Max Ophüls kicked off his directorial career in his native Germany, but as so many other Jewish artists, he fled the Nazis in 1933 and eventually made his way to Hollywood at the outset of the 1940s. There he made a number of well-received films, including previous list movie Letter From an Unknown Woman (1948), which drew on a Continental sophistication and moral flexibility that one did not find in the generally more prudish American studio system. But many of Ophüls most admired films were produced after his return to Europe in the 1950s. With Madame de… (aka The Earrings of Madame de…, 1953) Ophüls ups the ante in his depiction of fin de siecle upper-class society, drowning the film in gowns and ornately dressed sets. It also follows the lead of his previous list film in following the progression of an intense, but ultimately doomed affair. But Madame de… trades in a greater subtlety, working within the unwritten — and often unspoken — rules of society and enhancing the dynamics among characters through remarkable camerawork and staging. It is a film as elegant as its aristocratic leads, and as sparkling as the diamond earrings that launch the story. (100 min.) Continue reading
A man lies dead in a forest clearing, his wife has been assaulted, and a bandit has made off with their horse and possessions. This much is known, but everything else is called into question as the bandit, the wife, and the dead man (speaking through a medium) tell drastically different versions of how this came to be. And a story level beyond, three men discuss these testimonies as they take shelter from the pouring rain and, confronted with an apparent web of death and lies, ponder the nature of the human soul. Kurosawa Akira’s Rashomon (1950) was a major landmark in world cinema, breaking Japanese film into the global consciousness in a major way (and generally letting the West know that their was more than Europe and Hollywood out there). The film — which essentially tells the same story four times from radically different vantage points — is a remarkable deconstruction of narrative convention and calls into question the supposed impartiality of the camera’s gaze. Endlessly influential — the “Rashomon effect” has even entered standard legal parlance — the film calls into question the nature of truth and examines the urges and self-serving motives that obscure the pure core of our common humanity. (88 min.) Continue reading
The image above is from the movie Skyfall and it is damn lovely. Skyfall in general is a damn fine film. It is my second favorite James Bond film, and while featuring a nigh-nonsensical plot, it also happens to have one of the best Bond villains, an excellent look into the emotional core of Bond himself, and some of the best action scenes of any film, period. But I want to focus on that damn lovely shot — or should I say shots, because Skyfall is filled with fantastic compositions and exquisite lighting. It is no surprise that Skyfall cinematographer Roger Deakins landed himself an Oscar nomination for the film. Continue reading
Hi all, this is J. We’re going to be doing something a little unusual with a few posts over the coming days that dig into a series of films that are decidedly not on the Sight & Sound 250 Greatest Films of All Time list: the canon of James Bond. Although perhaps I shouldn’t have said “we” — this one is all me, because if Daniel Craig ain’t in it, S. ain’t watching it.
I’m guessing it was around 1990, although I can’t be certain on this. It would have not been long after we got cable television for the first time, and I was plunked in front of a television with a screen little bigger than that of the laptop upon which I am typing. Bouncing from channel to channel I landed upon a bizarre scene of two men stalking each other through a psychedelic funhouse while a little person sprung traps and pranks to liven an already deadly game. It was the opening scene to The Man with the Golden Gun, and 11-year-old me was in. Continue reading
This is kind of a big one — our first Robert Bresson film at Fan With a Movie Yammer. Bresson is the most decorated director on the Sight & Sound list, with a remarkable seven films (more than half his total output) earning a spot on the list. Among the most respected and revered of French directors, Bresson is known for his minimalism and use of non-professional actors, and his films are credited with paving the way for the French New Wave of cinema. The director’s third feature, Diary of a Country Priest (Journal d’un curé de campagne, 1951), is his first film on the Sight & Sound list. Featuring unorthodox plotting and a distinctly spiritual bent, Diary of a Country Priest follows the travails of a young priest who has just received control over his first parish. There he meets suspicion and resentment from his parishioners, and his internal struggles — both bodily and spiritually — threaten to consume him. Spare and elegant, but displaying an ever tightening emotional tension (and a wry, satiric bent), Diary of a Country Priest is an exploration of what it means to find consolation in a world full of tragedies and malice. (115 min.) Continue reading
When it comes to the film epic, it might be fair to say there are two kinds: Lawrence of Arabia and others. To be sure, there are plenty of films that aspire to go big — be it butt-testing running times; stories that cover years, if not decades; or spectacles on the grandest of scales. But Lawrence of Arabia (1962) is a different beast altogether. Relying less on overt pomp and largely devoid of ornate sets or heightened reality, the film derives its grandeur from remarkable desert landscapes and an intensity generated not just from incident but from the inner lives of its characters. In this, the film was no doubt aided by being based on the autobiography of T.E. Lawrence, a British officer who helped lead an Arab revolt against the Ottoman Empire during World War I. But the film is also rooted in the keen sense of character and relationships that director David Lean showcased in his earlier, more modest dramas like Brief Encounter (1945). By being — or at least feeling — true to history and humanity, Lawrence of Arabia is able to take one man’s story and make it as intense and sprawling as the desert itself. (227 min.) Continue reading
Movies can be about most anything — and the Sight & Sound list is proof positive of that basic sentiment. The prehistoric battle royale of King Kong is worlds apart from, say, the psychological noir of In a Lonely Place or the kaleidoscopic view of everyday life in Man With a Movie Camera. But one theme that seems to enthrall filmmakers is the art and business of making movies — it’s a theme that, for instance, runs through all of the films in the previous sentence. And why wouldn’t filmmakers be obsessed with with both their craft and the business that makes it possible — it’s basically the movie-making equivalent of “write what you know”. And few people knew movie making better than Billy Wilder. A German emigré who arrived in the United States with hardly any English, Wilder managed to quickly become one of the top scriptwriters and directors in Hollywood, known for his barbed humor and sophisticated dialogue. After two decades in the business Wilder turned his focus on Hollywood itself. Sunset Blvd. (1950) is a savage look at the way Hollywood operates, particularly in its capacity for casting aside those who gave their all to the business. But while the film bears the hallmarks of Wilder’s caustic wit and subtle direction, Sunset Blvd. is truly dominated by one of the great screen performances of all time by former silent movie star Gloria Swanson — an actor who was decidedly ready for her closeup. (110 min.) Continue reading