Reviews by fernando

A pioneer in comic big scale westerns of the 60s. Wayne begins, for his pal Hathaway (his best director after Ford, Hawks and Wellman)with his loony faces when gets his or upset by Fabian. Capucine is sexy and tender, lovable. The comic fights have good visual ideas, in spite of poor editing.

Hathaway parts are as good as Ford segment (Wayne and Harry Morgan as generals Grant and Sherman discussing the war while Peppard and Tamblyn, north and south, play their own war). I like all the 'varmint temptation' of Stewart flirting with rural vamp Brigit Bazlen and Brennan gang and like Baker-Stewart romance.Tries to be an adult western in spite of Debbie Reynolds. Good action in spite of 3 screen process.

Just to see cameos, but ¡what a pleasure that is! Somo Broadway stars you don't see always (Lunt & Fontanne, Cornell, Bankhead, Ina Claire), almost all the big bands, a nice number by Ray Bolger, ok script by Daves

Wise takes time to capture your interest. The play plays with ambiguity and volatile dialogues and feelings (thats the seesaw stuff), that´s its limit and its virtue. MacLaine is as always the 'intelligent ingenue', but Mitch is a little miscast.

As selfindulgent as bizarre(and obsessive while observing a character doing a mechanical action, as wraping something or darkening a window). Truffaut is just quoted with images inside the image, and with Leaud and Ardant almost clowning. Impossible not to like the Moreau and Baye cameos.

The schematic structure is aged and too previsible, and Merrill's character is too delcate to mend things, but Negulesco has flair and wit to make some noir underlines (in the Bette Davis affair), or noir comic in the Evelyn Varden (great impersonation of Bette) part.

Thanks Taviani bros. for make me feel, as if I was reading, rhe greatness of Tolstoi. In the frontier (literally,¡we go to Siberia¡)of the dilemmas of justice in a class society and the personal, whimsical, obsessive characters about love and sacrifice. Gets better till the end. The sequence in the theatre with 'Camille' is great in its reflections.

So mechanic, repetitive, illustrative of an 'action packed idea to make a US version of an asian thriller', tha I miss oldboy Spike Lee. Brolin is ok

Extreme and light at tha same time, the 'giallo' approach to a political statement on media canobalism is poor, but has good dialogues. Zampa is an angry old man this time.

So bizarre, so fantastic, so rooted on the uneasy to understand nostalgia and feelings of the main charácter about his past in a jewish town in prewar Poland; that I can rate more tan 3 stars. But here is a 'sculptor in time' as Tarkovski would say.