Reviews by fernando

(OK) Couls be a Hollywood noir with 'von sternbergerian' location. The casino with the little baskets carrying the bets from the second floor isn irresistible. A french fatalist ending but in between Von Stroheim amuses being a lovable rat using Mireille Ballin.

(OK) 4 1/2 hours of intrigue and a picture of deep amorality. Elocuent dialogues in a silent film: the countess explains Mabuse her unbeareble ennui and he says that his only amusement is gambling with other fate. The prosecutor, his enemy, is a sort of gambler, too. The little casino disguised as a show is wonderful.

(OK) Extreme Gish victimization, but shw knows momentarily a sort of love. Griffith, at least this time, shows affection for diversity (well it is Barthelmess, but you can't ask more from DWG)...The Gish half smile is a label...

(OK) Charlie perfect comedy drama mixture. The tramp never more moving than in the end, playing a sort of chaplinesque abnegated Stella Dallas. The boxing routine, could be itself one of the best Chapliln´s shorts...

(OK) Contrived argument, lot of disconnectes characters, but great mise a scene de Gremillon, in the choral sequences, the two shot details, the perverse, the funny, the poetic (all aobut The Angel location). Robinson and handsome Marchal love story, is less interesting than Renaud and Bernard's...

(OK) Marianne Hoppe, the tragic heroine, an ephimere and impossible Madame Bovary, a victim of a third man, is the spirit of this film: a serene and intriguing beauty. Kautner uses public spaces in great fashion

(OK) Well directed, toned, musicalized, wrtitten, acted, equilibrated. Only lacks dance, but there's a sort of choreography all over, including the 3 old laidies. Applause for Mamoulian.

(OK) Wonderfull, because there's one whole idea that sustains and gran every gag. Two civilized codes, feuds and hospitality, in comic tension. Keaton staying in his ennemies house to avoid be killed, is a must. And the trip in the ancient locomotive, a gem.

(OK) There´s already style (even there's a sort of effectism that¿ll be better justified in next films), themes, suspense, and a Hitchcockian victimized blonde. A mature Hitch as early as 1926.

(OK) How to rate this? Impossible, Mélies takes an idea a concept, and there´s a rush of gags circular, perfect...