387. The Third Man
The Palme d’Or winner in 1949, Carol Reed’s masterpiece drew on covert sources and unexpected styles and techniques to deliver a melancholic mystery.
The Palme d’Or winner in 1949, Carol Reed’s masterpiece drew on covert sources and unexpected styles and techniques to deliver a melancholic mystery.
How do you make a film about a sociopath who murders his entire extended family and still get the audience to root for him?
Cries and Whispers was Ingmar Bergman’s fourth colour film but with a palette of just black, white and red, he still painted deep emotions and vivid dreams.
Max Ophuls’ adaptation of Stefan Zweig’s novella is more than a romance; it explores memory, delusion and the meaning of art.
In adapting Karen Blixen’s short story, Gabriel Axel chose to omit the politics and focus on the religious parable. But really, it works best as a recipe for life.
Reviled and banned upon its release, then feared lost forever, Jean Renoir’s masterpiece stands today as a victory for liberalism.
Why did Edmond Rostand base his play on a real-life historical figure, only to turn his writing talent into a tragedy?
When Amadeus was initially released the trailer was given a near saturation run on MTV, presenting the composer as the punk of his day.
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