Cinema of the World

a comprehensive library of Arthouse.. Cult, Classic, Experimental and rare movies from all over the world.

5:31 PM

Yang Zhang - Xizao AKA Shower (1999)

Gönderen anybody



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Quote:

Many Chinese movies understandably focus on the tragic era of
the Cultural Revolution. This movie, on the contrary, presents us with the dark side of the "new" China. Though particular to China, it coincidentally describes a more global picture of a world that pursues money to the detriment of happiness.

We immediately get a look at a metaphor for the new China. A man takes a shower in an efficient public shower, which looks like a mix between a porto-potty and a robo car-wash. It gets the job done in a short amount of time so that the user can get on with his life as producer and consumer.

We then meet the businessman behind the efficient shower. He is a Chinese yuppie, now living in Shenzhen, but who is presently returning to his hometown because he believes his father, whom he had not visited in a long time, is dead.


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Quote:

French master Max Ophuls’s most cherished work, The Earrings of Madame de . . . is an emotionally profound, cinematographically adventurous tale of false opulence and tragic romance. When the aristocratic woman known only as Madame de (the extraordinary Danielle Darrieux) sells her earrings, unbeknownst to her husband (Charles Boyer), in order to pay personal debts, she sets off a chain reaction, the financial and carnal consequences of which can only end in despair. Ophuls adapts Louise de Vilmorin’s incisive fin de siècle novel with virtuosic camera work so elegant and precise it’s been called the equal to that of Orson Welles.


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Quote:
In Luis Buñuel's deliciously satiric masterpiece, an upper-class sextet sits down to dinner but never eats. Their attempts continually thwarted by a vaudevillian mixture of events both actual and imagined. Fernando Rey, Stéphane Audran, Delphine Seyrig, and Jean-Pierre Cassel head the extraordinary cast of this 1972 Oscar winner for Best Foreign Film.


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Roger Ebert @ Chicago SunTimes, Feb 17, 1995 wrote:


If it had accomplished nothing else, "Diabolique" would deserve our affection for two reasons: It contains the original of Peter Falk's TV character Columbo, and it inspired one of the funniest stories in screen history. Henri-Georges Clouzot's 1955 thriller, now re-released in a restored print, however, accomplishes much more, creating a diabolical double-reverse plot that keeps the audience guessing right up to the thoroughly implausible final scene.

The movie takes place in a French boys' boarding school run by a headmaster who makes life there as unpleasant for the teachers as for the boys. Michael Delasalle (Paul Meurisse) is a sadist and a pinchpenny who serves the students rotten fish and slaps around his wife Christina (Vera Clouzot), even though the school really belongs to her.

The boys hate him and the teachers seem to despise him, especially the strapping Nicole (Simone Signoret), who has until recently been his mistress. As the movie opens, Nicole is pressing ahead with a plan she has already explained to Christina. It's an elaborate scheme in which they will visit Nicole's home in a distant village, lure Michael there, drown him in a bathtub, and secretly return to the school to dump the swine in the swimming pool, where he will seem to be a suicide or accident victim.


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Quote:

"An Imperial Japanese Army regiment surrenders to British forces in Burma at the close of World War II and finds harmony through song. A private, thought to be dead, disguises himself as a Buddhist monk and stumbles upon spiritual enlightenment . Magnificently shot in hushed black and white, Kon Ichikawa's The Burmese Harp is an eloquent meditation on beauty coexisting with death and remains one of Japanese cinema's most overwhelming antiwar statements, both tender and brutal in its grappling with Japan's wartime legacy."


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Nostalgie de la Boue

After La Chienne, Jean Renoir and Michel Simon started looking for another film to make together. Several possibilities were considered. There was Emile, about a 'shopkeeper of bicycle accessories in Provence',1 written by the comic writer Jacques Deval (best known for Tovarich), and an adaptation of Jules Laforgue's Hamlet. In the early 1930s, the artist Andre Derain announced that Jean was going to film a scenario of his called Tavuke N'Bongo, written especially for Michel Simon, set in the milieu of rag and bone men. According to Derain, it was 'a social study, a tragi-comic film made with simplicity so that the public will not lose for an instant the thread . . . to make good films, one has to have a sensible scenario, very lively, original, and conceived by an author of rich imagination, beautiful natural decor which abounds in France, and interpreters with expressive masks that have a soul.'2 Simon explained that it was 'neither a comedy nor a drama. It is a human story, very simple. As bare as a parable from the gospels.'3 Although Tavuke N'Bongo was never filmed, it might have set him thinking along certain lines.


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Quote:

Butcher Popaul meets schoolteacher Helene at a marriage in a small rural French village. They become friends. But girls are murdered in the area and Helene finds on the scene the lighter she offered to Popaul...

Review:
"Chabrol's triumph and also Stephane Audran's finest performance;only "le festin de Babette" will give her a part as strong as this one.She plays a luminous,radiant,beaming schoolteacher ,teaching her pupils spelling with a little help from Honore de Balzac and dance with "le menuet du Bourgeois Gentilhomme",a Molière-Lully colloboration.She epitomizes honesty,loyalty,innocence and devotion to her work.In direct contrast with her,we have Popaul,the butcher,masterfully played by Jean Yanne (He's never been as good as with Chabrol:please,please,do see "que la bête meure" (The beast must die)):He's obviously in love with Hélène /Audran but he realizes the gap between them.He's a crude uneducated brute,but his clumsiness is so touching you sides with him.But we know from the start that won't be a happy story:the first scene,dealing with Cro-Magnon in dark caves heralds a story of blood and bestiality.Popaul is Cro-Magnon ,but he's also a victim of the war they waged with his blood.Chabrol 's camera insists on the war memorial,this inhuman piece of stone surrounded by four shells.LOOKS are more important than words between Popaul and Hélène,and as she begins to comprehend the horror of the situation,we know ,that in spite of what Popaul has done,she feels for him.Chabrol excels in depicting a small village ,French critics often compare him to an entomologist."Le boucher" remains his finest work to date."


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Description: Immanuel Rath, an old bachelor, is a professor at the town's university. When he discovers that some of his pupils often go into a speakeasy, The Blue Angel, to visit a dancer, Lola Lola, he comes there to confront them. But he is attracted to Lola. The next night he comes again--and does not sleep at home. This causes trouble at work and his life takes a downward spiral.


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It has often been said that Jean Cocteau was the first major poet and writer to treat the cinema with total seriousness. But actually it was the cinema that made him into a major artist. "The movie screen," he said, "is the true mirror refecting the flesh and blood of my dreams." And one of his most poetic, dreamlike films was La Belle et La Bête.
Watching it now, you can't feel its audacity as you might have done at the time. Faithfully, but not totally innocently, based on the fairy tale by Madame LePrince de Beaumont, it is almost purely visual, even if a Freudian analysis is possible. And it is certainly completely different in atmosphere and style from anything that had gone before, at least in the commercial cinema.


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4:16 PM

Luis Buñuel - Belle de jour (1967)

Gönderen anybody

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Synopsis:
Severine Serizy, happily married to a handsome young surgeon, goes to work in a house of ill repute, actually an intimate apartment. The money involved is less the motivation than the pretext for her action. Pierre, her husband, provides for her material needs handsomely, but his respectfully temporizing caresses fail to satisfy her psychic need for brutal degradation, a need first awakened by a child molester when she was eight. To preserve a facade of marital respectability, Severine works at her obsessive profession only afternoons from two to five, the mystery of her matinée schedule causing her to be christened Belle de jour.


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4:11 PM

Jean Vigo - L'Atalante (1934)

Gönderen anybody

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Roger Ebert @ Chicago Sun-Times, October 2000 wrote:

To live happily ever after with the one you love, you must be able to live with them at all. It is not that simple. Little problems must be worked out. She does not like cats on the table while she is eating. He has a closet filled with a year's dirty laundry. She treasures their private moments together. He treasures his best friend, who is bearded and garrulous and arrives at meals in an undershirt. She wants to see Paris. He worries about his work. You see how it is.

Jean Vigo's "L'Atalante" (1934) tells such a love story. It is on many lists of the greatest films, a distinction that obscures how down to earth it is, how direct in its story of a new marriage off to a shaky start. The French director Francois Truffaut fell in love with it one Saturday afternoon in 1946, when he was 14: "When I entered the theater, I didn't even know who Jean Vigo was. I was immediately overwhelmed with wild enthusiasm for his work." Hearing a critic attack another movie because "it smells like dirty feet," Truffaut considered that a compliment, and thought of Vigo and the pungent life he evoked on a French canal barge.


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Quote:
On the last day of World War Two in a small town somewhere in Poland, Polish exiles of war and the occupying Soviet forces confront the beginning of a new day and a new Poland. In this incendiary environment we find Home Army soldier Maciek Chelmicki, who has been ordered to assassinate an incoming commissar. But a mistake stalls his progress and leads him to Krystyna, a beautiful barmaid who gives him a glimpse of what his life could be. Gorgeously photographed and brilliantly performed, Ashes and Diamonds masterfully interweaves the fate of a nation with that of one man, resulting in one of the most important Polish films of all time.


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4:02 PM

René Clair - À nous la liberté (1931)

Gönderen anybody

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One of the all-time great comedy classics, René Clair's À Nous la Liberté is a skillful satire of the industrial revolution and the blind quest for wealth. Deftly integrating his signature musical-comedy technique with pointed social criticism, Clair tells the story of an escaped convict who becomes a wealthy industrialist. Unfortunately his past returns to upset his carefully laid plans. Featuring lighthearted wit, tremendous visual innovation, and masterful manipulation of sound, À Nous la Liberté is both a potent indictment of mechanized modern society and an uproarious comic delight.

Perhaps the most elegantly rendered feature film of the very early days of sound production (barring, perhaps, Chaplin's CITY LIGHTS), Clair's classic is such a seemingly effortless blend of romantic melancholy, bitter social criticism and gentle surrealism, that its many aesthetic qualities tend to overshadow the film's astounding technological innovations in the poetics of sound.


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Plot Summary :

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On the idyllic Sicilian fishing village of Acitrezza, generations of the Valestro family have upheld the traditional vocation and simple existence of their ancestors, despite economic hardship and personal tragedy. The men (and even boys) earn their subsistence as hired fishermen for wealthy, opportunistic wholesale merchants who collude with rival merchants to depreciate the market prices of the villagers' daily catch for sale to the neighboring town of Catania.


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Set against the backdrop of the beautiful Mediterranean, Swept Away is Lina Wertmüller's most famous and controversial film about sex, love and politics.

Lina Wertmüller (Seven Beauties) made this pointed, 1975 comedy-drama about class and sex conflicts. Mariangela Melato plays a rich woman marooned on an island with a crude sailor (Giancarlo Giannini). The two initially assume their accustomed class relationship with one another--she expects service, he grumbles about it--but then a revolution takes place and the subjugation is reversed. The film comes down on you like a hammer, but Wertmüller adroitly traces the shifting nuances of the relationship, and the two stars are excellent. Numerous scenes stick in the memory many years after one viewing.













"Travolti da un insolito destino nell'azzurro mare d'agosto" (Swept Away by an Unusual Destiny in the Blue Sea of August), to give it its convoluted original title, was meant as an allegory on social and class injustice as much as a battle for dominance between the sexes. It is one of Lina Wertmuller's finest films and is the one which most closely fuses her main themes of socio-political and sexual injustice.

Rich, upper-middle-class, Raffaella (Mariangela Melato), a loud-mouthed and opinionated Social Democrat from Milan, and the pampered jet-set clique she hangs out with are on a yachting holiday in the Mediterranean. They are served by a crew of poor working-class, dark skinned southerners, one of whom, Gennarino (Giancarlo Giannini), a card carrying communist, cannot abide her whiny bitchiness. As luck would have it, they end up marooned on a deserted island.


Much of the socio-political implications might be lost to American audiences who will see it purely as a satirical battle of the sexes. On the level of a love story it is bittersweet if not downright sad. On the level of sexual equality, it pokes a finger at the concept of male domination. On the socio-political level it is a parable and a warning that tables will turn and that the oppressed will one day arise and the ruling elite will get a taste of the injustice that they have meted out for so long.

Previously released in 1997 in a deplorable transfer by Fox-Lorber, it has finally been restored and remastered to almost pristine condition by its successor, Koch-Lorber Films. (enhanced for widescreen TV). The film was deliberately shot in soft focus and exhibits a small amount of grain but other than that, it boasts gorgeously saturated colors, deep, rich blacks and nary a nick
in a film that is over 30 years old (1974).

The azure-blue hues of the Mediterranean sea and sky are a joy to behold. The sound is adequate for its purpose. This is after all a dialogue driven movie and Raffaella does sound obnoxiously shrill. Optional English subtitles are included. There are no extras save for some Koch-Lorber trailers. "Swept Away" comes in the same transfer as that found in Koch Lorber's Lina Wertmuller Collection. Only "Swept Away" and "Summer Night" have been fully remastered.

Actors:
• Giancarlo Giannini
• Mariangela Melato
• Isa Danieli
• Aldo Puglisi

Written and Directed by Lina Wertmüller

Please Note This is an Upgrade ripped from the Digitally Restored and Remastered transfer. Review: DVDBeaver evaluation of DVD9 Remastered:
"This DVD offers a "Digitally Restored and Re-Mastered" transfer of the film.....The original release (also by Koch) was dreadful. This one is quite good, though not perfect. The image is a bit soft, but the colors are rich, and the contrast is sharp. The transfer is particularly strong in the brighter shots - take a look at the last screen capture below with the sun glinting off the water. ....As nasty a film as "Swept Away" is, it is quite beautifully shot. "
link

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3:41 PM

Jean Renoir - La Grande illusion (1937)

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Roger Ebert @ Chicago Sun-Times, October 3, 1999 wrote:
Apart from its other achievements, Jean Renoir's ``Grand Illusion'' influenced two famous later movie sequences. The digging of the escape tunnel in ``The Great Escape'' and the singing of the ``Marseilles'' to enrage the Germans in ``Casablanca'' can first be observed in Renoir's 1937 masterpiece. Even the details of the tunnel dig are the same--the way the prisoners hide the excavated dirt in their pants and shake it out on the parade ground during exercise.


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3:31 PM

Satyajit Ray - Pather Panchali (1955)

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Sometime in the early years of the century, a boy, Apu, is born to a poor Brahmin family in a village in Bengal. The father, a poet and priest, cannot earn enough to keep his family going. Apu's sister, Durga, is forever stealing guavas from the neighbour's orchards. All these add to the daily struggles of the mother's life, notwithstanding her constant bickering with old aunt who lives with the family. (IMDb)
*
PATHER PANCHALI (1954): A boy named Apu is born to a poor but proud Brahmin family. His loving older sister, Durga, is a sweet girl, but has formed the bad habit of stealing fruit from an aunt's orchard, much to her mother's dismay. Their father Harihar, a poet and lay priest, finds a treasury job that will bring the family steady income for the first time in a while. For a brief period afterwards, their mother Sarbajaya manages to make ends meet, and the children are left to their own devices and run freely. But when Harihar loses his position, he leaves his family with depleted resources to search elsewhere for work. In his absence, their condition deteriorates. Months later, Harihar returns to face the tragedy that forces them to leave their ancestral home. This acclaimed debut by Satyajit Ray is the first part of a trilogy of poetic, lyrical works. (Artificial Eye)



















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