• About Me
  • John Charet’s Favorite Westerns
  • My 233 Favorite Directors of All-Time (Alphabetical Order)

cinematiccoffee

~ Fine Conversations About Cinema

cinematiccoffee

Tag Archives: 1965

Moviedrome Mondays: The Hill (1965)

31 Sunday Jan 2021

Posted by John Charet in Alex Cox, Moviedrome

≈ 8 Comments

Tags

1965, The Hill

I have posted a youtube video link below to Moviedrome presenter Alex Cox’s introduction to director Sidney Lumet’s 1965 WWII prison drama The Hill. Readers can also read Cox intro transcript here. The episode’s original airdate was June 20, 1993 (read here). Though I agree with Cox regarding The Hill’s opening shot (he compares it to Touch of Evil), Oswald Morris cinematography, the cast and the execution of it’s drama, his problem with the film’s stage play origins (it became apparent for him near the end) was an obvious one for myself from the very start. In other words, The Hill feels too theatrical and not cinematic enough. Nevertheless, The Hill’s aforementioned virtues are so strong that it really does come off as a good (in my opinion), If not excellent (in Cox’s view) film.

Here is a youtube video link to Alex Cox’s Moviedrome intro to The Hill

Here is another youtube video link to Alex Cox’s Moviedrome intro to The Hill

Here is a youtube video link to the film’s original theatrical trailer

Moviedrome Mondays: The Loved One (1965)

08 Sunday Mar 2020

Posted by John Charet in Alex Cox, Moviedrome

≈ 8 Comments

Tags

1965, The Loved One

I have posted a youtube video link below to Moviedrome presenter Alex Cox’s introduction to British director Tony Richardson’s 1965 film The Loved One – adapted from the 1948 novel of the same name by celebrated British writer Evelyn Waugh. My readers can also read Cox’s transcript here. The episode’s original airdate was July 15, 1990 (read here). This film version of Waugh’s aforementioned book hits and misses for the very same reasons Cox so eloquently states in his intro. I also agree with this very fascinating write-up about the film on the TCM website (read here).

Here is a youtube video link to Alex Cox’s Moviedrome intro to The Loved One (the sound comes on at the 0:15 mark)


Here is a youtube video link to the film’s original theatrical trailer

Moviedrome Mondays: Alphaville (1965)

27 Sunday Oct 2019

Posted by John Charet in Alex Cox, Moviedrome

≈ 9 Comments

Tags

1965, Alphaville

I have posted a youtube video link below to Moviedrome presenter Alex Cox’s intro to legendary French New Wave filmmaker Jean-Luc Godard’s 1965 science-fiction mystery Alphaville. My readers can also read Cox’s transcript here. The episode’s original airdate was July 30, 1989 (read here). Taking into account Raoul Coutard’s black-and-white cinematography and the image of American actor Eddie Constantine as a trenchcoat-clad detective, Alphaville may also be Godard’s way of paying homage to 1940’s film-noir. As usual, Godard manages to say a lot on many things of the film -socio, political or otherwise. Equally impressive is Godard’s reliance on actual locations, as opposed to building futuristic sets. Since modernistic glass and concrete buildings were new at the time (read here), Godard decided to stick with this. Whether it was due to budgetary restraints or not, he managed to make this viewer feel that it was visually convincing dystopian future. If any of you readers are interested in reading my list of my favorite Jean-Luc Godard films, read here.

Here is a youtube video link to Alex Cox’s Moviedrome intro of Alphaville


Here is a youtube video link to (what I believe) was the original theatrical trailer for the French market


Here is a youtube link to (what I believe) is a 2014 revival trailer for the American market

John Charet’s Take On: Always on Sunday (1965)

25 Monday Mar 2019

Posted by John Charet in 1960's Cinema, British Cinema, British Filmmakers, Cinema, Documentary, Ken Russell, Music, Television, Uncategorized

≈ 5 Comments

Tags

1965, Always on Sunday, Ken Russell

Upon reaching new creative heights with his previous Monitor entry The Debussy Film, director Ken Russell decided to end his career there on a quieter note with Always on Sunday, which aired one month later in June of 1965. For those interested, The Debussy Film’s original airdate was 05/18/65, while Always on Sunday’s was 06/29/65. Even so, Always on Sunday remains significant for reportedly being Russell’s first television documentary/docudrama to come off as a pure dramatization of a famous artist’s life (read here). Following broadcaster Huw Wheldon’s departure from the aforementioned programme in 1964, Russell was now free (at least for the most part) to expand upon his creativity as a filmmaker – The Debussy Film’s film-within-a-film format stands out in particular. As with Elgar, Russell tells his story in a similarly straightforward fashion, but unlike that earlier effort, Always on Sunday finds him taking a more laid-back approach to it at the same time.

Whereas Elgar and (in some ways) The Debussy Film centered on the lives of famed composers, Always on Sunday centers on the life of late 19th-century to early 20th-century French post-impressionist painter Henri Rousseau (1844-1910). Oliver Reed serves as the film’s narrator (seriously, what a mesmerizing voice), while James Lloyd handles lead acting duties as Rousseau. Annette Robertson (Gaby from The Debussy Film) also lends welcome support as (yes) pint-sized French symbolist writer Alfred Jarry (1873-1907), whose voice is dubbed here by an uncredited male actor. The scenario was concocted by Melvyn Bragg, who previously collaborated with director Ken Russell on The Debussy Film.

If I can name one thing that director Ken Russell does really well in Always on Sunday, it would lie in the sincere simplicity of his storytelling. Prior to his flamboyant later films, Russell had continuously proven himself to be a master of subtlety with his early television work at the BBC (1959-1970). This one, Elgar and Song of Summer (my personal favorite) notably demonstrates this aspect. Always on Sunday’s slow but steady pacing debatably resembles Russell’s way of appreciating the finer things in life. One memorable running gag involves Rousseau hauling around one of his paintings around the countryside back and forth in a wagon of sorts. Another involves Rousseau placing one of his paintings in a museum it the hopes of rivaling the work of some of his contemporaries. The action then cuts to some examples via their individual artwork: Camille Pissarro, Paul Cezanne, Vincent van Gogh, Georges Seurat and Henri de Toulouse-Lautrec.

As is occasionally typical of his work, Always on Sunday sometimes feels like a semi-autobiographical account of it’s director Ken Russell. An early sequence depicting French elitists ridiculing Rousseau’s paintings foreshadowed the hostile relationship between Russell and his critics. At the same time, he sees a little bit of himself in Alfred Jarry (a reported supporter of Rousseau). One such scene comes in the form of Jarry’s irreverent play Ubu Roi – a scathing satire on the bourgeoisie. Another example occurs when one of Rousseau’s neighbors complains to Jarry that his pistol firing (he carries two of them) is endangering her children. Jarry’s response is delightfully insulting – If that should be the case madam, we’d hope you get some new ones, the bedroom’s over there. For some odd reason, I can’t help but feel that Russell would applaud his response.

Capturing all of Elgar’s simplicity and none of The Debussy Film’s originality, Always on Sunday is like a warmup to director Ken Russell’s subsequent television films. The following year in 1966, he directed an entry for Sunday Night (Don’t Shoot the Composer) and a stand alone (Isadora Duncan, the Biggest Dancer in the World). The others were episodes of Omnibus – Dante’s Inferno in 1967, Song of Summer in 1968 and Dance of the Seven Veils in 1970. Those last four titles (I have not seen Don’t Shoot the Composer) arguably rank as major works on Russell’s resume. Always on Sunday may seem minor compared to them, but as with all of Russell’s films, it is a great one regardless of ranking.

-(Star Rating)-
* * * * (Out of * * * *)

Here is a link to Part 1 of the film


Here is a link to Part 2 of the film


Here is a link to Part 3 of the film

John Charet’s Take On: The Debussy Film (1965)

23 Saturday Feb 2019

Posted by John Charet in 1960's Cinema, British Cinema, British Filmmakers, Cinema, Documentary, Ken Russell, Music, Television

≈ 8 Comments

Tags

1965, Ken Russell, The Debussy Film

According to Michael Brooke of BFI Screenonline (read here), The Debussy Film was originally intended to be director Ken Russell’s second feature film. Unfortunately, after the critical and commercial failure of his cinematic directorial debut French Dressing from a year earlier, Russell had to abandon this option. Left with no other alternative, he ended up selling it as a film for the BBC arts programme Monitor and the rest was history. Restricted to this period alone (1959-1965), The Debussy Film finishes up as the greatest of all his television films.

As with Elgar, The Debussy Film has director Ken Russell pushing the envelope on what could be allowed within the format of a television program. Unlike that earlier entry though, The Debussy Film is a completely different undertaking altogether. If Elgar played as something akin to a documentary on a beloved artist, then The Debussy Film plays out more like a film-within-a-film about one.

The Debussy Film opens with a filmmaker (Vladek Sheybal) giving directions to a child actor about his subject – He’s known hundreds of people in his life but because of quarrels and because a war was going on, there’s hardly anyone at the funeral. Furthermore, he states that France is about to collapse, and hardly anybody notices the death of a man who has now taken to signing himself “Musician of France”. His wife is there, of course, and Chouchou, his daughter, but hardly anyone else. Now, when the carriage gets there, to the end, I want you to run out into the road, look at the wreaths for the name, run back, and say to your mother, “it seems he was a musician”. Not too long afterwards, we cut to a background artwork painting of the Monitor episode’s subject with the title – The Debussy Film – and it’s subtitle – Impressions of the French Composer. Next, we get photographic stills in the background with voiceover/narration provided by it’s unseen British presenter. Here is what he says in his own words – Claude Debussy, born in poverty in 1862, died friendless in 1918. A film based on incidents in his life, his own words and his relationships – with Gabrielle Dupont, attempted suicide, Lilly Rosalie Texier, attempted suicide, Chouchou, died at the age of 13, Madame Bardac, wife of a wealthy banker, and the man who took most of these pictures, Pierre Louys, pornographer, novelist, photographer.

Beside casting himself in the role of Pierre Louys, the plot’s unnamed film director of this project casts four actors, who either go by the exact names of the characters that they are portraying – Claude Debussy (Oliver Reed) and Madame Bardac (Izabella Telezynska/Isa Taylor) – or at the very least, their nicknames – Gaby (Annette Robertson) and Lily/Lilly (Penny Service). Inevitably, throughout the production, reality (subtly or not so subtly) intertwines with fantasy, as Debussy – the actor – suddenly finds himself immersed in his subject of Debussy – the composer. This becomes clear in his relationships with Gaby, Lily/Lilly and Madame Bardac – the actresses – versus that of Gaby, Lily/Lilly and Madame Bardac – the lovers.

As to be expected from all (or at least some) of director Ken Russell’s shoestring works, The Debussy Film effortlessly overcomes every single limitation of it’s low-budget. A good portion of this arises from both Russell and his screenwriting partner Melvin Bragg’s decision to execute the scenario as a film-within-a-film. In addition, the two cleverly (If discreetly) reference Monitor’s use of voiceovers (think of Huw Wheldon’s narration in Russell’s Elgar) by using Vladek Sheybal’s filmmaker character as the occasional narrator of his very own subject.

To some extent, The Debussy Film comes off as an autobiographical/semi-autobiographical account of it’s filmmaker Ken Russell. If my argument is credible, then the plot’s nameless director could possibly serve as Russell’s fictionalized alter ego. Similar to him, Russell has always been fascinated by the lives of famous composers. Although the fictionalized character’s religious affiliation is never made clear, Russell (a converted Roman Catholic himself) is throughly fascinated with Catholicism like he is. Two notable sequences here include the filming of a woman being shot with arrows (a la Saint Sebastian) and another filmed one involving a mob of priests and nuns holding a life-size statue of both Mother Mary and Baby Jesus. Aside from statues, other examples come in the form of artwork throughout.

When it comes to individual set pieces, The Debussy Film features some of the most imaginative sequences that director Ken Russell ever conceived for television. Some of them are elegantly staged like the previously mentioned ones between Claude Debussy and his women (Gaby, Lily/Lilly and Madame Bardac); both within-and-out of the film-within-the-film. On the contrary, the climactic scene plays out like something from a German Expressionist horror film. Last, but not least, we get an inspired montage sequence set to Richard Wagner’s Ride of the Valkyries. In it, two people swing dance to Valkyries amid a mock duel between two actors. A push broom, a cane, toy dart guns and even hand-to-hand combat via (rather humorously) slapping are the weapons of choice. The action frequently cuts back-and-forth; from the aforementioned staged fight to two women playing with bumper cars at a carnival and then back again. The image of a cat quickly, albeit cartoonishly, jumping up and down – complete with sound effects – gives it an absurdist touch. With the exception of that last one, all of these scenes (as in Elgar) are accompanied by Debussy’s (the composer that is) musical compositions.

Elgar might have established Ken Russell as a fully fledged director, but The Debussy Film elevated him to that of a master filmmaker. The Debussy Film may not be my personal favorite of his television work (that honor goes to Song of Summer), but for his penultimate Monitor entry, Russell could not have delivered a better climax.

-(Star Rating)-
* * * * (Out of * * * *)

P.S. since I could not find part 1 of this film on youtube, I had to go to dailymotion.com to find it. Here is a link below to part 1

 

Here is a youtube link to part 2

 

Here is a youtube link to part 3

 

Here is a youtube link to part 4

 

Here is a youtube link to part 5

 

Here is a youtube link to part 6

Recent Posts

  • Week Off
  • Moviedrome Mondays: Invasion of the Body Snatchers (1978) and Romance of a Horsethief (1971)
  • My Favorite William Wyler Films
  • Moviedrome Mondays: Cry-Baby (1990) and Lenny (1974)
  • Moviedrome Mondays: The Hill (1965)

Archives

  • February 2021
  • January 2021
  • December 2020
  • November 2020
  • October 2020
  • September 2020
  • August 2020
  • July 2020
  • June 2020
  • May 2020
  • April 2020
  • March 2020
  • February 2020
  • January 2020
  • December 2019
  • November 2019
  • October 2019
  • September 2019
  • August 2019
  • July 2019
  • June 2019
  • May 2019
  • April 2019
  • March 2019
  • February 2019
  • December 2018
  • November 2018
  • October 2018
  • September 2018
  • August 2018
  • July 2018
  • June 2018
  • May 2018
  • April 2018
  • March 2018
  • February 2018
  • December 2017
  • October 2017
  • September 2017
  • June 2017
  • May 2017
  • April 2017
  • March 2017
  • January 2017
  • December 2016
  • November 2016
  • October 2016
  • September 2016
  • August 2016
  • June 2016
  • May 2016
  • April 2016
  • March 2016
  • February 2016
  • January 2016
  • December 2015
  • November 2015
  • October 2015
  • September 2015
  • April 2015
  • November 2014
  • March 2014
  • October 2013
  • September 2013
  • June 2013
  • May 2013
  • April 2013
  • March 2013
  • December 2012
  • November 2012
  • October 2012

Categories

  • 1920's Cinema
  • 1930's Cinema
  • 1940 Comedies
  • 1940's Cinema
  • 1950's Cinema
  • 1960's Cinema
  • 1970's Cinema
  • 1980's Cinema
  • 1990's Cinema
  • 2000's Cinema
  • 2010-Present Cinema
  • 2020 Cinema
  • Abbas Kiarostami
  • Abel Gance
  • Action
  • Adventure
  • African American Cinema
  • African American Filmmakers
  • Agnes Varda
  • Akira Kurosawa
  • Alain Resnais
  • Alan Clarke
  • Alan Rudolph
  • Albert Brooks
  • Alex Cox
  • Alexander Mackendrick
  • Alfonso Cuaron
  • Alfred Hitchcock
  • Alfred L. Werker
  • Algerian Cinema
  • American Actors
  • American Cinema
  • American Film Critics
  • American Filmmakers
  • Andre De Toth
  • Andre Techine
  • Andrei Tarkovsky
  • Andrzej Wajda
  • Animation
  • Anime
  • Anthology
  • Anthology Films
  • Anthony Mann
  • Apichatpong Weerasethakul
  • Arabic Cinema
  • Argentine Filmmakers
  • Armenian Cinema
  • Arthur Penn
  • Atom Egoyan
  • Australian Cinema
  • Australian Filmmakers
  • Austrian Cinema
  • Austrian Filmmakers
  • B Cinema
  • Bela Tarr
  • Belgian Cinema
  • Belgian Filmmakers
  • Ben Wheatley
  • Bernardo Bertolucci
  • Bill Forsyth
  • Billy Wilder
  • Biography
  • Black Comedies
  • Bob Fosse
  • Bong Joon-ho
  • Box Sets
  • Brad Bird
  • Brazilian Cinema
  • Brian De Palma
  • Brian Taylor
  • British Cinema
  • British Filmmakers
  • Bruno Dumont
  • Budd Boetticher
  • Buster Keaton
  • Cable/Television
  • Canadian Cinema
  • Canadian Filmmakers
  • Carl Theodor Dreyer
  • Carlos Reygadas
  • Chantal Akerman
  • Charles Burnett
  • Charlie Chaplin
  • Chicago
  • Chinese Cinema
  • Chinese Filmmakers
  • Chris Marker
  • Christopher Guest
  • Christopher Nolan
  • Christy Lemire
  • Cinema
  • Claire Denis
  • Claude Chabrol
  • Clint Eastwood
  • Comedies
  • Comedy
  • Compilation
  • Compilations
  • Concert Films
  • Crime
  • Crime Films
  • Cristian Mungiu
  • Cuban Cinema
  • Curt Oertel
  • Czech Cinema
  • Czech Filmmakers
  • D.W. Griffith
  • Damien Chazelle
  • Danish Cinema
  • Danish Filmmakers
  • Dario Argento
  • Dariush Mehjui
  • David Cronenberg
  • David Lowery
  • David Lynch
  • David O. Russell
  • Denis Villeneuve
  • Derek Jarman
  • Discussions of Cinema
  • Docufiction
  • Documentaries
  • Documentary
  • Documentary Shorts
  • Dolly Parton
  • Don Siegel
  • Douglas Sirk
  • Drama
  • Dusan Makavejev
  • Dutch Cinema
  • Dutch Filmmakers
  • Edgar G. Ulmer
  • Edgar Wright
  • Edmund Goulding
  • Elaine May
  • Elia Kazan
  • English Filmmakers
  • Epics
  • Eric Rohmer
  • Erich von Stroheim
  • Ernst Lubitsch
  • Errol Morris
  • Ethan Coen
  • Expressionism
  • F.W. Murnau
  • Family
  • Fantasy
  • Federico Fellini
  • Film Directors
  • Film Noir
  • Finnish Cinema
  • Forbidden Season
  • Francesco Rosi
  • Francis Ford Coppola
  • Francois Truffaut
  • Frank Borzage
  • Frank Capra
  • Frank Tashlin
  • Fred C. Newmeyer
  • French Cinema
  • French Filmmakers
  • Fritz Lang
  • G.W. Pabst
  • Gangster Films
  • Gaspar Noe
  • Gene Kelly
  • Gene Siskel
  • George A. Romero
  • George Abbott
  • George Miller
  • George Stevens
  • Georges Melies
  • German Cinema
  • German Filmmakers
  • Gillo Pontecorvo
  • Greatest
  • Greek Cinema
  • Greek Filmmakers
  • Guest Entries
  • Guillermo del Toro
  • Guy Maddin
  • Harold Lloyd
  • Hayao Miyazaki
  • Henri-Georges Clouzot
  • Henry Selick
  • Hirokazu Koreeda
  • History
  • Hong Kong Cinema
  • Hong Kong Filmmakers
  • Horror
  • Hou Hsiao-hsien
  • Howard Hawks
  • Hungarian Cinema
  • Hungarian Filmmakers
  • Icelandic Cinema
  • Ignatiy Vishnevetsky
  • Indian Cinema
  • Indian Filmmakers
  • Indo Canadian Filmmakers
  • Ingmar Bergman
  • Iranian Cinema
  • Iranian Filmmakers
  • Irish Cinema
  • Italian Cinema
  • Italian Filmmakers
  • Jacques Becker
  • Jacques Demy
  • Jacques Rivette
  • Jacques Tati
  • Jacques Tourneur
  • Jafar Panahi
  • James Whale
  • Jan Svankmajer
  • Jan Troell
  • Jane Campion
  • Japanese Cinema
  • Japanese Filmmakers
  • Jared Hess
  • Jean Cocteau
  • Jean Renoir
  • Jean-Luc Godard
  • Jean-Pierre Melville
  • Jerry Lewis
  • Jia Zhangke
  • Jim Jarmusch
  • Joe Dante
  • Joel and Ethan Coen
  • Joel Coen
  • John Carpenter
  • John Cassavetes
  • John Ford
  • John Frankenheimer
  • John Huston
  • John Landis
  • John M. Stahl
  • John Schlesinger
  • John Waters
  • John Woo
  • Johnny Mathis
  • Jonathan Demme
  • Jordan Vogt-Roberts
  • Josef von Sternberg
  • Joseph H. Lewis
  • Joseph L. Mankiewicz
  • Jules Dassin
  • Juzo Itami
  • Kathryn Bigelow
  • Keisuke Kinoshita
  • Kelly Clarkson
  • Kelly Reichardt
  • Ken Loach
  • Ken Russell
  • Kenji Mizoguichi
  • Kenneth Anger
  • Kim Jee-Woon
  • King Hu
  • King Vidor
  • Kon Ichikawa
  • Korean Cinema
  • Korean Filmmakers
  • Krzysztof Kieslowski
  • Larry Cohen
  • Lars von Trier
  • Leo McCarey
  • Leos Carax
  • Lina Wertmuller
  • Lists
  • Louis Feuillade
  • Louis Malle
  • Luchino Visconti
  • Luis Bunuel
  • Lynne Ramsay
  • Manoel de Oliveira
  • Marcel Carne
  • Mario Bava
  • Mark Neveldine
  • Mark Robson
  • Martin Scorsese
  • Masaki Kobayashi
  • Max Ophuls
  • Mel Gibson
  • Mexican Cinema
  • Mexican Filmmakers
  • Michael Cimino
  • Michael Powell and Emeric Pressburger
  • Michaelangelo Antonioni
  • Michel Gondry
  • Mike Leigh
  • Mikio Naruse
  • Miklos Jancso
  • Milos Forman
  • Miniseries
  • Mockumentary
  • Mohsen Makhmalbaf
  • Monte Hellman
  • Moviedrome
  • Music
  • Music Videos
  • Musical
  • Musicals
  • Mystery
  • Neo Noir
  • New Zealand Cinema
  • New Zealand Filmmakers
  • Nicholas Ray
  • Nick Park
  • Nicolas Roeg
  • Noah Baumbach
  • Norwegian Cinema
  • On the Side
  • Orson Welles
  • Otto Preminger
  • Ousmane Sembene
  • P.J. Hogan
  • Park Chan-wook
  • Paul Mazursky
  • Paul Thomas Anderson
  • Paul Verhoeven
  • Pedro Almodovar
  • Performance Film
  • Peter Bogdanovich
  • Peter Jackson
  • Peter Watkins
  • Phil Karlson
  • Philip Kaufman
  • Pier Paolo Pasolini
  • Pierre Etaix
  • Polish Cinema
  • Polish Filmmakers
  • Portuguese Cinema
  • Portuguese Filmmakers
  • Pre-1920's Cinema
  • Preston Sturges
  • Quentin Tarantino
  • Rainer Werner Fassbinder
  • Raoul Walsh
  • Religious
  • Remakes
  • Rene Clair
  • Richard Fleischer
  • Richard Lester
  • Richard Linklater
  • RIchard Roeper
  • Robert Aldrich
  • Robert Altman
  • Robert Bresson
  • Robert J. Flaherty
  • Robert Lyford
  • Robert Wise
  • Roberto Rossellini
  • Roger Ebert
  • Roman Polanski
  • Romance
  • Romanian Cinema
  • Romanian Filmmakers
  • Roy Andersson
  • Russ Meyer
  • Russian Cinema
  • Russian Filmmakers
  • Sam Peckinpah
  • Sam Raimi
  • Sam Taylor
  • Samuel Fuller
  • Samurai Films
  • Satoshi Kon
  • Satyajit Ray
  • Science Fiction
  • Scottish Cinema
  • Scottish Filmmakers
  • Senegalese Cinema
  • Senegalese Filmmakers
  • Sequels
  • Serbian Cinema
  • Serbian Filmmakers
  • Sergei Eisenstein
  • Sergio Corbucci
  • Sergio Leone
  • Sergio Sollima
  • Shohei Imamura
  • Short Cinema
  • Short Film
  • Short Films
  • Sidney Lumet
  • Silent Cinema
  • Slovak Cinema
  • South Korean Cinema
  • South Korean Filmmakers
  • Soviet Cinema
  • Soviet Filmmakers
  • Spanish Cinema
  • Spanish Filmmakers
  • Special Interest
  • Spectacle
  • Spike Jonze
  • Spike Lee
  • Sport
  • Sports
  • Sports Films
  • Stanley Donen
  • Stanley Kubrick
  • Status
  • Stephen Chow
  • Steve James
  • Steven Soderbergh
  • Steven Spielberg
  • Stuart Gordon
  • Student Cinema
  • Surrealism
  • Swedish Cinema
  • Swedish Filmmakers
  • Swiss Cinema
  • Swiss Filmmakers
  • Taiwanese Cinema
  • Taiwanese Filmmakers
  • Takashi Miike
  • Ted Post
  • Television
  • Terence Davies
  • Terrence Malick
  • Terry Gilliam
  • Terry Jones
  • Terry Zwigoff
  • Thai Cinema
  • Thai Filmmakers
  • The Film Club
  • The Quay Brothers
  • Thriller
  • Thrillers
  • Tian Zhuangzhuang
  • Tobe Hooper
  • Todd Solondz
  • Tony Richardson
  • Top 10
  • Top 100
  • Top 101
  • Top 272
  • Top 304
  • Top 305
  • Top 306
  • Top 307
  • Top 308
  • Top 309
  • Top 310
  • Top 312
  • Top 313
  • Top 314
  • Top Directors
  • Tunisian Cinema
  • TV Films
  • Uncategorized
  • Victor Sjostrom
  • Vincente Minnelli
  • Vittorio de Sica
  • Walter Hill
  • War
  • War Films
  • Werner Herzog
  • Wes Anderson
  • West German Cinema
  • Western
  • Westerns
  • William Friedkin
  • Wim Wenders
  • Wong Kar-wai
  • Woody Allen
  • Yasujiro Ozu
  • Yasuzo Masumura
  • Yugoslavian Cinema
  • Zack Snyder

Meta

  • Register
  • Log in
  • Entries feed
  • Comments feed
  • WordPress.com

Blogroll

  • Antagony & Ecstasy
  • Brian Tallerico
  • Chicago Film Discussion Group
  • Collin Souter
  • Combustible Celluloid
  • Criterion Collection
  • Eric Melin
  • Erik Childress
  • Farran Nehme
  • Filmspotting
  • Ignatiy Vishnevetsky
  • Jonathan Rosenbaum
  • Josh Larsen
  • Laura Emerick
  • Mark Dujsik
  • Matt Pais
  • Michael Glover Smith
  • Michael Phillips
  • Michael Wilmington
  • Nick Digilio
  • Peter Sobcynski
  • Ray Pride
  • Richard Roeper
  • Roger Ebert
  • Susan Doll
  • The Criterion Collection
  • The Dissolve

Blog at WordPress.com.

Privacy & Cookies: This site uses cookies. By continuing to use this website, you agree to their use.
To find out more, including how to control cookies, see here: Cookie Policy