Reviews by fernando

A minor but energic Walsh. He likes its historic character. It´s a pitty the screenplay, based on the bandits autobiography, was not at the same level of the story. McIntire, good Walsh character with two roles.

It has some power ans texts that surpass the Hemingwayana clichés about love, ant romantic death. Is tight, landscape ok, great supporters as Paxinou and Tamiroff. Agony, irony and some subtleties in a Hollywoodd star package.

Sketches by De Sica a'lla italiana but in Paris, with MascLaine in the 7 of them and an international cast. Zavattini goes best in the Lex Barker sketch, with the loving wife evolving her madness till the roofs. Eben Barker is ok. The first with Sellers is insignificant, the second with Brazzi too cliched with the whores. The Wymarck sketch in the opera is ok, as the last one with Caine as detective and confused Shirley.

Nice suspense in spite of the reiterative pannings over the submarine buttons, a little tired sabotage intrigue with Borgnine and McGoohan (idiot plot throws them alone with Jim Brown, while all the team is outside), but one has to understand tha MGM is exhibiting its techonological advances. McGoohan is best of all, Hudson is cool, Borgnine overacts.

Ray Enright is just an artisan, this time for Universal, but there´s some bonus in this tight western: Quantrill in all its evil glory (Donlevy is excellent), his love hate relation with Chapman, the fresh antiherioc boys (Murphy, Long, young Tony Curtis...)

Somehow plain, but interesting as it depicts civilization in green Oregon, and rare cohabitation with indians till monstruos Ward Bond rapes (is suggested) an indian girl. The action is forgettable, but I like the comunity sequence building the house (big Andy Devine) while Donlevy and Susan stroll apart. Dana always cool, as if he were in a film noir.

A spirited, quick, moral ambiguous, foundational lone star (Vidor is texan)western. In this pioneer spirit there are great licenses, as Jean Parker seducing Fred, bur most of all Fred and moving Jack Oakie redeeming in a few scenes. Nolan at his best.

As personal as his other films, but less agressive, more intimist and contemplative, more sharing. Pepople feel its happiness and its insatisfactiosn, children knows to name things (lovable first sequience with the girl and the animals) and to cope with the devil.

The european version is a must because of the metalinguistic ending, with Karloff and the rudimentary FX.The 'telephone' segment is elegant, the 'Vurdulak' has a great Karloff entrance and horror touches (the head, the kidnapped child) and the 'drop of water' is al well photographed as the others. Great cinematographer, Bava

Has aged a lot since I saw it in sensurround in seismic Lima. Now we know too much of siesmic prevention and effects too swallow the elevator scene and others. The miscast of Lorne Greene as Ava's father is compensated by casting of good guys Nolan, George Kennedy, Barry Sullivan. I expected more suspense around the dam.