kid.” Casablanca has more quotable lines than any other movie, but it’s the visual design that gives the film its thematic resonance.
Originally intended to run at four and a half hours, Sergio Leone’s gangster epic suffered greatly at the hands of its distributors.
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