Cinema of the World

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India runs counter to all usual cinema: here the image is only the complement of the idea that provokes it. India is a film of absolute logic, more Socratic than Socrates. Each image is beautiful not because it is beautiful in itself, like a shot in [Eisenstein’s] Que viva Mexico!, but because it is the splendor of the true and because Rossellini starts with the truth. There where the others won’t arrive except in twenty years perhaps, he has already gone on from.India embraces world cinema, as the theories of Riemann and Planck embrace geometry and classical physics. In a coming issue [of Cahiers du Cinéma], I shall prove why India is the creation of the world.
Jean-Luc Godard

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Michele is a mathematics professor who just started a new job in a school with some peculiar teaching methods. After a woman in his neighborhood is murdered, Michele meets beautiful colleague Bianca, and a relationship begins between the two. Where is this relationship heading, and will Michele be able to help the police catch the murderer?

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“Put simply, Metzger would be a crucial director even if he had only made The Lickerish Quartet and nothing else. On its own terms as cinema and outside the boundaries of European erotica, this remarkable film operates on levels of narrative gamesmanship, visual architecture, and technical virtuosity that put most modern films to shame. Many illusion versus reality films tend to fall flat on their own pretension, but this, along with 8 1/2, The Stunt Man, and Last Year at Marienbad, is one of the few exceptions.

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Annette Haven is Barbara Broadcast, world-famous sex expert. C.J. Laing is a reporter looking for Annette's angle. They meet for an interview at an eaterie where sex is the best thing on the menu.

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Dennis Schwartz said this:
“Cattle baron George Washington McLintock (John Wayne) owns the biggest spread in the territory, a lumber mill and a mine, but has been upset the last few years because the hot-blooded wife he loves—Katherine, (Maureen O'Hara) has left him for no clear reason and Sooners (homesteaders) in droves have been brought in by the corrupt land-grabbing windbag governor Robert Lowery (Gov. Cuthbert H. Humphrey, spoofing on liberal Democrat Senator Humphrey) to farm the mesa land that can't be plowed.

The plot has McLintock being spokesman for Indian rights as his Comanche friends are being screwed by Governor Lowery and when this serious business is resolved McLintock has to deal with the return of his abrasive wife who nags and orders him around. Katherine has returned to greet their 17-year-old daughter Becky (Stefanie Powers), who is just back from attending college back east.

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Raúl Ruiz is one of the great cinematic self-perpetuators, like Louis Feuillade and Jacques Rivette—a film like this gathers a motion and a rhythm that makes it feel like it could on and on, self-generating new stories and new characters ad infinitum. Based on the novel by Camilo Castelo Branco (whose writing has been the source for Oliveira’s similarly fatalistic romance,Doomed Love), Mysteries of Lisbon is, to paraphrase a line from one of its many characters used to describe a disastrous relationship he had, a game that turns into a bourgeois romantic drama, to which I would add, that turns into a game. It starts—as all stories must?—with an orphaned boy questioning his parentage and falling into a fever, and out of that starting point the film evolves less as a story than a cartography of characters crossing points in space and time. On paper it is indeed all melodrama: identities revealed, lives saved in the past coming back to haunt the saviors, secret connections, loves turns to hatreds. But as traced by Ruiz’ oscillating tracking shots, which arc back and forth across rooms, pleating our view onto itself, folding time and space and people, the 19th century soap opera is transformed into an oneric submergence into ill-wrought fate, stories-within-stories, the nesting of all things, and the mysterious system which, quivering with ironic mirth and melancholy, holds everyone in place.

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Plot synopsis and review from Mondo Esoterica:

The pioneering old West where Indians (Native Americans) roamed the plains and the white men were relentlessly pushing on deep into their millenia old territory. The Great Western Railway company is building a railroad, carefully laid out to avoid native settlements - however an unscrupulous construction owner, Santer (Mario Adorf), has decided to save money by cutting straight across the Apache's land. An engineer from the East coast arrives with instructions to stop the re-routing, after getting into a fist-fight he becomes known as Old Shatterhand (Lex Barker). He tries to talk peace with the Apache tribe, and their young chief Winnetou (Pierre Brice), but Santer kills the old chief and captures Winnetou. Shatterhand sets out to free Winnetou and stop Santer who seems to be trying to provoke an all out war with the Apache tribe...

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Synopsis: [taken from imdb]
Barbara is a very rich girl who falls in love with Norman Phiffier, a poor young man. She doesn't tell him who she really is and prepares to marry him. But, Mrs. Tuttle (Barbara's mother) doesn't want her daughter to mary such a poor man. So, she hires Norman at one of her big stores, and gives him the most difficult and disgusting works. She hopes that seeing Norman humiliated, Barbara will finally leave him. But things don't work exactly this way...

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Jack Lemmon stars as Hogan, who lives a bachelor's dream as the manager of an apartment building that caters only to single women. Hogan likes to romance his tenants, and he sets his sights on a newcomer named Robin (Carol Lynley). Robin and her boyfriend David (Dean Jones) have moved in together, intending to see how compatible they are while maintaining a platonic relationship. This arrangement is the result of a suggestion from Irene (Edie Adams), a marriage counselor who is subletting her apartment to Robin while living with her own boyfriend, Charles (Robert Lansing). Irene thinks that Robin and David need to discover whether they are suitable as marriage partners without letting sex cloud their judgment. Hogan finds out about the arrangement and schemes to get David away so he can seduce Robin. The film is based on a hit stage play by Lawrence Roman.

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General description
In this astonishing twelve-part project for and about television -- the title of which refers to a 19th-century French primer Le tour de la France par deux enfants -- Godard and Mieville take a detour through the everyday lives of two children in contemporary France.

This complex, intimately scaled study of the effect of television on the French family is constructed around Godard's interviews with a school girl and school boy, Camille and Arnaud. Godard's provocative questions to the children range from the philosophical (Do you think you have an existence?) to the social (What does revolution mean to you?). The programs' symmetrical structure alternates between Camille's and Arnaud's segments (or movements), each of which is labelled with on-screen titles: Obscur/Chimie is paired with Lumiere/Physique; Realitie/Logique with Reve/Morale; Violence/Grammaire with Desordre/Calcul.

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Plot :
Unhappily married Scott Henderson spends the evening on a no-name basis with a hat-wearing woman he picked up in a bar.
Returning home, he finds his wife strangled and becomes the prime suspect in her murder.
Every effort to establish his alibi fails, the lady has disappeared...

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IMDB summary wrote:

Josef von Sternberg directed, photographed, provides the voice-over narration and wrote the screenplay (from a based-on-actual event novel by Michiro Maruyana translated by Younghill Kang)about twelve Japanese seaman who, in June 1944, are stranded on an abandoned-and-forgotten island called An-ta-han for seven years. The island's only inhabitants are the overseer of the abandoned plantation and an attractive young Japanese woman. Discipline is represented by a former warrant officer but ends when he suffers a loss-of-face catastrophe. Soon, discipline and rationality are replaced by a struggle for power and the woman. Power is represented by a pair of pistols found in the wreckage of an American airplane, so important that five men pay for their lives in a bid for supremacy.

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A tale of five young Berliners - a taxi driver, a travelling wine dealer, a record shop sales girl, a film extra and a model - spending a typical sunday. In this vivid snapshot of Berlin life, a trip to the countryside reveals the flirtations, rivalries, jealousies, and petty irritations common to any group outing. All too soon it is the end of the day, and the prospect of Monday looms, and the return to weekday routine.

Considered one of the most important works of the German film Avant-Garde of the 1920s, and a huge influence on the French New Wave and Italian Neorealist movements, People on Sunday also marked the start of the film careers of six cinéastes who would go on to great success: Billy Wilder, Robert and Curt Siodmak, Edgar G Ulmer, Eugen Schüfftan and Fred Zinnemann.

The original negative of the film is lost and no complete copy exists, but this restored version has been reconstructed by the Netherlands Film Museum and contains important scenes previously missing. This version also features a vibrant new score by Elena Kats-Chernin.

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IMDB: Nice and sad Fairytale

I was pretty surprised to see this rare Kazach film. First of all it touches upon great Asian folk atmosphere and has wonderful music, partly composed by master of soviet electronic music Edward Artemeyev. The director shows great visionary in the film. Some parts of the film are made in colour-the rest are black and white. The story is also something new for me: a blind bagger-girl meets a steppen killer, who decides to protect her on her hard life way. They meet a lot of dangers and wise old men and stayed alive after really creepy moments. Finally they reached the girl's motherland. Here the ways of them two separate really dramatically. One can see some gore moments in this philosophic tale.

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Diplomats, soldiers and other representatives of a dozen nations fend off the siege of the International Compound in Peking during the 1900 Boxer Rebellion. The disparate interests unite for survival despite competing factions, overwhelming odds, delayed relief and tacit support of the Boxers by the Empress of China and her generals.

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'Guns' Donovan prefers carousing with his pals Doc Dedham and 'Boats' Gilhooley, until Dedham's high-society daughter Amelia shows up in their South Seas paradise.

Excitement on Haleakoloha:'Donovan's Reef' Opens at Three Theaters John Ford Production Stars John Wayne
ONLY an ancient hermit would believe that the director John Ford and his writers, Frank S. Nugent and James Edward Grant, were serious in their approach to "Donovan's Reef," which turned up yesterday like a welcome port in a storm at the Paramount, Trans-Lux 52d Street and Brooklyn's Metropolitan Theaters. For this running account of Pier 6 brawls, miscegenation, romance and religion that disrupt the idyllic life on a post-World War II South Sea island paradise is sheer contrivance effected in hearty, fun-loving, truly infectious style.

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SYNOPSIS from amg and IMDb
Simon and Dede are best friends: two aimless drunks who spend their days getting sloshed and any other available time getting laid. Simon is living on unemployment benefits in a trailer parked near his sister's apartment. Dede works at a fish-packing plant on the night shift. Neither man is sensitive, young, or good looking. However, their sang-froid (literally, "cold blood," referring to a quality of imperturbability) stands them in good stead as they go about their seedy lives, picking up one woman and having sex with her on the beach, or when Simon calmly has sex with a prostitute in front of the woman's brother. The film changes when they steal an ambulance. They find out that there's a corpse of a beautiful woman in it. Without telling too much, you'll soon enough know that it ends up with one of them falling in love with the corpse.
This unedifying tale is based on stories by the American writer Charles Bukowski, whose melancholy works have provided endless inspiration for European filmmakers.

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Quote:
Images gathered by Bob Fleischner, sound-film composed by Ken Jacobs. "Jack says I made the film too heavy. It was his and Bob's intention to create light monster-movie comedy. Two comedies, actually, two separate stories that were being shot simultaneously until they had a falling-out over who should pay for the raw stock destroyed in a fire started when Jack's cat knocked over a candle; Jack claimed it was an act of God. In the winter of '59 Bob showed me the footage. Having no idea of the original story plans I was able to view the material not as the fragments of a failure, of two failures, but as the makings of a new entirety. Bob gave over the footage to me and with it the freedom to develop it as I saw fit. I think it was in late 1960 that Jack and I ignored our personal animosities long enough to record his words and songs for the sound track. The phrases he repeated into the tape recorder were mostly ones I'd at some time heard him say; most were pet phrases he loved to recite, over and over, his lessons. A very few I made up in his style. The procedure for recording his monologues and songs: I played him selections from my 78 collection, music from the '20's and '30's, sometimes only the beginning of a record and if he liked it would restart the record and immediately record. I don't think there was a second take of anything. Any lack of clarity is due to the very second-rate equipment, third-rate, fourth-rate, we were using. I play the harp for the Madame Nescience monologue. Jack supplied the Arabic music, there's also some SAFARI IN HIFI; a Villa-Lobos string quartet speeded up; a haunting section of a children's 45... "Baby Wants To Sleep". A small amount of my own previous shooting was cut into the film, the short `drowning in nescience' color sequence near the beginning. BLONDE COBRA is an erratic narrative -no, not really a narrative, it's only stretched out in time for convenience of delivery. It's a look in on an exploding life, on a man of imagination suffering pre-fashionable lower East Side deprivation and consumed with American 1950's, 40's, 30's disgust. Silly, self-pitying, guilt-strictured and yet triumphing-on one level-over the situation with style, because he's unapologetically gifted, has a genius for courage, knows that a state of indignity can serve to show his character in sharpest relief. He carries on, states his presence for what it is. Does all he can to draw out our condemnation, testing our love for its limits,....enticing us into an absurd moral posture the better to dismiss us with a regal 'screw-off'." -K.J.

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Virtually ignored by the public when it was released in 1962, All Fall Down (1962) is a finely etched portrait of Berry-Berry Willart (Warren Beatty), an irresponsible ladies' man whose hedonistic lifestyle and aimless drifting creates a family crisis when he visits his family in Cleveland. Although he is idolized by his younger brother, Clinton (Brandon de Wilde), the infatuation ends when Berry-Berry takes advantage of a vulnerable, older woman (Eva Marie Saint), exposing his true nature.

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Plot:
Caught up in the swirling tide of student protests and riots, a young man becomes the unintentional murderer of a policeman. Handcuffed and enroute to jail, he escapes from the authorities and comes across a young woman on the beach, who is intent on committing suicide. The two embark on a passionate and violent affair.

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This hour-long documentary details the amazing work of the nearly unknown Colin McKenzie, the first man to film movies with sound or in color. He documented the first man to ever fly (before the Wright Brothers, even!) and filmed a biblical epic on a massive set he built single handedly in the mountainous forests of New Zealand. So why haven't you heard of him? It might be because most people are biased against New Zealand film-makers, or it could be because this movie is entirely fictitious.

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SYNOPSIS: A thief, murderer, and charming lady-killer, Iwao Enokizu (Ken Ogata) is on the run from the police. Director Shohei Imamura turns this fact-based story, of the seventy-eight-day killing spree of a remorseless man from a devoutly Catholic family, into a cold, perverse, and at times diabolically funny tale of the primitive coexisting with the modern. More than just a true-crime case, Vengeance Is Mine bares mankind’s snarling id.

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Plot Synopsis by Mark Deming

One of Hollywood's great directors, Vincente Minnelli, turns a jaundiced eye towards the film industry in this drama about the inner workings of the movie business. Jack Andrus (Kirk Douglas) is an actor whose career has gone into a tailspin along with his personal life; after a severe bout with alcoholism, a messy break-up with his wife, a life-threatening auto accident, and a nervous breakdown, Andrus has spent three years in a private mental hospital in Connecticut. Andrus is approached by Maurice Kruger (Edward G. Robinson), a noted filmmaker who worked many times with Andrus in the past, offering him a small role in his next picture, and with the blessings of his doctors, the actor flies to Rome to return to work. However, once he arrives, Andrus finds the project is in chaos -- his role has been recast, Kruger is constantly battling with producer Tucino (Mino Doro), leading man Davie Drew (George Hamilton) is squabbling with both %Kruger and his girlfriend Veronica (Daliah Lavi), and the female lead (Rosanna Schiaffino) can't recite her dialogue in English. With the shooting in shambles, Kruger asks Andrus to take over the dubbing work in hopes of bringing the film in on schedule, and against his better judgement Andrus agrees. As Andrus tries to rise to this new challenge -- made all the more trying by the arrival of his ex-wife Carlotta (Cyd Charisse) -- the production receives its biggest setback when Kruger suffers a heart attack after a bitter argument with his wife (Claire Trevor). Andrus takes over the direction of the picture, and proves a capable hand for the job, bringing in the project on time and on budget. However, Kruger expresses resentment rather than gratitude, claiming that Andrus is trying to put an end to his career. Two Weeks In Another Town was adapted from a novel by Irwin Shaw.

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This evocative tribute to the mother of American avantgarde film calls forth the spirit of one who was larger than life as recounted by those who knew her. Friends and contemporaries float through her homes, recalling in tiny bits and pieces words of Deren’s architectural and personal interior space. Clips from her films are projected back into the spaces where they were originally filmed. Fluid light projections of intimate space provide an elusive agency for a filmmaker most of us will never know."
BERLINALE

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Rudolf Pawlik lives in an old vienna suburb. As his neighbour died, another couple (Herbert a small-time criminal and his czech girlfriend Michaela) move in and Pawlik gets obsessed with Michaela.

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