Reviews by fernando

Cult movie and masterpiece and cultural hihglight of the 70s. De Palma was not afraid of being corny, distasteful or hiperbolic, because he tried to be always touching. Great visual imaginery, pre glam, glitter, rock.

I saw the play some years ago in spanish in Lima, and I find intact the universe, the dramatic structure, the distribution of crisis and tense speeches. Wells is very loyal to Letts ant Letts to his play. The Oklahoma plains are the bonus.

Hathaway arrives with pal Duke to fordian or hawksian domains. The charge of the heavy Duke against the band of Robert Duvall is pure anthology, even when Kim Darby names what we see: "that's true grit". A realist ans tender depiction of west. Love tha hanging scene near the beginning.

An 'important' film has to top in all his aspects. Sets,photo, production, music are ok. In the cast, even Mature is well (he has strong two shots with more contained but vibrant Burton) ¿Why Koster then? He is correct but lacks the personal touch of an author.

I see why martial arts are art. And that, more than plot and everythingg else, is the core of the film. Wong Kar Wai excells in the fights, in special the one int he trian statios while trians are departing. Stylized as it gets.

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.