Reviews by fernando

Great because is pure equlibrium. The spotlight research goes agter the system, takes its time, even if it is anti climax. The guilt is so vast that even goes fot the journalist that didn't researched before.

One shot Schipper; more artifice than the real drama. Characters are puppets of the hand held camera. Laia Costa is eventually convincing when runs the escape.

Good ideas, good community feeling, but naif compared with Hammer and even Crichton Ealking commedies. Anyway, Cornelius is ok in the choral direction and the distribution of characters.

So subtle, so sophisticated, so delicate. Even in the dramatic/comic ending with the 12 ding dong, Ingrid playing a revenge on Grant; Donen never misses the tone.

Terence Young doesn´t like spaguetti; the cast makes the film palatable. Mifune is ok and solemn even with Bronson. Andress is a pretty whore never trustable.

Quien ha pasado por ese techo habanero (todas las generaciones posrevolucionarias tienen ese techo confesional), entiende todo lo que aquí se juega sobre totalitarismo, brecha de libertad con el resto del mundo, autocensura, miedo, frustración.

Good story, of dilemma between love with a handsome poor italian Brooklyn and the stiff bachelor in the province. Ronan is good actress, she gains confidence as her character; but I think is too selfconscious when she couldn't be so.

Effective melodrama, Vallone is so straight about his feelings for Lualdi that he despises Tamara Lees in every scene, thats ok; but the calabrese jealousy that drives him violent till final redemption, is trite.

Put aside Goerge C. Scott chewing gum in the war room while delivering too spoofy militarist lines; this is a great, happy, brilliant, cold war satire. Strangelove monologue in how to stop worrying and think on survival confusing fuhrer and president, is the best part.

Warm, cinical, historically accurate (just in context) truffautian hommage to the theatre. The heart is not in the stage but in the cellar, with Deneuve and great Heinz Bennent.