Reviews by fernando

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.

No me cansa la audacia dentro de lo oficial y nacionalista. María de virgen a su pesar y Pedro de indio esforzado, vamos, debió resultar algo más terrible, sino fuera por la convicción que pone Ismael Rodríguez en todo lo que hace. Infante y María están tan forzados, que Rodríguez idea la secuencia del sueño de Tizoc que se cree hombre de ciudad para bailar con ella, ja.

Pietrangeli was really underrated, this a character film, with looser and miserable Perier, and tramp and corny Milo, monstruous Adorf (Cucaracha), and yet how lovable and close to us they are.

For some times, more a nightmare than a dream, Pinnochio is really upset, moved, funny, when he has to be so. Fantasy, as in the best tales,is driven form a harsh life.It is so clear for Comencini, that every actor understands it, ando you don´t feel no contrast between the realistic rural winter settings, the old port, and the stomach of the whale. Wonderful

The themes are almost clear (the double, the artifice, the theatrical way of affirm politics, ¡it's 68!)but narration is obscure. It´s a pity BB loses the story of a teacher (you get in glimpses, when Clementi is alone in the ruins). The Tina Aumont partl reciting publicity is so aged. Reminiscences of Godard.

Sketches with one director, one big multiclassist location (Villa Borghese) and modern and not too picaresque stories. The last is the best, most because the noble whore Franca Valeri. She could be Cabiria.