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Celebrating Films of the 1960s & 1970s
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RSS: Cinema Retro - Criterion Corner-DVD/Blu-ray Reviews - Celebrating Films of the 1960s & 1970s
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REVIEW: "IN THE HEAT OF THE NIGHT" (1967) STARRING SIDNEY POITIER AND ROD STEIGER; CRITERION BLU-RAY RELEASE
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<p> </p>
<p><!-- s9ymdb:10012 --><img class="serendipity_image_center" src="/fbe/uploads/heatblu.jpg" width="450" height="559" /> </p>
<p class="MsoNormal"><strong><span style="font-size: 10pt; font-family: "Verdana", sans-serif;">¡°A SLAP HEARD AROUND
THE WORLD¡±</span></strong></p>
<p class="MsoNormal"><strong><span style="font-size: 10pt; font-family: "Verdana", sans-serif;">By Raymond Benson</span></strong></p>
<p class="MsoNormal"><strong><span style="font-size: 10pt; font-family: "Verdana", sans-serif;"> </span></strong></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: "Verdana", sans-serif;">The
year 1967 was a milestone for actor Sidney Poitier. First, <em>To Sir, with Love</em> garnered sizable box-office for this British
picture, and then Hollywood produced <em>In
the Heat of the Night </em>and <em>Guess Who¡¯s
Coming to Dinner</em>, two back-to-back revolutionary movies that solidified Poitier¡¯s
position not only as Tinsel Town¡¯s only black leading man at the time, but also
as an icon of the civil rights movement and <em>the</em>
representative¡ªcertainly not by choice¡ªof his race in films to the rest of
America. Throughout his career, Poitier maintained an intelligence and dignity
that was tangible, and this is what made him such a charismatic star. </span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: "Verdana", sans-serif;"> </span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: "Verdana", sans-serif;">Both
<em>In the Heat of the Night </em>and <em>Guess Who¡¯s Coming to Dinner</em> were Oscar
nominees for Best Picture. A winner of five awards, <em>Heat </em>took home the gold. Rod Steiger, Poitier¡¯s dynamic co-star,
won the Best Actor trophy. Hal Ashby and Stirling Silliphant were honored for,
respectively, editing and the adapted screenplay (based on the novel by John
Ball). It was a year of tough competition (<em>The
Graduate </em>and <em>Bonnie and Clyde </em>were
also nominated). </span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: "Verdana", sans-serif;"> </span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: "Verdana", sans-serif;">While
<em>In the Heat of the Night </em>is still a
terrific movie today, one must place it in the context of the year it was
released to fully understand its impact. The civil rights movement was at its
height. The nation¡¯s television sets were full of images of marches, riots, and
violence. It seemed as if we were sitting on a powder keg, and <em>Heat </em>perfectly captured the tension of
the moment by telling a story set in the South of a racist police chief and a
black detective who unwittingly join forces to solve a murder.</span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: "Verdana", sans-serif;"> </span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: "Verdana", sans-serif;">Virgil
Tibbs (Poitier) is a homicide detective from Philadelphia who happens to be
passing through town on the night a prominent white businessman is found
murdered. Arrested at the train station, Tibbs is brought to Chief Gillespie
(Steiger) and the truth comes out that they have the wrong man. Before he can
leave town, though, Tibbs finds himself embroiled in the investigation¡ªand ends
up leading it¡ªwhile all around him is the threat of danger due to the color of
his skin. </span></p>
<p><!-- s9ymdb:10013 --><img class="serendipity_image_center" src="/fbe/uploads/heatblu2.jpg" width="450" height="241" /> </p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: "Verdana", sans-serif;"> </span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: "Verdana", sans-serif;">And
then there¡¯s the infamous scene which many critics and film historians called
¡°the slap heard around the world.¡± Tibbs and Gillespie go to a cotton
plantation to interview the deceased¡¯s primary competitor, Endicott (Larry
Gates), who is obviously put off by being questioned by a black man. At one
point, he slaps Tibbs¡ªbut Tibbs immediately retaliates by slapping the man in
return. In 1967, this was positively shocking. It¡¯s the key moment in this
powerfully-directed picture.</span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: "Verdana", sans-serif;"> </span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: "Verdana", sans-serif;">Warren
Oates and Lee Grant also deliver strong performances as a police deputy and the
widow of the murder victim, respectively. With the innovative blues score by
Quincy Jones (and title theme sung by Ray Charles), Haskell Wexler¡¯s gritty
cinematography, and the perfect script by Silliphant, <em>In the Heat of the Night </em>is one of the classic American films.</span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: "Verdana", sans-serif;"> </span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: "Verdana", sans-serif;">The
Criterion Collection¡¯s new Blu-ray contains a 4K digital restoration with an
uncompressed monaural soundtrack. The visual quality is much improved over the MGM
Blu-ray of a few years ago (but, unfortunately, does not include the audio
commentary by Jewison, Grant, Steiger, and Wexler from the earlier disk).
Still, there are some good supplements. Brand new interviews with Norman
Jewison and Lee Grant are informative, especially Grant¡¯s treatise on the
blacklisting she had undergone. A new interview with Aram Goudsouzian, author
of <em>Sidney Pointer: Man, Actor, Icon</em>,
presents a capsule portrait of Poitier and his place in Hollywood through the
years. A vintage interview of Poitier from a 2006 AFI piece illustrates the
making of the picture. Ported over from the previous MGM disk is the 2008 documentary,
<em>Turning Up the Heat: Movie-Making in the
60s</em>, which features Jewison, Wexler, and producer Walter Mirisch, plus
contemporary filmmakers John Singleton and Reginal Hudlin on the making of the
film. <em>Quincy Jones: Breaking New Sound</em>,
also from 2008, explores the movie¡¯s soundtrack and features Jones, lyricists
Alan and Marilyn Bergman, and Herbie Hancock. The theatrical trailer is
included, and the accompanying booklet features an essay by critic K. Austin
Collins.</span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: "Verdana", sans-serif;"> </span></p>
<p class="MsoNormal"><em><span style="font-size: 10pt; font-family: "Verdana", sans-serif;">In the Heat of the
Night </span></em><span style="font-size: 10pt; font-family: "Verdana", sans-serif;">is
a landmark drama that broke new ground on several fronts¡ but also at its heart
is a cracking good murder mystery! A must-see masterpiece.</span></p>
<p><strong><a href="http://www.amazon.com/exec/obidos/ASIN/B07J34BKZW/cinemaretroco-20">CLICK HERE</a> TO ORDER FROM AMAZON</strong> <br /></p>
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Sat, 19 Jan 2019 13:09:00 +0000
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http://creativecommons.org/licenses/by/3.0/
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REVIEW: POLANSKI'S "MACBETH" (1971), CRITERION BLU-RAY RELEASE
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<p><!----><img src="/fbe/uploads/MACBETHBLU.jpg" class="serendipity_image_center" width="450" height="559" /> </p>
<p><strong>RETRO-ACTIVE: THE BEST FROM THE CINEMA RETRO ARCHIVES</strong> <br /></p>
<p class="MsoNormal"><strong><span style="font-size: 10pt; font-family: Verdana, sans-serif;">¡°BLOOD AND PRESTIGE¡±</span></strong></p>
<p class="MsoNormal"><strong><span style="font-size: 10pt; font-family: Verdana, sans-serif;">By Raymond Benson</span></strong></p>
<p class="MsoNormal"><strong><span style="font-size: 10pt; font-family: Verdana, sans-serif;"> </span></strong></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: Verdana, sans-serif;">(Portions
of this review are reprinted from the article ¡°Playboy Goes to Hollywood,¡± by
the same author, which appeared in <em>Cinema
Retro, </em>Volume 2, Issue #5, 2006.)</span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: Verdana, sans-serif;"> </span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: Verdana, sans-serif;">The
Criterion Collection has seen fit to release on Blu-ray and DVD (separate
packaging) Roman Polanski¡¯s striking film adaptation of William Shakespeare¡¯s <em>Macbeth</em>, originally released in 1971.
Not very well received at first, the picture¡¯s reputation has grown over the
years such that it is now arguably considered the definitive version of the ¡°Scottish
play¡± on celluloid (although Akira Kurosawa¡¯s 1957 <em>Throne of Blood </em>is certainly a contender). Gritty, realistic, and
violent, Polanski¡¯s vision is dark and troubling¡ªas the story is meant to be. </span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: Verdana, sans-serif;"> </span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: Verdana, sans-serif;">It¡¯s possible that some of the negative
press it received in 1971 was due to the fact that it was the first major
motion picture produced by Playboy Productions, with Hugh M. Hefner serving as
executive producer, while Playboy executive Victor Lownes II served as assistant
executive producer (Andrew Braunsberg, a close friend of Polanski¡¯s, was credited
as producer). The film came about as a result of the friendship between
Polanski and Lownes.<span> </span>The director had
been recovering from the tremendous amount of grief he had suffered after the
murder of his wife Sharon Tate at the hands of the Manson family in 1969¡ªhe
needed something that would help purge himself of the ugly and violent images
in his head and heart. Shakespeare¡¯s controversial and bloody play seemed to be
the right vehicle. (Some say the play is unlucky¡ªthere are still theatre people
who refuse to refer to it by name.) </span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: Verdana, sans-serif;"> </span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: Verdana, sans-serif;">Indeed, making the film was something
of a catharsis for Polanski¡ªthere were a few occasions in which he unwittingly
referred to the lead actress as ¡°Sharon.¡± Adapted by renowned playwright and
critic Kenneth Tynan, Polanski¡¯s <em>Macbeth</em>
became a poster child for the handful of ultra-violent pictures to be released
in 1971¡ªthe same year as <em>A Clockwork
Orange</em>, <em>Dirty Harry</em>, and <em>Straw Dogs</em>. The blood flows freely in <em>Macbeth</em>¡ªa decapitation is even presented
most realistically¡ªbut to focus solely on the film¡¯s violence does not do it
justice. The film is a remarkably faithful adaptation of the play.</span></p>
<p><!-- s9ymdb:7287 --><img src="/fbe/uploads/MACBETHBLU2.jpg" class="serendipity_image_center" width="450" height="191" /> </p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: Verdana, sans-serif;"> </span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: Verdana, sans-serif;">¡°Corporate was initially against the
idea,¡± Hugh Hefner said in a 2006 interview for <em>Cinema Retro</em>. ¡°It was not a very commercial undertaking, and I knew
it wouldn¡¯t make any money. Victor made a strong case to do it and I agreed
with him. It was more of a prestige thing for Playboy. Playboy and Shakespeare?
Who would have thought?¡±<span> </span></span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: Verdana, sans-serif;"> </span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: Verdana, sans-serif;">The film was made in Scotland, of
course, and featured mostly unknown but highly talented stage actors¡ªJon Finch
as Macbeth, Francesca Annis as Lady Macbeth, Nicholas Selby as Duncan, Stephen
Chase as Malcolm, Martin Shaw as Banquo, and Terence Bayler as Macduff. At one
point during production, Polanski ran over schedule and over budget, causing
the insurance backers to drop the guarantee. Hefner had to fly to London, take
stock of the situation, and personally guarantee the completion of the film
with Playboy Productions¡¯ money.<span> </span></span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: Verdana, sans-serif;"> </span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: Verdana, sans-serif;">Back home in the States, Hefner viewed
the dailies at the Playboy Mansion. Hefner remembered, ¡°For my birthday that
year, the cast¡ªon film¡ªsuddenly stopped the action of a scene and began singing
¡®Happy Birthday¡¯ to me.¡±<span> </span></span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: Verdana, sans-serif;"> </span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: Verdana, sans-serif;">The film <em>did </em>receive a number of very positive reviews and a few awards,
too¡ªit won Best Picture from the National Board of Review and won a BAFTA for
Costume Design. ¡°Of course, as I predicted, it didn¡¯t make any money,¡± Hefner
said. ¡°In fact, it <em>lost </em>money. But we
didn¡¯t really care. It was a good picture and I¡¯m proud of it. I believe since
its release the film has gone into the black.¡± </span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: Verdana, sans-serif;"> </span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: Verdana, sans-serif;">Criterion¡¯s new 4K digital restoration,
approved by Polanski, with 3.0 surround DTS-HD Master Audio soundtrack is
assuredly the best possible presentation of this remarkable film. The dreary
Scottish landscapes are gorgeous in their own way, and you can feel the mud and
slop in every scene. Extras include a new documentary featuring interviews with
Polanski, Braunsberg, Lownes, and actors Annis and Shaw; a 1971 documentary
featuring rare footage of the cast and crew at work; an interview with Kenneth
Tynan from a 1971 episode of <em>The Dick
Cavett Show</em>; and a segment from the 1972 British TV series <em>Aquarius </em>featuring Polanski and theatre
director Peter Coe. Critic Terrence Rafferty¡¯s essay in the booklet rounds out
this exceptional package from The Criterion Collection. </span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: Verdana, sans-serif;"> </span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: Verdana, sans-serif;">Grab it! Just don¡¯t ever pronounce the
name of the play aloud!</span></p>
<p><strong><a href="http://www.amazon.com/exec/obidos/ASIN/B00L3ZB7PS/cinemaretroco-20">CLICK HERE</a> TO ORDER FROM AMAZON</strong> <br /></p>
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Mon, 07 Jan 2019 13:31:00 +0000
/fbe/index.php?/archives/8258-guid.html
http://creativecommons.org/licenses/by/3.0/
-
REVIEW: INGMAR BERGMAN'S "SAWDUST AND TINSEL" (1953); CRITERION BLU-RAY SPECIAL EDITION
https://www.google.com//fbe/index.php?/archives/10330-REVIEW-INGMAR-BERGMANS-SAWDUST-AND-TINSEL-1953;-CRITERION-BLU-RAY-SPECIAL-EDITION.html
Criterion Corner-DVD/Blu-ray Reviews
/fbe/index.php?/archives/10330-REVIEW-INGMAR-BERGMANS-SAWDUST-AND-TINSEL-1953;-CRITERION-BLU-RAY-SPECIAL-EDITION.html#comments
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nospam@example.com (Cinema Retro)
<p><!-- s9ymdb:9971 --><img class="serendipity_image_center" src="/fbe/uploads/sawdust.jpg" width="450" height="559" /> </p>
<p class="MsoNormal"><br /></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: Verdana, sans-serif;"> </span></p>
<p class="MsoNormal"><strong><span style="font-size: 10pt; font-family: Verdana, sans-serif;">¡°THE CIRCUS OF
HUMILIATION¡±</span></strong></p>
<p class="MsoNormal"><strong><span style="font-size: 10pt; font-family: Verdana, sans-serif;">By Raymond Benson</span></strong></p>
<p class="MsoNormal"><strong><span style="font-size: 10pt; font-family: Verdana, sans-serif;"> </span></strong></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: Verdana, sans-serif;">The
Criterion Collection has upgraded to Blu-ray their earlier DVD release of
Ingmar Bergman¡¯s 1953 feature, <em>Sawdust
and Tinsel </em>(titled <em>The Naked Night </em>when
the picture was first released theatrically in the U.S.). The visual quality
has improved with a new 2K digital restoration that looks razor sharp with gorgeous
contrasting black and white imagery, and it comes with an uncompressed monaural
soundtrack.</span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: Verdana, sans-serif;"> </span></p>
<p class="MsoNormal"><em><span style="font-size: 10pt; font-family: Verdana, sans-serif;">Sawdust </span></em><span style="font-size: 10pt; font-family: Verdana, sans-serif;">was a major step
forward in the evolution of Bergman¡¯s filmography, although it was not
well-received by Swedish audiences at the time of release. It was most likely
deemed too disturbing for what appeared to be a movie about a traveling circus.
Note that this was before Bergman¡¯s international breakthrough, which would
occur a couple of years later with <em>Smiles
of a Summer Night</em>. At the time of <em>Sawdust
and Tinsel</em>, Bergman was mostly known just in his native country and at the
various film festivals around the world where his work had been submitted. </span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: Verdana, sans-serif;"> </span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: Verdana, sans-serif;">The
first several pictures in Bergman¡¯s <em>oeuvre</em>,
especially in the late 1940s,<em> </em>were
often melodramatic tales of entanglement, lost love, betrayal, and working-class
misfits struggling to enrich their lives. It wasn¡¯t until <em>Summer Interlude</em>, in 1951, that a singular stylistic and thematic voice
emerged that can now be identified as Bergman-esque. Earlier in 1953, <em>Summer with Monika</em> was released, and
that caused something of a sensation with its frank portrayal of what the U.S.
distributor called ¡°The Story of a Bad Girl.¡± That one made a star out of
Harriet Andersson, who would work on several other pictures with Bergman over
the next four decades.</span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: Verdana, sans-serif;"> </span></p>
<p class="MsoNormal"><em><span style="font-size: 10pt; font-family: Verdana, sans-serif;">Sawdust and Tinsel </span></em><span style="font-size: 10pt; font-family: Verdana, sans-serif;">was a very different
picture from <em>Monika</em>. Taking place in
the early 1900s, the story concerns a poor, shoddy traveling circus that barely
supports itself. It is run by Albert (</span><span style="font-size: 10pt; font-family: Verdana, sans-serif;">?</span><span style="font-size: 10pt; font-family: Verdana, sans-serif;">ke Gr</span><span style="font-size: 10pt; font-family: Verdana, sans-serif;">?</span><span style="font-size: 10pt; font-family: Verdana, sans-serif;">nberg),
a middle-aged man who left his wife and sons in a small town in order to be a
ringmaster. His mistress, Anne (Harriet Andersson), is the bareback rider,
younger and yearning for something better. Frost the Clown (Anders Ek) and his
wife Alma (Gudrun Brost), who has an act with a sickly bear, are oddballs and constant
thorns in Albert¡¯s side. When the circus sets up near the town where Albert¡¯s
family lives, he decides to go for a visit. First, though, the troupe must
borrow costumes from the local theater run by creepy manager Sjuberg (played by
Bergman stalwart Gunnar Bj</span><span style="font-size: 10pt; font-family: Verdana, sans-serif;">?</span><span style="font-size: 10pt; font-family: Verdana, sans-serif;">rnstrand). There,
Anne meets the mysterious actor, Frans (Hasse Ekman), who seduces her away from
Albert. </span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: Verdana, sans-serif;"> </span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: Verdana, sans-serif;">Doesn¡¯t
sound like a good time at the cinema? Hogwash. This is a fascinating and haunting
battle of the sexes¡ªa typical Bergman theme¡ªbut the carnival milieu is so
unique to the director that <em>Sawdust and
Tinsel </em>is immediately visually striking with its dreamlike photography (it
was the first collaboration between Bergman and longtime cinematographer Sven
Nykvist), its colorful and eccentric characters, and its moody and often
threatening ambiance. </span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: Verdana, sans-serif;"> </span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: Verdana, sans-serif;">At
the story¡¯s core is a treatise on how human beings react to humiliation. The
opening scene, in which Frost must rescue his wife from the taunting of the
Swedish military performing exercises near the beach, is a nightmarish, nearly silent
mime show of anguish and terror (and the facial contortions that Ek¡¯s Frost
makes are worth a study in skin elasticity!). The meat of the picture is how the
ultimate shattering of both Albert¡¯s and Anne¡¯s dreams force them to re-examine
their lots in life.</span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: Verdana, sans-serif;"> </span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: Verdana, sans-serif;">It¡¯s
all powerful stuff.</span></p>
<p><!-- s9ymdb:9972 --><img class="serendipity_image_center" src="/fbe/uploads/sawdust2.jpg" width="450" height="338" /> </p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: Verdana, sans-serif;"> </span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: Verdana, sans-serif;">Supplements
on the disk include an audio commentary from 2007 by Bergman scholar Peter
Cowie, a video introduction from 2003 by Bergman himself, and an essay in the
booklet by critic John Simon. </span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: Verdana, sans-serif;"> </span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: Verdana, sans-serif;">NOTE:
For those of you looking for the sold-out boxed set retrospective of Bergman¡¯s
career that was released in November, <em>Ingmar
Bergman¡¯s Cinema</em>, new copies will be available February 26, 2019.</span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: Verdana, sans-serif;"> </span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: Verdana, sans-serif;"> </span></p><br /> <strong><a href="http://www.amazon.com/exec/obidos/ASIN/B07HC3KN4P/cinemaretroco-20">CLICK HERE</a> TO ORDER "SAWDUST AND TINSEL" FROM AMAZON</strong>
Thu, 13 Dec 2018 13:05:00 +0000
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REVIEW: ORSON WELLES' "THE MAGNIFICENT AMBERSONS" (1942); CRITERION BLU-RAY SPECIAL EDITION
https://www.google.com//fbe/index.php?/archives/10321-REVIEW-ORSON-WELLES-THE-MAGNIFICENT-AMBERSONS-1942;-CRITERION-BLU-RAY-SPECIAL-EDITION.html
Criterion Corner-DVD/Blu-ray Reviews
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nospam@example.com (Cinema Retro)
<p><!-- s9ymdb:9951 --><img class="serendipity_image_center" src="/fbe/uploads/MAGNIFICENTAMBERSONS.jpg" width="450" height="559" /> </p>
<p class="MsoNormal"><strong><span style="font-size: 10pt; font-family: "Verdana", sans-serif;">¡°A STOLEN
MASTERPIECE¡±</span></strong></p>
<p class="MsoNormal"><strong><span style="font-size: 10pt; font-family: "Verdana", sans-serif;">By Raymond Benson</span></strong></p>
<p class="MsoNormal"><strong><span style="font-size: 10pt; font-family: "Verdana", sans-serif;"> </span></strong></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: "Verdana", sans-serif;">In
a fascinating interview supplement contained on this amazing new release by The
Criterion Collection, film historian Joseph McBride calls <em>The Magnificent Ambersons</em> one of the great Hollywood tragedies in
that the film we got from writer/director Orson Welles was not the one he
intended. It is widely known that RKO Radio, the studio behind the production,
deleted forty-three minutes from Welles¡¯ final cut, reshot the ending, and
released the film <em>their </em>way¡ªall
against Welles¡¯ wishes¡ªand then promptly destroyed the cut footage so that the
movie could never be reconstructed.</span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: "Verdana", sans-serif;"> </span></p>
<p class="MsoNormal"><em><span style="font-size: 10pt; font-family: "Verdana", sans-serif;">The Magnificent
Ambersons</span></em><span style="font-size: 10pt; font-family: "Verdana", sans-serif;">
is a stolen masterpiece.</span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: "Verdana", sans-serif;"> </span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: "Verdana", sans-serif;">That
said, the film is <em>still </em>a great
movie. In fact, it earned Oscar nominations for Best Picture, Best Supporting
Actress (Agnes Moorehead), Best Cinematography (Black & White, by Stanley
Cortez), and Best Art/Interior Set Decoration (Black & White). </span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: "Verdana", sans-serif;"> </span></p>
<p class="MsoNormal"><em><span style="font-size: 10pt; font-family: "Verdana", sans-serif;">Ambersons</span></em><span style="font-size: 10pt; font-family: "Verdana", sans-serif;">, based on Booth
Tarkington¡¯s 1918 novel (Welles claims that Tarkington was a ¡°friend¡± of his
father¡¯s), the picture was the director¡¯s follow-up to <em>Citizen Kane</em>. Once again featuring some of the Mercury Players
(Joseph Cotten, Ray Collins, and Moorehead) and new casting choices (Dolores
Costello, Tim Holt, Anne Baxter), the production of <em>Ambersons </em>went well, with the picture going only a little over
budget. Welles delivered a 148-minute cut¡ªand then Pearl Harbor happened.
Welles was appointed by Nelson Rockefeller to be a goodwill ambassador to Latin
America so that he could attempt to persuade South American countries from
entering the war on the Axis side. </span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: "Verdana", sans-serif;"> </span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: "Verdana", sans-serif;">Welles
dutifully went to Brazil and started shooting a film (<em>It¡¯s All True</em>, another picture sabotaged by RKO) and was
essentially unavailable to receive notes and requests from RKO regarding <em>Ambersons</em>. RKO, unhappy with the film,
then took it upon themselves to change it to suit their needs, and there was
nothing Welles could do about it. The picture released in July 1942 was
88-minutes in length.</span></p>
<p><!-- s9ymdb:9952 --><img class="serendipity_image_center" src="/fbe/uploads/MAGNIFICENTAMBERSONS2.jpg" width="450" height="312" /> </p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: "Verdana", sans-serif;"> </span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: "Verdana", sans-serif;">Would
a <em>Magnificent Ambersons </em>that is an
hour longer be a better film than it already is? We can only assume. For one
thing, the ending was drastically different. Welles¡¯ version was cynical, dark,
and ironic. Given the wartime climate, RKO wanted a more upbeat ending¡ªnever
mind that it really doesn¡¯t make sense that the characters suddenly change
entire attitudes they have held throughout the film. Never mind that the final
half-hour of the movie feels choppy, rushed, and out-of-rhythm from the first
hour. The 88-minute version is what we have and must live with.</span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: "Verdana", sans-serif;"> </span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: "Verdana", sans-serif;">It
should be stated again¡ª<em>The Magnificent
Ambersons </em>is still a great picture.</span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: "Verdana", sans-serif;"> </span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: "Verdana", sans-serif;">The
story concerns the wealthy Amberson family in the early 1900s Indianapolis. Beautiful
Isabel Amberson (Costello) marries Wilbur Minafer (Don Dillaway) instead of
Eugene Morgan (Cotten), but she regrets it¡ and she and Morgan carry torches
for each other for the remainder of their days. Enter Isabel and Wilbur¡¯s
bratty son, George (Holt), who terrorizes the town with his bad manners,
arrogance, and boorishness. Things get complicated when he begins to woo
Morgan¡¯s daughter Lucy (Baxter) and at the same time insult and humiliate her
father. All the while, Wilbur¡¯s sister Fanny (Moorehead) also carries
unrequited love for Morgan and inserts herself into the already-touchy
situation.</span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: "Verdana", sans-serif;"> </span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: "Verdana", sans-serif;">Ultimately,
<em>Ambersons </em>is about the downfall of a
respected and wealthy family to that thing called Progress¡ªnamely, the
invention and proliferation of the automobile and other industrial evolutions.
Welles makes an ecological statement with the picture (back in 1942!) which is
something else RKO was unhappy with, seeing that American industries had to
ramp up to support the war effort.<span> </span></span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: "Verdana", sans-serif;"> </span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: "Verdana", sans-serif;">Criterion¡¯s
new 4K digital restoration looks marvelous, and it contains two separate audio
commentaries with scholars Robert L. Carringer and James Naremore, and critic
Jonathan Rosenbaum. </span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: "Verdana", sans-serif;"> </span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: "Verdana", sans-serif;">The
packaging is first-rate. The numerous and excellent supplements alone make the
product a 5-star purchase. Especially interesting and informative are the new
interviews with (previously mentioned) McBride and one with film historian
Simon Callow. Both men relate different insights into the history of the
production and the editing debacle. Director Welles appears on a 1970 segment
of <em>The Dick Cavett Show </em>(along with second
guest Jack Lemmon) for an often-hilarious and always-entertaining half-hour
discussion. New video essays on the cinematography and Bernard Herrmann¡¯s <em>uncredited </em>score (that was also chopped
up with RKO¡¯s editing), by Francois Thomas and Christopher Husted,
respectively, are a welcome addition. </span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: "Verdana", sans-serif;"> </span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: "Verdana", sans-serif;">Also
included is the silent version of <em>Ambersons</em>,
originally called <em>Pampered Youth</em> (1925),
and re-edited for the U.K. as <em>Two to One </em>(1927).
If that wasn¡¯t enough, we get two Mercury Theatre radio plays: the 1939
adaptation by Welles of <em>Ambersons </em>(with
Welles playing the role of George), and a 1938 adaptation of <em>Seventeen</em>, another Booth Tarkington
creation. There¡¯s more, such as audio interviews with Welles by Peter
Bogdanovich and at an AFI symposium, and the theatrical trailer. The booklet
comes in a stapled ¡°manuscript¡± that resembles a typed screenplay. It contains
essays by authors and critics (Molly Haskell, Luc Sante, Geoffrey O¡¯Brien,
Farran Smith Nehme, and Jonathan Lethem), and excerpts from a Welles memoir.</span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: "Verdana", sans-serif;"> </span></p>
<p class="MsoNormal"><em><span style="font-size: 10pt; font-family: "Verdana", sans-serif;">The Magnificent
Ambersons</span></em><span style="font-size: 10pt; font-family: "Verdana", sans-serif;">,
even in its sadly truncated form,<em> </em>further
illustrates the genius that was Orson Welles. This Criterion release is a
must-have.</span></p>
<p><strong><a href="http://www.amazon.com/exec/obidos/ASIN/B07GGMPZ3W/cinemaretroco-20">CLICK HERE</a> TO ORDER FROM AMAZON</strong> <br /></p> <!--[if gte mso 9]><xml>
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Fri, 07 Dec 2018 18:00:00 +0000
/fbe/index.php?/archives/10321-guid.html
http://creativecommons.org/licenses/by/3.0/
-
REVIEW: MICHAEL MANN'S "THIEF" (1981) STARRING JAMES CAAN, THE CRITERION DUAL FORMAT RELEASE
https://www.google.com//fbe/index.php?/archives/7935-REVIEW-MICHAEL-MANNS-THIEF-1981-STARRING-JAMES-CAAN,-THE-CRITERION-DUAL-FORMAT-RELEASE.html
Criterion Corner-DVD/Blu-ray Reviews
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<p> <!-- s9ymdb:6892 --><img src="/fbe/uploads/thiefbluray.jpg" class="serendipity_image_center" width="450" height="559" /></p>
<p><strong>By Lee Pfeiffer</strong></p>
<p>Criterion has released a dual format Blu-ray/DVD edition of director Michael Mann's 1981 crime thriller Thief starring James Caan. It's a highly impressive film on many levels, especially when one considers this was Mann's big screen feature debut. He had previously directed the acclaimed 1979 TV movie The Jericho Mile, which was set in Folsom Prison. Mann was inspired by his interaction with the world of convicts and wrote the screenplay for Thief, which is credited as being based on author Frank Hohimer's novel The Home Invaders, but he maintains virtually none of the source material ended up on screen. The story centers on Frank (James Caan), a bitter man with a troubled past. As a child he was raised in state-run homes before being sent to jail for a petty crime. Inside prison, he committed violent acts in order to defend himself but this only resulted in lengthier jail terms. By the time he has been released, he has spent half of his life behind bars. While in jail, Frank befriended Okla (Willie Nelson), a older man and master thief who is doing a life sentence. He becomes Frank's mentor and father figure and teaches him the tools of the trade. When Frank is finally released, he becomes a master at his craft, which is pulling off seemingly impossible heists of cash and diamonds. Before long, he has become a legend in his field. As a cover, Frank runs a major used car dealership and a small bar. However, he realizes that his luck will certainly run out at some point and he is determined to retire after making a few more high end scores. He works with a small team consisting of two confederates (James Belushi, Willam LaValley) who are also pros in gaining access to seemingly impenetrable vaults. The headstrong Frank wants to also settle down and raise a family. He makes an awkward introduction to Jessie (Tuesday Weld), an equally head strong, down-on-her luck character who nevertheless becomes smitten by him and ends up marrying him. The couple face frustration, however, when their attempts to adopt a baby are thwarted by Frank's criminal record. Frank is ultimately approached by Leo (Robert Prosky), a local crime lord who entices him to stop working independently and pull off a high profile heist for a fortune in diamonds. Frank rejects the offer but eventually he relents, though he is reluctant to work with a new partner. Leo has managed to break through Frank's cynicism by showering him with praise the benefits of his influence, which include arranging for Frank  and Jessie to illegally adopt the baby they want so desperately. The lure of being able to retire after this one huge score leads Frank to go against his better judgment and he agrees to work for Leo on this one big job. The diamonds are located in a vault so secure that it would seem to be better suited for Fort Knox.  In order to break in, Frank and his team must use highly sophisticated drills and other equipment that would rival the top gear used by any branch of the military. On the verge of realizing his greatest score, however, things go terribly wrong on any number of levels. Frank, seeing his world crumble around him, goes on a violent rampage of destruction and self-destruction.</p>
<p>Thief is a highly stylized movie that moves at a rapid clip and features one of James Caan's strongest performances. The problem, however, is that the character of Frank is so obnoxious, he is difficult to relate to. Peckinpah, Scorsese and Coppola always had a knack for making disreputable characters seem appealing, but Frank is nasty, arrogant and self-centered. This is certainly realistic, given the bitter feelings he has toward society, but the viewer never warms to him in any meaningful way. He is only sympathetic because the people he deals with are so much worse. Nevertheless, Thief is a crackling good yarn that boasts some fine performances especially by Tuesday Weld and character actor Robert Prosky, who is brilliant in a scene-stealing role. Willie Nelson's screen time is very limited but he makes effective use of his two scenes. The film features superb cinematography by Donald E. Thorin, who made his debut here as Director of Cinematography. His night sequences on the rain-slicked streets of Chicago evoke visions of neon-lit nightmare. The film features an electronic score by Tangerine Dream, the band that provided the music for Willliam Friedkin's Sorcerer. Strangely, their score for that films holds up well but their work in Thief comes across as a bit monotonous and dated. The film's ultra-violent conclusion is exciting but rather cliched with Frank turning into yet another pissed off screen hero who decides to take down all of his enemies in an orgy of shootouts and destruction. (I know it sounds petty but I can never accept such sequences when they are set in urban neighborhoods in which no one ever seems to call the police even as houses explode and machine gun fire is sprayed all over the place.). The film excels, however, in the break-in sequences which are superbly directed and feature camerawork that make the crime scene look like an attraction from Disney World, with fireworks-like sparks filling the air. </p>
<p><!-- s9ymdb:6893 --><img src="/fbe/uploads/thiefblu2.jpg" class="serendipity_image_center" width="400" height="213" /> </p>
<p>The Criterion Blu-ray transfer is superb on every level.  Extras, which are carried over to the DVD, include a commentary track by Michael Mann and James Caan that was recorded in 1995. There are also fresh video interviews with both men that are rather candid. (Caan, who has worked consistently through his career, modestly says "I was rather popular at one time" in reference to his work on the film. Mann says he is still debating in his mind whether he regrets using Tangerine Dream's score) There is also an interview with Johannes Schmoelling of the band, who discusses working with Mann to create the score. An original trailer is included as is a nicely illustrated booklet with an informative essay by film critic Nick James. </p>
<p><strong><a href="http://www.amazon.com/exec/obidos/ASIN/B016XFUW1M/cinemaretroco-20">CLICK HERE</a> TO ORDER FROM AMAZON</strong> </p>
Tue, 04 Dec 2018 13:35:00 +0000
/fbe/index.php?/archives/7935-guid.html
http://creativecommons.org/licenses/by/3.0/
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REVIEW: "JUBAL" (1956) STARRING GLENN FORD, ERNEST BORGNINE AND ROD STEIGER; CRITERION BLU-RAY RELEASE
https://www.google.com//fbe/index.php?/archives/7527-REVIEW-JUBAL-1956-STARRING-GLENN-FORD,-ERNEST-BORGNINE-AND-ROD-STEIGER;-CRITERION-BLU-RAY-RELEASE.html
Criterion Corner-DVD/Blu-ray Reviews
/fbe/index.php?/archives/7527-REVIEW-JUBAL-1956-STARRING-GLENN-FORD,-ERNEST-BORGNINE-AND-ROD-STEIGER;-CRITERION-BLU-RAY-RELEASE.html#comments
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<p> </p>
<p><!-- s9ymdb:6434 --><img src="/fbe/uploads/jubal.jpg" class="serendipity_image_center" width="450" height="559" /> </p>
<p><strong>BY LEE PFEIFFER</strong><br /></p>
<p>In a worthy attempt to focus attention on the work of writer/producer/director/actor Delmer Daves, Criterion has released a Blu-ray edition of his 1956 Western <em>Jubal. </em>It's a rather odd choice for the label, which specializes in gold-standard editions of established classics and revered cult films. On the surface, <em>Jubal </em>may sound like a standard horse opera, especially with the title role played by reliable-but-unexciting Glenn Ford. However, the reason why Criterion sought to have the movie re-evaluated is immediately apparent. This is an unusually mature Western with a very dramatic story line that builds in intensity under Daves' assured direction. Ford plays Jubal Troop, a troubled loner and drifter, who is saved from certain death in the mountains by Shep Horgan (Ernest Borgnine), a boisterous but kind prominent rancher who nurses Jubal back to health and rewards him with a job on his ranch. It isn't long before Jubal proves his worth and impresses Shep enough to make him the new foreman- an act that offends and alienates another, long-time ranch hand, "Pinky" Pinkus (Rod Steiger), who had sought the position himself. Jubal's seemingly idyllic situation is further hampered by the fact that Shep's sultry Canadian wife Mae (Valerie French) is disgusted by her husband's boorish behavior and his tendency to treat her as a prized steer. Clearly suffering from sexual frustration, the isolated woman exists in a world of misogynistic men. It isn't long before she's making eyes at Jubal, who must summon all of his willpower to resist her advances out of respect for his friendship with Shep. Adding to the rising tensions is the fact that Mae had once had a fling with "Pinky" and he can't accept the fact that she now favors Jubal. The intricate plot takes numerous turns leading to Mae's manipulation of Shep and Jubal by implying to her husband that she has slept with his ranch foreman. This sets in motion a series of tragic circumstances.</p>
<p>Although Daves is best known for his seminal Western <em>3:10 to Yuma, </em>there is much in <em>Jubal </em>that rivals that classic. Daves makes full use of the magnificent Wyoming locations, using the widescreen process as effectively as George Stevens did with <em>Shane. </em>While the personal relationships of the principal characters are perpetually in crisis mode, Daves seems to use the sweeping cinematography to intentionally dwarf the key players, as though to imply that, in the end,  we're all just rather inconsequential figures in nature's landscape. The performances are all first rate, and this may well be the most effective performance of Glenn Ford's career. His low-key approach to acting has often been dismissed as boring, but Ford always brought a quiet intensity and "guy next door" quality to each of his performances. As Jubal, he's just a shy man who wants to get through the demons of his past by starting a new life that is unblemished by personal stress. Instead, he finds himself in the unlikely situation of being embroiled in a cauldron of sexual tension, betrayal and violent death. Ernest Borgnine is terrific as the hapless Shep, a likable "man's man" who remains oblivious to the fact that the wife he so adores has nothing but contempt for him. Rod Steiger seems a bit out of place here, as he as always seemed far more comfortable in gritty, urban dramas. Valerie French practically steams up the screen as the femme fatale at the heart of the deception that endangers the men in her life. She clearly the villain, but you can't help but empathize with her plight, which must have mirrored that of countless women of the plains: she is trapped in a man's world of endless work with little appreciation for her femininity beyond her "duty" to provide sex. </p>
<p>The Criterion transfer is flawless and the colors leap off the screen. Frustratingly, the film is devoid of any bonus extras. It would have been a nice touch to hear a film scholar discuss the film and Daves' work in general. However, there is a booklet that contains a lengthy and informative essay by Kent Jones. If you like Western, this one is a "must". </p>
<p><strong><a href="http://www.amazon.com/exec/obidos/ASIN/B00BJB2H14/cinemaretroco-20">Click here</a> to order from Amazon </strong></p>
Thu, 29 Nov 2018 13:07:00 +0000
/fbe/index.php?/archives/7527-guid.html
http://creativecommons.org/licenses/by/3.0/
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REVIEW: "SHAMPOO" (1975) STARRING WARREN BEATTY; CRITERION BLU-RAY SPECIAL EDITION
https://www.google.com//fbe/index.php?/archives/10250-REVIEW-SHAMPOO-1975-STARRING-WARREN-BEATTY;-CRITERION-BLU-RAY-SPECIAL-EDITION.html
Criterion Corner-DVD/Blu-ray Reviews
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<p><!-- s9ymdb:9858 --><img class="serendipity_image_center" src="/fbe/uploads/SHAMPOOCRITERION.jpg" width="450" height="559" /> </p>
<p><strong>BY BRIAN GREENE</strong> <br /></p>
<p class="MsoNormal"><em><span style="font-size: 10pt; font-family: "Verdana", sans-serif;">Shampoo </span></em><span style="font-size: 10pt; font-family: "Verdana", sans-serif;">(1975) is a movie
that can leave a viewer unsure as to what they just watched.<span> </span>Was it merely a vanity project for
Producer/Co-Screenwriter/lead actor Warren Beatty, who plays a babe magnet L.A.
hairdresser who juggles his three main girlfriends while haplessly attempting
to go into business for himself? Beatty portrays George Roundy, a flashy
dressing, motorcycle riding lothario who deftly manipulates the hearts and
sexual appetites of the beautiful women who constantly want to throw themselves
at him and his hair dryer. <span> </span>Or is it a
social satire, a la <em>The Graduate</em>,
that exposes the flaws in American life by showing us the sexual/romantic
dysfunction in the homes of the upper crust? One of Beatty¡¯s character¡¯s love
interests is the wife (Lee Grant) of the business tycoon (Jack Warden) he hopes
<span> </span>will finance his would-be new spa. Is it
a screwball sex comedy that aims for occasional emotional profundity? The
second of the hairstylist¡¯s two lady friends is the tycoon¡¯s mistress (Julie
Christie), and the third is that woman¡¯s close friend (Goldie Hawn). Or is the
movie primarily a commentary on the American political climate of the late
1960s, and its damaging impact on the citizenry? The story takes place over one
24-hour span, that happens to be the day Richard Nixon won the 1968
presidential election.</span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: "Verdana", sans-serif;"> </span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: "Verdana", sans-serif;">The
answer is that <em>Shampoo</em> is a little of
each of those things. Which leads to the question of whether it was successful
in developing any or all of its themes. The feature¡¯s overall quality has been
a debatable point over the decades. Roger Ebert felt it came up short,
summarizing that it ¡°wasn¡¯t confident enough to pull off its ambitious
conception,¡± ¡°wasn¡¯t as funny as it could have been in the funny places,¡± and
¡°it¡¯s not as poignant as it could be in its moments of truth.¡± In the pages of <em>The New York Times</em>, meanwhile, critic Nora
Sayre positively savaged the movie, charging that it ultimately sank into ¡°a
slough of sentimentality¡± while also calling it pretentious and dumb. Other
reviews have been kinder. It¡¯s been called ¡°a sharp satire¡± by Time Out, and
¡°one of the last true moments of personal expression in American cinema¡± by Elaine
Lennon in Senses of Cinema, etc. </span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: "Verdana", sans-serif;"> </span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: "Verdana", sans-serif;">It
can be hard to know what we¡¯re supposed to make of the main characters. Roundy
is shown to be a user, and his three girlfriends, while likeable-enough people,
are hardly role models feminists of the day could have seen as on-screen
heroes. So are we supposed to find all of them laughably shallow people, tragic
figures victimized by their own egos and emotional needs, or are they simply
authentic representations of a womanizing hairstylist and the kinds of people
with whom he would be likely to consort? Director Hal Ashby, who struggled
while working alongside the overbearing Beatty in Beatty¡¯s
open-to-interpretation role as Creative Producer, seems to have felt distantly
sympathetic to the characters. Ashby said of them, ¡°They¡¯re not people I spend
time with, but they¡¯re people I¡¯ve looked at and felt sorry for. So I spent a
lot of time being very kind to those people. The other way¡¯s easy. To make fun
of people is easy. Life isn¡¯t that easy.¡±</span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: "Verdana", sans-serif;"> </span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: "Verdana", sans-serif;">Something
else with which Ashby had to tangle during the making of <em>Shampoo</em> was the often volatile artistic relationship between Beatty
and Co-Screenwriter Robert Towne. Beatty and Towne were engaged in a creative
power battle over the film¡¯s content starting back from when it was only an
idea being bounced around between the two of them. Once Ashby was brought in,
he found himself often acting as referee between those two. Towne was actively
involved on the set, to the point where Goldie Hawn came to feel like she was
working under three different directors. Despite this circus atmosphere,
though, and despite Ebert¡¯s and Sayre¡¯s critiques, and despite what some see as
its foggy intentions, <em>Shampoo</em> took in
a slew of nominations at both the Academy Awards and Golden Globes. Lee Grant won
the Oscar for Best Actress in a Supporting Role. </span></p>
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UnhideWhenUsed="true" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Message Header"/>
<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Salutation"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Date"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="List Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="List Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
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<![endif]--> <br /><a href="/fbe/index.php?/archives/10250-REVIEW-SHAMPOO-1975-STARRING-WARREN-BEATTY;-CRITERION-BLU-RAY-SPECIAL-EDITION.html#extended">Continue reading "REVIEW: "SHAMPOO" (1975) STARRING WARREN BEATTY; CRITERION BLU-RAY SPECIAL EDITION"</a>
Tue, 16 Oct 2018 13:09:00 +0000
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http://creativecommons.org/licenses/by/3.0/
-
REVIEW: BILLY WILDER'S "ACE IN THE HOLE" (1951) STARRING KIRK DOUGLAS, CRITERION DUAL FORMAT RELEASE
https://www.google.com//fbe/index.php?/archives/8093-REVIEW-BILLY-WILDERS-ACE-IN-THE-HOLE-1951-STARRING-KIRK-DOUGLAS,-CRITERION-DUAL-FORMAT-RELEASE.html
Criterion Corner-DVD/Blu-ray Reviews
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<p> </p>
<p><!-- s9ymdb:7109 --><img class="serendipity_image_center" src="/fbe/uploads/aceinthehole.jpg" width="450" height="559" /> </p>
<p><strong>RETRO-ACTIVE: THE BEST FROM THE CINEMA RETRO ARCHIVES</strong> <br /></p>
<p><strong>BY LEE PFEIFFER<br /></strong></p>
<p>Even astute fans of retro cinematic classics may be unfamiliar with Billy Wilder's 1951 gem "Ace in the Hole". The film was a boxoffice flop in its American release back in the day but over the decades it has become regarded as a genuine classic and one of the best movies of its era. Kirk Douglas, in one of the truly great performances of his career, is cast as Chuck Tatum, a once-lauded reporter for a major New York newspaper, who finds his career on the skids. His cynical nature, overbearing personality and weakness for liquor has resulted in him being displaced to New Mexico, where- out of desperation- he convinces the editor of an Albuquerque paper to give him a job. Within hours, Tatum is bored by the sleepy atmosphere and passive nature of his co-workers, most of whom have no ambition beyond reporting minor stories of local interest. Things change radically when Tatum stumbles onto a crisis in the desert that could make for a compelling story. Leo Minosa (Richard Benedict) is the owner of a cafe located on a remote road who finds himself trapped in a cave after venturing inside to look for ancient Indian artifacts. Tatum sees that rescue plans for the man are rather poorly staged by the local deputy sheriff (Gene Evans). He enters the cave at great danger to himself and makes a connection with Leo, whose legs and midsection are buried under debris. Tatum is able to communicate with him from a small opening in a dirt mound and he assures Leo that he will get food, water and cigars while he organizes a rescue team. Grateful, Leo looks upon Tatum as his guardian angel. However, it becomes clear that Tatum is using his relationship with Leo for his own selfish purposes. He sees the potential as one of those "child stuck in a well" scenarios that tends to galvanize the entire nation. By personally taking charge of the rescue effort, Tatum makes himself a national hero overnight, as hundreds of people stream to the remote location and erect a tent city in order to be on the scene when Leo is eventually saved. Tatum, fully aware of American's eagerness to embrace the bizarre elements of any story, also plays up the notion that Leo is the victim of an ancient Indian curse for prowling around sacred tribal grounds. </p>
<p>Tatum has some disturbing factors to contend with, however. The primary problem is dealing with Leo's bombshell, self-centered wife Lorraine (Jan Sterling in a terrific performance). She was already looking to get out of a boring marriage with a boring man and decides to leave town during Leo's moment of crisis. Tatum uses a combination of charm and threats to convince her that staying put and playing the role of loyal wife would be in everyone's benefit. His prediction comes true in the financial sense, as the Minosa's cash-starved cafe begins to burst at the seams with visitors due to its proximity to the cave. Ironically, Leo's life-threatening predicament is finally bringing him the financial success that has eluded him. While Tatum becomes obsessed with manipulating the crisis, he also finds that his dispatches from the scene and his exclusive access to Leo have put him back in demand as a writer. He bypasses his own employer to sell updates to his ex-boss in New York at extortionist rates. He also has a hot/cold relationship with Lorraine, who clearly has a submissive sexual aspect to her moody demeanor. She's excited when Tatum mistreats her, though it's never made clear if their relationship goes beyond the flirtation stage. <span style="font-size: 9.5pt;">Tatum gets some disturbing news when he learns that the rescue team can use an expedited method to rescue Leo. Not wanting to kill the goose who laid the golden egg, Tatum manipulates the corrupt local sheriff (Roy Teal) into ordering a more labored method of rescue, even though it will result in a delay of days before reaching the victim. The decision has startling consequences for all involved. To say any more would negate the surprising turn of events depicted in the film. Suffice it to say, the intensity of the story continues to build throughout, making "Ace in the Hole" a truly mesmerizing cinematic experience.  </span></p>
<p><!-- s9ymdb:7110 --><img class="serendipity_image_center" src="/fbe/uploads/aceintheholephoto.jpg" width="450" height="356" /> </p>
<p>Criterion has released "Ace in the Hole" as a dual format Blu-ray/DVD. The quality, as one might expect, is up to the company's superb standards. The package is loaded with fascinating extras including a rare extended interview with Billy Wilder at the American Film Institute in 1986. In it, Wilder talks about "Ace in the Hole" and other aspects of his career. The film was an early directorial effort for him and the first movie he produced, following his career as one of the industry's most in-demand filmmakers. By his own admission, "Ace in the Hole" was a major source of frustration for him. The movie was ignored by American critics and audiences and even re-titled "The Big Carnival". In the post-WWII era, it was probably deemed far too cynical for U.S. audiences. In fact, the "hero" of the film is a cad, the leading lady is a self-obsessed phony and the local law officials are corrupt. Except for a few minor characters, there is no one in the film with a truly moral center. Wilder says he took heart from the fact that the movie was quite successful in its European release. The set also contains a 1988 interview with Kirk Douglas, who discusses the film and his respect for Wilder in a very informative segment. Most impressive is the inclusion of "Portrait of a 60% Perfect Man", a 1980 documentary by French film critic Michel Clement in which Wilder gives extraordinary access to his private life. We see him at home and at the office with long-time collaborator, I.A.L. Diamond as they laze around trying to come up with ideas for future projects. Wilder comes across as a symbol of Hollywood's bygone Golden Age. Speaking in a thick Austrian accent with his ever-present stogie at hand, Wilder regales the viewer with insights about his family's escape from the Nazi occupation and his unlikely meteoric rise up the film industry's food chain. Almost from the beginning he was a hot property and would remain a revered director, producer and writer throughout his entire career. The set also includes a vintage audio interview with another Wilder collaborator, screenwriter Walter Newman and an insightful and creatively designed "newspaper" with essays by critic Molly Haskell and filmmaker Guy Maddin. Director Spike Lee provides a brief video "afterword" in which he extols the virtues of the film and also shows off a cool original lobby card that he treasures because it is signed by both Wilder and Douglas. Topping off the "extras" is a truly excellent audio commentary track by film scholar Neil Sinyard, who provides so many interesting background observations about the film that it will open any viewer's eyes to the latent meanings of certain sequences and images. Even if you consider audio commentaries to be dry and academic, I do urge you to give this one a listen. It's first rate throughout. </p>
<p>In summary, this is a first rate presentation of one of the most unfairly neglected American film classics; one that in recent years is finally getting the acclaim that it should have received on its initial release. Criterion has surpassed even its usual high standards. </p>
<p><strong><a href="http://www.amazon.com/exec/obidos/ASIN/B00IGK6T9W/cinemaretroco-20">Click here</a> to order from Amazon.  </strong></p>
<p> </p>
Sat, 06 Oct 2018 13:39:00 +0000
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http://creativecommons.org/licenses/by/3.0/
-
BLU-RAY REVIEW: ¡°SCENES FROM A MARRIAGE¡± (1973/1974; Directed by Ingmar Bergman) (The Criterion Collection)
https://www.google.com//fbe/index.php?/archives/10232-BLU-RAY-REVIEW-SCENES-FROM-A-MARRIAGE-19731974;-Directed-by-Ingmar-Bergman-The-Criterion-Collection.html
Criterion Corner-DVD/Blu-ray Reviews
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nospam@example.com (Cinema Retro)
<p><!-- s9ymdb:9841 --> <br /></p>
<p><!-- s9ymdb:9842 --><img class="serendipity_image_center" src="/fbe/uploads/scenes450blu.jpg" width="450" height="559" /> </p>
<p class="MsoNormal"><strong><span style="font-size: 10pt; font-family: "Verdana", sans-serif;">¡°EARTHLY AND
IMPERFECT LOVE¡±</span></strong></p>
<p class="MsoNormal"><strong><span style="font-size: 10pt; font-family: "Verdana", sans-serif;">By Raymond Benson</span></strong></p>
<p class="MsoNormal"><strong><span style="font-size: 10pt; font-family: "Verdana", sans-serif;"> </span></strong></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: "Verdana", sans-serif;">Ingmar
Bergman¡¯s celebrated six-part mini-series, <em>Scenes
from a Marriage</em>, premiered on Swedish television in 1973. For markets
outside of his native country, Bergman cut the 297-minute TV version down to
169-minutes (not quite three hours) for a theatrical release in 1974¡ªwhich is
the version I first saw. </span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: "Verdana", sans-serif;"> </span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: "Verdana", sans-serif;">Having
recently discovered Bergman in the early 1970s while attending college, I
welcomed <em>Scenes </em>with enthusiasm and
awe, as did most critics. The film received numerous accolades, although the
Academy of Motion Picture Arts and Sciences deemed the picture ineligible for
Oscars since it had previously been a television mini-series. The acclaim for
the film, director/writer Bergman, and the movie¡¯s two brilliant actors, Liv
Ullmann and Erland Josephson, was through the roof. </span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: "Verdana", sans-serif;"> </span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: "Verdana", sans-serif;">In
a nutshell, it¡¯s the intimate, often painful, sometimes joyful story of the
twenty-year relationship of a married-then-divorced couple. The tale begins in
1965. Upper-middle-class Marianne and Johan have been married for ten years.
They have two tween daughters (who are seen only very briefly in the first few
seconds of the picture) and are seemingly happy. However, when Johan has an
affair with ¡°Paula¡± (who never appears), the inevitable separation ensues,
followed by a divorce. But as ten more years elapse, Marianne and Johan
continue to occasionally see each other¡ªeven when they¡¯re dating or married to
others¡ªin an ongoing, never-ending tryst. </span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: "Verdana", sans-serif;"> </span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: "Verdana", sans-serif;">In
fact, in 2003, Bergman made a sequel to <em>Scenes
from a Marriage</em>. <em>Saraband </em>was a
Swedish TV-movie that was also released theatrically worldwide, and it featured
the now elderly Marianne and Johan, again played by Ullmann and Josephson. (Oddly,
their daughters¡¯ names in <em>Scenes</em> are
Karin and Eva, whereas in <em>Saraband </em>their
names are Martha and Sara! Go figure.) <em>Saraband
</em>was Bergman¡¯s final film.</span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: "Verdana", sans-serif;"> </span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: "Verdana", sans-serif;">What
made <em>Scenes </em>so remarkable back in
1973/1974 was its frankness, realism, and the camera¡¯s near-claustrophobic
closeness to the actors¡ªespecially their faces and what they revealed through
subtle expressions or glances. Bergman, perhaps more than any other filmmaker,
used the landscape of the face to reveal the genuine subtext of a character¡¯s
thoughts. The intimacy achieved in the work was revelatory, and the film is
said to have gone on to influence other filmmakers (most notably Woody Allen). </span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: "Verdana", sans-serif;"> </span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: "Verdana", sans-serif;">I
had revisited <em>Scenes from a Marriage </em>a
few times since its first release, but now having the chance to dive into The
Criterion Collection¡¯s new Blu-ray edition, I approached the picture with a
fresh eye and mind, especially informed by the experience of age and a long marriage
of my own.</span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: "Verdana", sans-serif;"> </span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: "Verdana", sans-serif;">I
came away this time a bit puzzled. Who <em>are
</em>these people, that they can be so matter-of-fact about adultery and
mistresses and lovers? It¡¯s as if it¡¯s taken for granted that all married
people will have affairs at some point. Back in the early 70s, I suppose we all
thought that this was being ¡°civilized¡± or ¡°behaving like adults.¡± Or perhaps
it was a <em>Swedish</em> or <em>European </em>thing! </span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: "Verdana", sans-serif;"> </span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: "Verdana", sans-serif;">It
is more likely, however, that <em>Scenes from
a Marriage </em>was written and directed to be a somewhat autobiographical
treatise. Ingmar Bergman was married no less than five times, had numerous love
affairs (and mistresses while married), including a five-year romance with Liv
Ullmann (he was the father of her only child). Maybe in <em>his </em>world, or in the contemporary universe of artists and the <em>literati </em>in which Marianne and Johan
reside, this kind of attitude existed.</span></p>
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<w:LsdException Locked="false" Priority="1" SemiHidden="true"
UnhideWhenUsed="true" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Message Header"/>
<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Salutation"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Date"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="List Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="List Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 3"/>
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<![endif]--> <br /><a href="/fbe/index.php?/archives/10232-BLU-RAY-REVIEW-SCENES-FROM-A-MARRIAGE-19731974;-Directed-by-Ingmar-Bergman-The-Criterion-Collection.html#extended">Continue reading "BLU-RAY REVIEW: ¡°SCENES FROM A MARRIAGE¡± (1973/1974; Directed by Ingmar Bergman) (The Criterion Collection)"</a>
Sun, 30 Sep 2018 13:39:00 +0000
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BLU-RAY REVIEW: ¡°THE TREE OF LIFE¡± (2011; Directed by Terrence Malick) (The Criterion Collection)
https://www.google.com//fbe/index.php?/archives/10203-BLU-RAY-REVIEW-THE-TREE-OF-LIFE-2011;-Directed-by-Terrence-Malick-The-Criterion-Collection.html
Criterion Corner-DVD/Blu-ray Reviews
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<p><!-- s9ymdb:9812 --><img class="serendipity_image_center" src="/fbe/uploads/treeoflife.jpg" width="450" height="559" /> </p>
<p class="MsoNormal"><strong><span style="font-size: 10pt; font-family: "Verdana", sans-serif;">¡°GRACE VS. NATURE¡±</span></strong></p>
<p class="MsoNormal"><strong><span style="font-size: 10pt; font-family: "Verdana", sans-serif;">By Raymond Benson</span></strong></p>
<p class="MsoNormal"><strong><span style="font-size: 10pt; font-family: "Verdana", sans-serif;"> </span></strong></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: "Verdana", sans-serif;">Not
many filmmakers since the great Stanley Kubrick have had the same kind of
mystique, but one who easily fits that bill is Terrence Malick, a
writer/director who has endeavored to redefine the narrative form of cinema in
visually poetic terms. </span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: "Verdana", sans-serif;"> </span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: "Verdana", sans-serif;">Malick
doesn¡¯t create movies, he makes cinema in verse. The story in a Malick film is
not a priority, although there is often a profound tale at work. A Malick picture
is all about the emotions, the visual beauty, the aural splendidness, and
taking part in a cerebral, yet primally impressionistic experience.</span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: "Verdana", sans-serif;"> </span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: "Verdana", sans-serif;">The
reclusive filmmaker disappeared from the public eye after his two acclaimed,
more ¡°accessible¡± works (<em>Badlands</em>,
1973, and <em>Days of Heaven</em>, 1978). He returned
twenty years later and made <em>The Thin Red
Line </em>(1998). Something was immediately different about his art. Malick¡¯s
storytelling was more oblique, nonlinear, and lyrical. This trend continued more
intensely in <em>The New World </em>(2005).
Never one to be labeled ¡°prolific,¡± Malick brought out his fifth feature, <em>The Tree of Life</em>, in 2011, and it
featured a radical progression in this elegiac, non-traditional way of spinning
a yarn. </span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: "Verdana", sans-serif;"> </span></p>
<p class="MsoNormal"><em><span style="font-size: 10pt; font-family: "Verdana", sans-serif;">The Tree of Life </span></em><span style="font-size: 10pt; font-family: "Verdana", sans-serif;">received Oscar
nominations for Best Picture, Best Director, and Best Cinematography (by Emmanuel
Lubezki), but there were many audience members who just didn¡¯t get it or
refused to meet the film halfway. I remember counting many walkouts from the
theater in which I first saw it. Its comparison to the initial reaction to
Kubrick¡¯s <em>2001: A Space Odyssey</em> is
apt. This was a new kind of film, something that challenged the viewer into sitting
back, opening the mind and the heart, and going with the flow.</span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: "Verdana", sans-serif;"> </span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: "Verdana", sans-serif;">And
flow it does¡ the picture is much like a symphony of sight and sound. The imagery
of the <em>world </em>in all its glory from
the ground, sky, and sea to the plants, animals, and people is breathtakingly sensual.
The music¡ªmostly classical pieces and some original scoring by Alexandre
Desplat¡ªis practically continuous as the pace of the editing moves frenetically.
How anyone could call this a boring movie is mind-boggling.</span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: "Verdana", sans-serif;"> </span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: "Verdana", sans-serif;">There
<em>is</em> a story. The focus is on the
O¡¯Briens, a family in a small town in Texas in the 1950s, particularly utilizing
the point of view of the oldest boy, Jack (played by newcomer Hunter
McCracken). Brad Pitt is the stern, sometimes over-the-top disciplinarian
father, and angelic Jessica Chastain is the loving mother. Jack¡¯s two siblings
are played by Laramie Eppler and Tye Sheridan. The entire family¡¯s performances
are superb. Scenes in the present day feature an adult Jack (Sean Penn), who is
somberly ¡°remembering¡± the events of the film. Something has triggered old Jack¡¯s
memory of when the middle brother died at the age of nineteen (we don¡¯t know
how¡ possibly Vietnam?). </span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: "Verdana", sans-serif;"> </span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: "Verdana", sans-serif;">And
then there¡¯s the creation sequence, something else that is comparable to the
Star Gate section of <em>2001</em> (and that
film¡¯s co-visual effects supervisor, Douglas Trumbull, is a consultant on <em>Tree</em>). We see in a nearly twenty-minute
segment how the earth was formed in the heavens, how life began in the waters,
the rise of dinosaurs (yes, dinosaurs!), the predatory disposition of certain
species, and their eventual destruction to make way for man. </span></p>
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<![endif]--> <br /><a href="/fbe/index.php?/archives/10203-BLU-RAY-REVIEW-THE-TREE-OF-LIFE-2011;-Directed-by-Terrence-Malick-The-Criterion-Collection.html#extended">Continue reading "BLU-RAY REVIEW: ¡°THE TREE OF LIFE¡± (2011; Directed by Terrence Malick) (The Criterion Collection)"</a>
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REVIEW: HOWARD HAWKS' "RED RIVER" (1948) STARRING JOHN WAYNE AND MONTGOMERY CLIFT; CRITERION DUAL FORMAT RELEASE
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Criterion Corner-DVD/Blu-ray Reviews
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<p><!-- s9ymdb:7123 --><img class="serendipity_image_center" src="/fbe/uploads/REDRIVERBLU.jpg" width="450" height="559" /> </p>
<p><strong>RETRO-ACTIVE: THE BEST OF THE CINEMA RETRO ARCHIVES</strong> <br /></p>
<p class="MsoNormal"><strong><span style="font-size: 10pt; font-family: Verdana, sans-serif;">"THE SON-OF- A -BITCH
CAN ACT!"<o:p /></span></strong></p>
<p class="MsoNormal"><strong><span style="font-size: 10pt; font-family: Verdana, sans-serif;">By Raymond Benson<o:p /></span></strong></p>
<p class="MsoNormal"><strong><span style="font-size: 10pt; font-family: Verdana, sans-serif;"> </span></strong></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: Verdana, sans-serif;">It¡¯s
well-known that when John Ford, who had worked with actor John Wayne on a
number of films prior to seeing him in Howard Hawks¡¯ <em>Red River</em>, proclaimed that he didn¡¯t know that ¡°the son-of- a-
bitch could act!¡± <o:p /></span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: Verdana, sans-serif;"> </span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: Verdana, sans-serif;">His
words were apt. Prior to the release of <em>Red
River </em>in 1948 (it was shot in 1946 but didn¡¯t appear in theaters until
¡¯48), Wayne had mostly played the likable, stalwart ¡°John Wayne¡± character that
had first appeared in Ford¡¯s <em>Stagecoach </em>(1939).
But in <em>Red River</em>, Wayne plays a role
that turned critical and public opinion of the actor¡¯s thespian abilities. He
pulls off a remarkable feat¡ªWayne¡¯s character, Thomas Dunson, is a first-class
S.O.B., a guy you really want someone to punch out throughout the movie; and
yet, Wayne manages to make him likable. He carries an audience through over two
hours of hardcore western, and he delivers one of his two or three best
performances. It doesn¡¯t hurt that Wayne is ably supported by Montgomery Clift,
who plays Wayne¡¯s adopted son. In many ways, it¡¯s really Clift¡¯s picture¡ªhe¡¯s
the protagonist, and the story is seen through his eyes. But wait¡ªmaybe it¡¯s
seen through Walter Brennan¡¯s eyes in the original, rare theatrical cut,
released here in a glorious 2K digital restoration on Blu-ray. <o:p /></span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: Verdana, sans-serif;"> </span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: Verdana, sans-serif;">In
fact, I had never seen the theatrical cut, the version preferred by director
Hawks. A longer cut, by about six minutes, was the one that was shown on
television and appeared on previous home video releases. The longer version was
actually intended as a preview for studio execs; it utilizes on-screen textual
transitions (as if the audience is reading from a book) and an extended final
confrontation between Wayne and Clift. The theatrical cut dispenses with the
textual transitions and instead substitutes sequences narrated by Walter
Brennan, who then, arguably, becomes the character through whose eyes we see
the story. Why this version, which originally played to audiences in 1948,
didn¡¯t become the standard edition after that is a mystery; in actuality, Hawks
was quite right¡ªthe theatrical cut <em>is </em>the
better one, except for the trimmed final fight between the two leads. As Hawks tells Peter Bogdanovich in an audio
interview included as an extra in the Criterion Collection¡¯s elaborate box set,
the best way to watch <em>Red River</em> is to
view the theatrical cut up until the last few minutes, and then change to the
preview cut at the point when Wayne marches through the heads of cattle to
confront Clift at the corral. <o:p /></span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: Verdana, sans-serif;"> </span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: Verdana, sans-serif;">Another
thing that is remarkable about <em>Red River </em>is
that it was Hawks¡¯ first western. He would go on to make a handful more (good
ones, too!), and was known for making pictures in all genres, but the fact that
he went out of the gate with one of the greatest westerns of all time is truly
an achievement. <em>Red River</em>, without
question, <em>is </em>one of the five best
American films of the genre.</span></p>
<p><!-- s9ymdb:7124 --><img class="serendipity_image_center" src="/fbe/uploads/REDRIVERBLU2.jpg" width="400" height="288" /> </p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: Verdana, sans-serif;"> </span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: Verdana, sans-serif;">The
story is a fictional account of the first cattle drive from Texas to Kansas
along the Chisholm Trail, the hardships the men overcome, and the battle of
wills between Wayne, the tyrannical leader and father, and Clift, the calmer,
perhaps smarter right-hand cowpoke and adopted son. Hawks manages to capture the
perilous trek with uncanny realism, assured composition and tempo, and drama.
Hawks once said that the key to a good film was ¡°three good scenes and no bad
ones.¡± Well, <em>Red River </em>has far more
than three good scenes. The stampede sequence is nothing short of astounding.<o:p /></span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: Verdana, sans-serif;"> </span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: Verdana, sans-serif;">Criterion
went all out on this one. It¡¯s a four-disk set¡ªtwo Blu-rays and two DVDs
containing identical material. Both versions of the film are included, along
with a couple of interviews with Bogdanovich, who explains the difference
between the two cuts and presents his views on the picture. Critic Molly
Haskell talks about Hawks in a new video interview, and film scholar Lee Clark
Mitchell tells us all about the western genre in an interesting piece. There
are audio excerpts from interviews with Hawks and novelist Borden Chase, as
well as a Lux Radio Theatre adaptation of <em>Red
River </em>featuring Wayne, Joanne Dru, and Brennan. Besides the usual
essay-filled booklet, the box comes with Chase¡¯s original novel, <em>Blazing Guns on the Chisholm Trail</em>, from
which the film was adapted.<o:p /></span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: Verdana, sans-serif;"> </span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: Verdana, sans-serif;">Great
stuff, and worth every penny.</span></p>
<p><strong><a href="http://www.amazon.com/exec/obidos/ASIN/B00IGK6TGU/cinemaretroco-20">CLICK HERE TO ORDER FROM AMAZON</a></strong> </p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: Verdana, sans-serif;"> </span></p>
Sat, 01 Sep 2018 13:00:00 +0000
/fbe/index.php?/archives/8108-guid.html
http://creativecommons.org/licenses/by/3.0/
-
REVIEW: STEVEN SODERBERGH'S "SEX, LIES AND VIDEOTAPE" (1989); CRITERION BLU-RAY SPECIAL EDITION
https://www.google.com//fbe/index.php?/archives/10151-REVIEW-STEVEN-SODERBERGHS-SEX,-LIES-AND-VIDEOTAPE-1989;-CRITERION-BLU-RAY-SPECIAL-EDITION.html
Criterion Corner-DVD/Blu-ray Reviews
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nospam@example.com (Cinema Retro)
<p><!-- s9ymdb:9764 --><img class="serendipity_image_center" src="/fbe/uploads/sexliesblu.jpg" width="450" height="559" /> </p>
<p class="MsoNormal"><strong><span style="font-size: 10pt; font-family: "Verdana", sans-serif;">¡°THERAPY FOR SECRETS¡±</span></strong></p>
<p class="MsoNormal"><strong><span style="font-size: 10pt; font-family: "Verdana", sans-serif;">By Raymond Benson</span></strong></p>
<p class="MsoNormal"><strong><span style="font-size: 10pt; font-family: "Verdana", sans-serif;"> </span></strong></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: "Verdana", sans-serif;">The
year 1989 brought us such Oscar-winning pictures as <em>Driving Miss Daisy</em>, <em>Born on
the Fourth of July</em>, <em>Dead Poets
Society</em>, and, of course, the blockbuster <em>Batman</em>. One picture, though, always stood out for me and was my personal
favorite of the year¡ªSteven Soderbergh¡¯s remarkable feature film debut, <em>Sex, Lies, and Videotape</em>. The Academy
nominated it only for Original Screenplay. The Cannes Film Festival, however,
awarded it the <em>Palme d¡¯Or </em>and the
Best Actor honor for James Spader. The movie put Soderbergh on the map,
establishing him as an innovative, provocative filmmaker who was unafraid to
take on challenging subjects.</span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: "Verdana", sans-serif;"> </span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: "Verdana", sans-serif;">The
Criterion Collection has produced a new, restored 4K digital transfer and a new
5.1 surround mix (from the original sound elements), supervised by Soderbergh.
The results, in the director¡¯s own words that appear in an on-screen comment on
the restoration, are such that one should ¡°throw away¡± all previous home video
(DVD, Blu-Ray) versions of the film¡ªthis is the definitive edition.</span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: "Verdana", sans-serif;"> </span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: "Verdana", sans-serif;">Made
for only a little over a million dollars, the story is really a chamber drama
of sorts that focuses on four characters. There is Ann (wonderfully played by
Andie MacDowell), a sexually uptight and frigid housewife married to John
(Peter Gallagher), a successful, go-getter lawyer who happens to be a lying
philanderer. He¡¯s having an affair with Ann¡¯s precocious and definitely <em>not </em>sexually uptight sister, Cynthia (Laura
San Giacomo), who works as a bartender. Enter Graham, an old college friend of
John¡¯s, who has returned to town after nine years¡ªand he is one strange dude.
James Spader delivers a nuanced, sensitive, but assuredly slightly perversely
skewed performance¡ªone that pretty much defined the kinds of roles he would
play for years to come. Like Ann, he, too, is sexually inhibited due to
something that happened with his college girlfriend.</span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: "Verdana", sans-serif;"> </span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: "Verdana", sans-serif;">These
days the only way Graham ¡°gets off¡± is by videotaping various female
acquaintances and interviewing them about their sex lives¡ªand then viewing them
when he¡¯s alone. </span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: "Verdana", sans-serif;"> </span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: "Verdana", sans-serif;">While
Ann suspects her husband is betraying her, she finds Graham oddly fascinating
and they become friends until she discovers Graham¡¯s ¡°habit.¡± This proclivity
is not a problem for Cynthia, though¡ªshe happily makes a video for Graham.</span></p>
<p><!-- s9ymdb:9765 --><img class="serendipity_image_center" src="/fbe/uploads/SEXliesspader.jpg" width="450" height="301" /> </p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: "Verdana", sans-serif;"> </span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: "Verdana", sans-serif;">How
things turn out for the quartet of characters plays out like therapy. In fact,
Ann is seeing a therapist throughout the picture. Soderbergh has subtly
structured and presented the story such that, in many ways, we, the audience,
are the therapists observing the characters as they reveal their secrets. </span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: "Verdana", sans-serif;"> </span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: "Verdana", sans-serif;">In
1989, the material was shocking. Without any nudity or explicit sex scenes, <em>Sex, Lies, and Videotape </em>manages to be
extremely visceral, voyeuristic, and, yes, sexy. It explores how the most
intimate desires of human beings might seem kinky or perverse to some, and yet
be perfectly normal for others. The way the ¡°therapy¡± of the film addresses
these hang-ups in the final moments is revelatory. Soderbergh may have never
written or directed a more perfect picture.</span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: "Verdana", sans-serif;"> </span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: "Verdana", sans-serif;">The
new transfer looks and sounds remarkable. An audio commentary from 1998,
featuring Soderbergh and filmmaker Neil LaBute, accompanies the film.</span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: "Verdana", sans-serif;"> </span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: "Verdana", sans-serif;">The
supplements are up to Criterion¡¯s usual high standards. There¡¯s a new
introduction to the film by Soderbergh, along with vintage interviews with the
writer/director from 1992 and 1990. A new documentary on the making of the
film, featuring actors MacDowell, Gallagher, and San Giacomo, is especially
informative and insightful. James Spader makes an appearance in a vintage 1989
appearance on the <em>Today Show</em>. There¡¯s
a deleted scene with commentary by Soderbergh. A new conversation between sound
editor/re-recording mixer Larry Blake and composer Cliff Martinez explores the
challenges of the location shoot in Baton Rouge. Finally, Blake takes us on a
journey through the evolution of sound restorations. The booklet features an
essay by critic Amy Taubin and excerpts from Soderbergh¡¯s 1990 book about the
film.</span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: "Verdana", sans-serif;"> </span></p>
<p class="MsoNormal"><em><span style="font-size: 10pt; font-family: "Verdana", sans-serif;">Sex, Lies, and
Videotape </span></em><span style="font-size: 10pt; font-family: "Verdana", sans-serif;">is
still relevant and powerful. The picture reveals a young filmmaker who is
exploding with talent, and four brave actors who dig deeply within to reveal
all. It¡¯s a masterpiece of independent filmmaking. Pick it up.</span></p>
<p><strong><a href="http://www.amazon.com/exec/obidos/ASIN/B07C7MML7J/cinemaretroco-20">CLICK HERE</a> TO ORDER FROM AMAZON</strong> <br /></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: "Verdana", sans-serif;"> </span></p>
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Wed, 25 Jul 2018 13:00:00 +0000
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REVIEW: "DIETRICH & VON STERNBERG IN HOLLYWOOD"; CRITERION BLU-RAY SPECIAL EDITION
https://www.google.com//fbe/index.php?/archives/10129-REVIEW-DIETRICH-VON-STERNBERG-IN-HOLLYWOOD;-CRITERION-BLU-RAY-SPECIAL-EDITION.html
Criterion Corner-DVD/Blu-ray Reviews
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<p><!-- s9ymdb:9742 --><img class="serendipity_image_center" src="/fbe/uploads/DIETRICHCRITERION.jpg" width="450" height="501" /> </p>
<p class="MsoNormal"><strong><span style="font-size: 10pt; font-family: "Verdana", sans-serif;">¡°LIGHT, SHADOW, AND MARLENE¡±</span></strong></p>
<p class="MsoNormal"><strong><span style="font-size: 10pt; font-family: "Verdana", sans-serif;">By Raymond Benson</span></strong></p>
<p class="MsoNormal"><strong><span style="font-size: 10pt; font-family: "Verdana", sans-serif;"> </span></strong></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: "Verdana", sans-serif;">I
love it when The Criterion Collection produces a lavish boxed set containing
multiple features, an abundance of supplements, and a thick and illustrated
booklet. What better collection is there than one featuring the six Hollywood
films made between 1930 and 1935 by Josef von Sternberg and starring the
exquisite Marlene Dietrich? Hats off to producer Issa Clubb for overseeing what
could be one of Criterion¡¯s better products.</span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: "Verdana", sans-serif;"> </span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: "Verdana", sans-serif;">These
adventure-romances showcased a star who immediately defined the word ¡°exotic¡±¡ªa
German-born, English-speaking, beautiful, sultry, seductress who could act,
sing, and dance. Like Greta Garbo, who had arrived in Hollywood during the
silent era, Marlene Dietrich exhibited a European mystery to American audiences
of the early Depression years. Her self-styled (with the help of her trusted
director, von Sternberg) gender-bending wardrobes and mannerisms, her sometimes
ambiguous but often overt sexuality, and her allure of ¡°knowing something we
didn¡¯t¡± made her an overnight star¡ for a while. </span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: "Verdana", sans-serif;"> </span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: "Verdana", sans-serif;">As
documented in the various supplements that appear over the six Blu-ray disks in
the set, Dietrich and von Sternberg enjoyed a successful and acclaimed period
during the Pre-Code days. It seemed, though, that as soon as the Production
Code went into effect in July 1934, the popularity of the star and the
director¡¯s films waned. For the second half of the 1930s, Dietrich, like
several other leading ladies, became what was termed ¡°box-office poison¡±¡ªthat
is, until she made a booming come-back in 1939¡¯s <em>Destry Rides Again</em>. </span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: "Verdana", sans-serif;"> </span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: "Verdana", sans-serif;">Dietrich
and von Sternberg first worked together in the 1930 German-produced picture, <em>The Blue Angel</em>, which was filmed in both
the German language and in English. The director, already an established filmmaker
in Hollywood, convinced his studio, Paramount, to bring Dietrich over and sign
her to a multi-picture contract. The young star left Germany on the night <em>The Blue Angel </em>premiered in her native
country. Paramount held the U.S. release back until after the exhibition of her
first official Hollywood production, <em>Morocco</em>
(also 1930). This initial appearance in America proved to be a sensation. The
English-language version of <em>The Blue
Angel </em>was released a month later, and Marlene Dietrich had arrived.</span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: "Verdana", sans-serif;"> </span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: "Verdana", sans-serif;">The
historical importance of the films in Criterion¡¯s new collection can be broken
down into three words¡ªlight, shadow, and Marlene. Josef von Sternberg was a
master of visual imagery in motion pictures at a time when black and white
cinematography was evolving as an art form. A cameraman himself, he was one of
the few directors in Hollywood who knew how to light a set and photograph it
(in fact, he is not only the director but also the cinematographer of the sixth
title in this set, <em>The Devil is a Woman</em>).
Von Sternberg¡¯s use of German expressionism¡ªheavy on the shadows, high contrast
between light and dark¡ªdid wonders for Marlene Dietrich¡¯s cheekbones. An
actress was likely never photographed so beautifully as in those first few
films¡ªnot even Garbo. The greatest pleasure of the Dietrich & von Sternberg
boxed set is the gorgeousness of its images. While von Sternberg certainly had
much to say about how his films were photographed, many kudos must be given to
the other two cinematographers he worked with¡ªLee Garmes (three titles) and
Bert Glennon (two titles). </span></p>
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<![endif]--> <br /><a href="/fbe/index.php?/archives/10129-REVIEW-DIETRICH-VON-STERNBERG-IN-HOLLYWOOD;-CRITERION-BLU-RAY-SPECIAL-EDITION.html#extended">Continue reading "REVIEW: "DIETRICH & VON STERNBERG IN HOLLYWOOD"; CRITERION BLU-RAY SPECIAL EDITION"</a>
Fri, 06 Jul 2018 16:20:18 +0000
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REVIEW: INGMAR BERGMAN'S "THE VIRGIN SPRING" (1960); CRITERION BLU-RAY SPECIAL EDITION
https://www.google.com//fbe/index.php?/archives/10116-REVIEW-INGMAR-BERGMANS-THE-VIRGIN-SPRING-1960;-CRITERION-BLU-RAY-SPECIAL-EDITION.html
Criterion Corner-DVD/Blu-ray Reviews
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<p><!-- s9ymdb:9720 --><img class="serendipity_image_center" src="/fbe/uploads/VIRGINSPRINGBLU.jpg" width="450" height="559" /> </p>
<p class="MsoNormal"><strong><span style="font-size: 10pt; font-family: "Verdana", sans-serif;">By Raymond Benson</span></strong></p>
<p class="MsoNormal"><strong><span style="font-size: 10pt; font-family: "Verdana", sans-serif;"> </span></strong></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: "Verdana", sans-serif;">The
Criterion Collection has upgraded its 2006 DVD release of Ingmar Bergman¡¯s
classic Oscar-winning drama, The Virgin Spring, to Blu-ray, and the results are,
naturally, spectacular. </span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: "Verdana", sans-serif;"> </span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: "Verdana", sans-serif;">The
film won Bergman his first of three Best Foreign Language Film Academy Awards,
and it can certainly be ranked among the Swedish filmmaker¡¯s best works. Known
as a ¡°rape and revenge tale,¡± the picture was so influential that it was the
inspiration for Wes Craven¡¯s first horror-exploitation movie from 1972, The
Last House on the Left. Craven took the basic plotline, updated it, and turned
it into a gory (and some would say, sickening) fright fest.</span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: "Verdana", sans-serif;"> </span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: "Verdana", sans-serif;">Bergman¡¯s
film is easier to take, but one can imagine how harrowing it might have been in
1960. As a departure for the auteur, Bergman did not write the screenplay himself.
The script was adapted by Ulla Isaksson from a Swedish medieval ballad/legend
called ¡°T?res d?ttrar I W?nge¡± (¡°T?re¡¯s daughters in V?nge¡±). Like The Seventh
Seal before it, the story is set during the Dark Ages. It¡¯s the only other
instance in which Bergman accurately and convincingly depicts this historical
period on film. This time, his visual collaborator is the great cinematographer
Sven Nykvist, who presents the stark, sharp black and white imagery with
crystal clarity.</span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: "Verdana", sans-serif;"> </span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: "Verdana", sans-serif;">The
story concerns Christian T?re (Max von Sydow) and his family¡ªhis wife, M?reta
(Birgitta V?lberg), his teenage daughter Karin (Birgitta Pettersson), the
disturbed, unwed and pregnant servant Ingeri (Gunnel Lindblom), and other
household helpers. One morning, the virginal, innocent, and na?ve Karin sets
off on horseback, accompanied by Ingeri, to deliver candles to a church some
miles away. After a frightening, chance encounter with a one-eyed man, Ingeri
separates from Karin, who soldiers on with the candles. She comes upon a motely
trio of creepy herdsmen¡ªall brothers¡ªwith whom she offers to share her lunch.
The older two assault Karin, rape, and murder her. The younger brother, who
appears to be around twelve, watches in horror. Ingeri, hidden in the forest,
also witnesses the crime. </span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: "Verdana", sans-serif;"> </span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: "Verdana", sans-serif;">Later,
the herdsmen encounter Christian and his family, who are naturally worried
about Karin because she didn¡¯t return home. To reveal what happens next would of
course be a spoiler¡ªjust know that Christian must make a hard decision and
summon a strength from within that he didn¡¯t know he had.</span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: "Verdana", sans-serif;"> </span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: "Verdana", sans-serif;">It¡¯s
all powerful stuff, and Bergman handles it with harsh realism and surprising
sensitivity. The assault scene is brief, breathtakingly shocking, and surely
something that jolted audiences at the time. Pettersson delivers a particularly
courageous performance, and the actress¡¯ work is the heart of the movie. The
rest of the cast, especially von Sydow, Lindblom, and V?lberg, are also
excellent. </span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: "Verdana", sans-serif;"> </span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: "Verdana", sans-serif;">Particularly
interesting is that the film can be interpreted as either a deeply religious or
an anti-religious one. Christianity is often a subject matter in Bergman¡¯s oeuvre,
and his disdain for organized religion is usually palpable. In this case,
however, when the titular ¡°virgin spring¡± appears in the picture, it just might
represent an acknowledgment of a higher power. It¡¯s up to the viewer to decide.</span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: "Verdana", sans-serif;"> </span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: "Verdana", sans-serif;">Once
again, the filmmaker recreates on what was surely a very low budget a medieval
world that is totally believable. The attention to detail is striking¡ªP. A.
Lundgren¡¯s production design and Marik Vos¡¯ costume designs bring The Virgin
Spring to life (the latter was nominated for an Academy Award). </span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: "Verdana", sans-serif;"> </span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: "Verdana", sans-serif;">Criterion¡¯s
new 2K digital restoration looks gorgeous and is an improvement over the
earlier DVD release. It comes with an uncompressed monaural soundtrack and an
audio commentary from 2005 by Bergman scholar Birgitta Steene. The 2006
supplements are ported over: 2005 interviews with actors Lindblom and
Pettersson, a terrific introduction by director Ang Lee (who claims it was the
first art film he ever saw), and an interesting audio recording of a 1975
American Film Institute seminar by Bergman¡ªin English! There is an alternate
English-dubbed soundtrack, but for my money Bergman films should always be
viewed in the original language. The booklet sports an essay by film scholar
Peter Cowie, reflections on the film by screenwriter Isaksson, and the text of
the original ballad upon which the picture is based.</span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: "Verdana", sans-serif;"> </span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: "Verdana", sans-serif;">Among
the many masterpieces that Ingmar Bergman made, The Virgin Spring is a shining
gem. Don¡¯t miss it.</span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: "Verdana", sans-serif;"> </span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: "Verdana", sans-serif;"><strong><a href="http://www.amazon.com/exec/obidos/ASIN/B07BFBT37J/cinemaretroco-20">CLICK
HERE</a> </strong>TO ORDER FROM AMAZON</span></p>
Tue, 26 Jun 2018 08:59:00 +0000
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REVIEW: "WOMEN IN LOVE" (1969) STARRING OLIVER REED, ALAN BATES AND GLENDA JACKSON; CRITERION BLU-RAY SPECIAL EDITION
https://www.google.com//fbe/index.php?/archives/10011-REVIEW-WOMEN-IN-LOVE-1969-STARRING-OLIVER-REED,-ALAN-BATES-AND-GLENDA-JACKSON;-CRITERION-BLU-RAY-SPECIAL-EDITION.html
Criterion Corner-DVD/Blu-ray Reviews
/fbe/index.php?/archives/10011-REVIEW-WOMEN-IN-LOVE-1969-STARRING-OLIVER-REED,-ALAN-BATES-AND-GLENDA-JACKSON;-CRITERION-BLU-RAY-SPECIAL-EDITION.html#comments
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<p><!-- s9ymdb:9593 --><img class="serendipity_image_center" src="/fbe/uploads/WOMENLOVE.jpg" width="450" height="559" /> </p>
<p class="MsoNormal"><strong><span style="font-size: 10pt; font-family: "Verdana", sans-serif;">¡°OR IS IT ABOUT MEN?¡±</span></strong></p>
<p class="MsoNormal"><strong><span style="font-size: 10pt; font-family: "Verdana", sans-serif;">By Raymond Benson</span></strong></p>
<p class="MsoNormal"><strong><span style="font-size: 10pt; font-family: "Verdana", sans-serif;"> </span></strong></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: "Verdana", sans-serif;">Ken
Russell¡¯s controversial but widely-acclaimed adaptation of D. H. Lawrence¡¯s
novel, <em>Women in Love</em>, might have had
a better and more appropriate title¡ª<em>Men
in Love</em>. While touted as being an examination of the nature of love and
sexuality between two men and two women, in the end we are left with the more
potent notion that there is a love that can exist between two males¡ªas <em>friends</em>¡ªthat is more powerful and
¡°eternal¡± than the love a man will have for a woman. </span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: "Verdana", sans-serif;"> </span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: "Verdana", sans-serif;">Released
in 1969 in Britain and in 1970 in the U.S. (hence, its four Oscar nominations
for the year 1970), <em>Women in Love </em>has
not aged well in terms of its arty and borderline pretentious direction¡ but as
I tell my Film History students, ¡°judge a film within the context of when it
was released.¡± In that regard, <em>Women </em>was
a groundbreaking and daring motion picture of its time. In the U.S. it played
only in the big city art house theaters, probably due to its frank nudity (both
female <em>and </em>male¡ªone of the first
mainstream pictures to feature full frontal men in the raw) and subject matter.</span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: "Verdana", sans-serif;"> </span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: "Verdana", sans-serif;">It¡¯s
the early 1920s in the English countryside, where class standing is very much a
thing; but a movement is afoot for the emancipation of women, free-thinking,
avant-garde art, and the breaking of social taboos. While the story focuses on
four characters¡ªRupert (Alan Bates), Gerald (Oliver Reed), Gudrun (Glenda
Jackson), and Ursula (Jennie Linden)¡ªthe ¡°protagonist,¡± as it were, is Rupert.
In fact, it is how he approaches his relationships with his best friend Gerald
and the woman he eventually marries, Ursula, that is the crux of the story. </span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: "Verdana", sans-serif;"> </span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: "Verdana", sans-serif;">Glenda
Jackson, however, won the Best Actress Oscar as the free-spirited,
take-no-prisoners Gudrun in what is honestly a supporting role in the story.
This statement is not meant to take away from her engaging, charismatic
performance¡ªshe¡¯s terrific. There is no question that she steals the movie. But
Linden has more screen time as her younger, more conservative sister. </span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: "Verdana", sans-serif;"> </span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: "Verdana", sans-serif;">What
made the film a <em>cause c</em></span><em><span style="font-size: 10pt; font-family: "Verdana", sans-serif;">¨¦</span></em><em><span style="font-size: 10pt; font-family: "Verdana", sans-serif;">l</span></em><em><span style="font-size: 10pt; font-family: "Verdana", sans-serif;">¨¨</span></em><em><span style="font-size: 10pt; font-family: "Verdana", sans-serif;">bre </span></em><span style="font-size: 10pt; font-family: "Verdana", sans-serif;">at the time was the
much-talked-about nude wrestling scene between Bates and Reed¡ªwhich, apparently,
they had to talk Russell in to filming because they were keen to do it. Beautifully
shot by Oscar-nominated Billy Williams, the rumble in an English manor study by
firelight rightly is a remarkable piece of cinema. </span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: "Verdana", sans-serif;"> </span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: "Verdana", sans-serif;">Ken
Russell received his only directing Oscar nomination for the film. Some might
watch it today and think that his work¡ªand the acting as well¡ªis over-the-top.
The truth is that Russell intentionally <em>stylized
</em>the movie with a heightened realism that matches the passion and intensity
of its subject matter. This is a picture in which style and substance are
notched up to eleven. Russell, in his later career, would often be accused of extravagance
and pretentiousness¡ªbut here, <em>Women in
Love</em> is relatively tame in comparison.</span></p>
<p><!-- s9ymdb:9594 --><img class="serendipity_image_center" src="/fbe/uploads/womeninlove2.jpg" width="450" height="574" /> </p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: "Verdana", sans-serif;"> </span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: "Verdana", sans-serif;">This
gorgeous period piece with heady dialogue, editing influenced by the French New
Wave, lovely costumes, and beautiful scenery, is showcased by the Criterion
Collection¡¯s new restored 4K digital transfer with an uncompressed monaural
soundtrack. </span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: "Verdana", sans-serif;"> </span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: "Verdana", sans-serif;">Supplements
include two different commentaries from 2003 (one by Russell, one by
producer/screenwriter Larry Kramer); new interviews with DP Billy Williams and
editor Michael Bradswell; vintage interviews with Russell and Jackson; an
interesting on-location piece featuring Bates, Linden, and Kramer; and the
theatrical trailer.</span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: "Verdana", sans-serif;"> </span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: "Verdana", sans-serif;">The
most striking supplement is Russell¡¯s own biopic autobiography, <em>A British Picture¡ªPortrait of an Enfant
Terrible</em> (1989), a bizarre but fun piece in which a little boy plays
Russell throughout the years, even when Russell is an adult. Another
interesting, but less successful, inclusion is a 1972 short film, <em>Second Best</em>, based on a D. H. Lawrence
short story, produced by and starring Bates. The booklet features an essay by
scholar Linda Ruth Williams.</span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: "Verdana", sans-serif;"> </span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: "Verdana", sans-serif;">Cinema,
English, and literature buffs will certainly appreciate <em>Women in Love</em>. For those willing to position it in its appropriate
historical place, it¡¯s a scrumptious and sensual delight. </span></p>
<p><strong><a href="http://www.amazon.com/exec/obidos/ASIN/B0788XVV6B/cinemaretroco-20">CLICK HERE </a>TO ORDER FROM AMAZON</strong> <br /></p> <!--[if gte mso 9]><xml>
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Fri, 23 Mar 2018 15:32:18 +0000
/fbe/index.php?/archives/10011-guid.html
http://creativecommons.org/licenses/by/3.0/