Tail Pop
George Cukor’s ‘The Philadelphia Story’
Only Richard Curtis seems capable of executing scripts that harken back to ‘The Philadelphia Story’s’ complexity. […]
Columns
Columns
Doug Soesbe on ‘Meet the Parents’
‘Meet the Parents’ began life as a low-budget 1992 film of the same title. Through the years, assorted A-list directors flirted with the project without proceeding. […]
Tail Pop
Elliot Silverstein’s ‘Cat Ballou’ (1965)
Yep, it’s a comedy/sex/Western spoof with one-of-a-kind performances from Fonda and Lee Marvin. […]
Tail Pop
Michael Curtiz’s ‘The Adventures of Robin Hood’ (1938)
Beyond pure entertainment value, those looking for substance will find it. For audiences in 1938 theaters, ‘The Adventures of Robin Hood’ played as a warning to resist oppressors who were currently taking hold in Europe. […]
This Quarter in Film History
Topic of Capra-Cohn: The Battle Over ‘Lost Horizon’
Like in the Shangri-la it depicts, ‘Lost Horizon’ has proven ageless––and that is its legacy. […]
Tail Pop
Howard Hawks’ ‘Rio Bravo'(1959)
By consuming the wine and wafer, we vicariously channel the divinity of Christ, and, by watching ‘Rio Bravo’, I was vicariously channeling the courage of John Wayne. […]
Tail Pop
A Thousand Clowns (1966)
Clowns is a hilarious, startling mix of stage-bound dialogue scenes and wildly inventive montages scored by marches, Dixieland jazz and, occasionally, Jason Robards strumming a ukulele. […]
This Quarter in Film History
This Quarter in Film History: An Affair to Remember?
‘Last Year at Marienbad’ remains one of the most famous films made, perhaps because it is so elegant––and yet so infuriating. […]
Tail Pop
Stanley Kubrick’s ‘2001: A Space Odyssey’
This was unlike any movie I had ever seen. The movie unfolded with a slow, measured pace, revealing image after gorgeous image. […]
This Quarter in Film History
This Quarter in Film History: A ‘Charge’ Account
Though Jack Sullivan won an Oscar for Best Assistant Director for ‘The Charge of the Light Brigade’, it is the breathtaking editing by George Amy of the charge that makes the film a classic. […]
