Reviews by fernando

Rare film, in a way is a rejection of war: diplomacy means the same than actions and heroics,people watches the spectacle as monkies from the Montevideo docks,there are no heroes and badmen,and british officers are always pomp ans circusntance. There is certain disbelief that impregnates the direction

Not too romantic, not too literal, not too tricky, a blend of sad humour helps Bergamn too win her oscar, Brynner to repeat without trouble his 'asian King' stuff, and Litvak to go smoothly till the end. Martita Hunt is the best in the cast

Ray is not de De Mille, he avoids 'biblexploitation' but is ok with the selection of stories. The speech over the hills, with thousand of extras, has this equilibrium. Hunter is too handsome ant etnic for being Jesus, Hatfield ok as Pilate, McKenna too mltherly as Mary...

Im always admires of how old are the political reflexions on modern media democracy. The script, and Rossen clearly with it, is always one step ahead of the spectator

Im always admires of how old are the political reflexions on modern media democracy. The script, and Rossen clearly with it, is always one step ahead of the spectator

Im always admires of how old are the political reflexions on modern media democracy. The script, and Rossen clearly with it, is always one step ahead of the spectator

Indebted to Leone but goes beyond in madness (Volonté is better than ever), creates a new character (the young and cold and mechanic Lou Castel), uses the amoral mexican revolution, has religion, love, rejection, a group, and one the best Morricones themes illumkinating the most amoral, intelligent and amboguos sequences

As commented by Schickel in my blu ray,I realized hoy tense was the encounter between Hitch and Selznick. Perhaps DS freezes a little Hitch's humour and explorations, but the looks are greater than any other black and white Hitchcock. Mousy Fontaine steals the show fron affected Larry Olivier. But Judith Anderson dominates the film wherever she appears

The best of Wes Anderson, the right equilibrium of tenderness, comedy, extravance and realism. Schwartzman in his once in a lifetime character. His plays, full of naive FX, are a bonus

Don't like it. Fejos suffers the imposing sound, every sequence is forced to have two steady actors talking or scheming. The musicals are square, in spite of Tryons simpaty