Reviews by fernando

(OK) The efficacity of Gaisnborough melodrama with a bit of adventure and, here, paranoral mystery on Lockwood character. She´s not evil as in similar films, but has a bit of amorality and thirst of revenge mistaken by love that justifies a happy end...

(OK) Algo modesta variación en el filón de Jack el destripador (en versión The lodger), pero ágil en cambio de humores y en juego sexy con Palance. Los números de Constance Smith en el teatro son de veras calentones...

(OK) Swanson is scuh a good comedian in this film that changes of mood many times and always smoothly. The beginning in 'the crowd' in the subway is delicious; then the imtimate, romantic scene in her room, open to the women in other windows...

(OK) A pioneer in the feeling of ETs, economy of language and resources, but there´s nobility in all characters but the prototype of evil scientist...

(OK) More than 'caligrafismo' here: the posesssion, abstract obsession of revenge a past life, exploding in the middle of stiff ceremonies of death. Isa Miranda is excellent, convincing in every scene

(OK) Guitry, one scale up in his maturity. Less joyfull than in the 30s, playfull but serene. Her character goes to death but happily, enjoying even a beautiful agony. The namedropping of historic celebrities heightens with La Fayette

(OK) Fine, elegant, precise, horror film without blood. Characters are complex, specially Julie Harris and her sexual, guilty, anguish.

(OK) De lo mejor de Torre Nilsson. La represión sexual erotiza y da significado y hasta suspense a todo, El baile de Elsa y Lautaro resulta más erótico que la 'violación consentida' del final. La idea de los duelos en la casa es fabulosa...

(OK) A sort of latinamerican or italian popular comedy in Canton, prerevolutionary china. Everything is rotten but funny and tha bad couple nevers succeeds in doing evil, and thatá a kind of running gag...Extrange combination of moods, the 60s of the film and the prerevolutionary one...

(NX) Cierta frialdad, academicismo en la ambientación, mucha confianza en que la mirada de los personajes dirá lo que la puesta en escena no puede; pero todo se enciende cuando entramos en la intimidad de las reuniones de los 42, y en la casi indolencia con la que el protagonista recibe los golpes físicos y simbólicos la final...