Drama

Synopsis
The Tavianis’ adaptation of Goethe’s novel may seem strangely restrained compared to their other fables, but it’s still a work of exquisite elegance and precision. Set in Tuscany during the Napoleonic era, it charts the forces of attraction and repulsion that shape the complex relationships between a happily married baron and his wife (Anglade, Huppert), the baron’s architect friend (Bentivoglio) and the wife’s goddaughter (Gillain). If the story itself (engrossing enough) never seems very much more than an unusually formal period romance, the immaculate performances and the Tavianis’ masterly control of colour, composition and music (a poignant but unexpectedly modernist score from Carlo Crivelli) make for absorbing viewing.Read More »

The great unknown masterpiece of mid-century Australian cinema, Clay is unlike anything made in the country before or since. The story of the film is really the sad story of Mangiamele’s career; shown to acclaim at Cannes, no local distributor would show the film, so the director was forced to hire a cinema in Melbourne to screen it himself. There are many influences here, but to me it evokes New Wave cinema from Eastern Europe as much as anything else. Don’t expect great dialogue, or great acting, and there are profound technical issues (the poor sound synch is typical of Mangiamele’s work, but he never had any money for post-production, to the extent that his earlier feature Il Contratto exists only in silent form with no soundtrack at all). But it is a deeply philosophical film, crammed with evocative imagery, and above all the extraordinary cinematography in high contrast (almost Tarr-esque) monochrome is miraculous. And it will be even more evocative for those who know the Montsalvat artist community near Melbourne, where much of the film was shot.Read More »

Lady lawyer Portia Merryman (Frieda Inescourt) defends woebegone Elizabeth Manners (Heather Angel), who is on trial for shooting her lover Earle Condon (Neil Hamilton). Ironically, Portia herself had once had an affair with Earle’s father, powerful publisher John Condon (Clarence Kolb). She has a pretty good idea of what is going on in Elizabeth’s head, since she herself was on the verge of killing Condon when he ruthlessly took custody of her illegitimate son (not Earle, though that certainly would have brought things full circle). As Portia toils and strains to free her client, she carries on a romance with Dan Foster (Walter Abel) — the attorney for the prosecution. LA Law and The Practice have nothing on this one!Read More »

Plot Synopsis by Hal Erickson
The always reliable Griffith Jones is afforded the leading role in the British Account Rendered. Jones plays a victim of circumstance, accused of murdering his wife Ursula Howells. With the police breathing down his neck, Jones endeavors to prove his innocence. He is aided in this effort by the lovely Honor Blackman (“Pussy Galore” in Goldfinger and the first female star of the long-running TVer The Avengers).

Account Rendered is based on a novel by Pamela Barrington.Read More »

Gangster Big Tim Channing raises young newsboy Dan Mason as his own son.Read More »

Former “Henry Aldrich” James Lydon acquits himself nicely in a serious role in Republic’s Out of the Storm. Lydon plays Donald Lewis, a low-paid clerk in a high-profile shipbuilding firm. When the company is robbed in broad daylight, Lewis gathers up $100,000 on his own and skeedaddles, figuring that the lost funds will be attributed to the holdup. Before his girlfriend Ginny (Lois Collier) can persuade him to go straight, the hapless Lewis finds himself hotly pursued by cops and crooks alike. Top-heavy with movie “bad guys” like Marc Lawrence and Roy Barcroft, Out of the Storm is edge-of-the-seat entertainment. ~ Hal Erickson, All Movie GuideRead More »

The Blockhouse was a 1973 film, based on a book by Jean Paul Clebert. It was directed by Clive Rees and starred Peter Sellers and Charles Aznavour. It was filmed entirely in Guernsey in the Channel Islands.Read More »

Spoiler
“Il mio corpo con rabbia” by Roberto Natale has been credited an uncertain and indefinite status between an art and an exploitation movie. Silvia (Antonia Santilli) is a daddy’s girl who has wanted to have a drug experience only once, but this was enough for her parents to batten down the hatches, on the advice of a doctor, isolating the girl into a luxurious hotel in Sardinia and being vigilant on her “healing”. It’s out of season, there’re almost no people in the compound. Read More »

Quote:
“No film is so enchanting but ultimately tragic as Le Grand Meaulnes, based on the classic novel of the same title written by Alain-Fournier, his only novel published the year after he was killed in the first World War.

I’ll need to start with the novel since it is so fundamental to the film. Whoever read it in their youth can never forget it. It influenced Jack Kerouac, and thus became the only book that Sal Paradise carried with him in On the Road. Author John Fowles considered it “the greatest novel of adolescence in European literature.” In the U.S, it is usually translated as The Wanderer, a fitting title.Read More »