Reviews by fernando

(OK) Little gem, kind of 'borrowed' fron another directors. This is not Mizoguchi's realm, but he is so sober and delicate in the scenes of fight, and so moving composing (he's the best composer of frames in japanese films) dramatic scenes as the death of litle brother and the sorrow of fighting sis...

(OK) The masterpiece of Costa Gavras. Its so easy to be inside Lemmon or Spacek either way. Direction doesn't have to point the social backgrpund, its so vivd there....

(OK) The star is the zeppelin, wonderful moving set desing, in the public space, and in the strange body. Some characters are poorly conceived (ass Meredith and Auberjonois, or the comic), but direction is always powerfull in Wise's hands...

(OK) 2 1/2 stars just to say that Arau adds nothing to corny in essence material. The mother is the best character but the rebellion of the others takes too much and too long...the sex/food topic doesn't convince...

(OK) Yeah, the first half is so better to the second, that takes many inhappy deviations. Cervi has the size and the equilibrium between roughness and tenderness...

(OK) So long and you can feel the effort to be 'fidele' to the original. Fescourt gets the right distance ando mood to tell everything, becoming closer to Cosette (the depiction of the Thenard family is excellent and Eponine has her best expression) and Fantine struggling with a drunkard before the famous snow in the back scene...

(OK) The best of Hugo's version I've seen (I say just after 1925 Fescourt silent version and it was as if everu detail gained voice and even menning) and an entire picture on french misery and justice and goodness state of mind, with the revolution in the middle. That is the best part. Harry Baur is Valjean no question, and Fantine is greater in its tragedy tan Cosette in her luck...

(OK) It gets better and better when the plot (a man with 2 wives delivering the same day) shows its richess. Dialogues, specially between Moore and Richard Mulligan are excellent...

(OK) Fernandel is excellent in first 2 thirds, bu when takes his revenge is a bit comic. Moreeau is learnning fast; he two brothers, specially Varennes are impecable. Line Moro in the med dying of pain is as good as Harriet Andersson in "Cries and whispers"...

(OK) Aesthetically astonishing, anticipation modernism on expressionism basis. The story in grandilocuent in the 'mediator' side, better in the plot to make the girl a robot that perverts men, as you see in the dance scene, one of the best in all Lang's...