Reviews by fernando

Gameful, intelligent, provocative, tongue in cheek, shameless about its ridicule songs; open to the public about its clues. Woodward is excellent being rational and puritan at the same time. Great ending.

The best is, no kidding, !Koster sketch!. Laughton is a genius in it. Hawks amuses with Fred Allen an Levant. 'The bright leaf' is ok, well cnetered in the remaining painted leaf. Hathaway (with his laughing Widmark) is light noir.

A chef d'ouvre by any means. Demy is right when he had the intuition that a musical film has to be all sung or not sung at all. The tempo, the rythm, the wide spaces, all has a non terminal sadness becaase is love at youth. Deneuve is myth.

In spite of corny, affected, arty dialogues; is moving, well structured around the presence and absence of Plummer, and sincere in its feelings (when Ewan cries, you cry).

The same level of "The robe", with a better director (I like the view of the arena form inside the gladiators den) and more sexual innuendo that Susan understands perfectly. Jay Robinson is camp and great.

Good subject, excellent cast (Toto, Franca Valeri, Gino Cervi, Peppino and Chiari as gay tv director, deserves any viewing), but scrrenplay and directions are below that marks. An exception is Toto walking alone in his neoghbourhood and his speech in Roccasecca. We had to wait for the spaghetti Corbucci

3 stars just as my hommage to Resnais. He is too demanding throwing us, by a mischievous plot, to the representation of a play not clear for anyone. More than one actor plays the same role, there is a thir company playing it in film, the locations break the space. But the actors (Amalric. Piuccoli, Arditi, Azema, even Lambert Wilson and Anne Consigny) are great

Fatalist but in a way sincere. Two opposite gay characters but appasionate for each other the same: one denies it going also with women; the other procalims it without having to. And ends too sadly.

I love the way of attacking the plot, meeting the charaters distracted, in events far from the facts (great actress Luminita Gheoghiu is dancing, or at the opera, when she is beated by the plot). In the end there's is another approach, frontal, almost melodramatic.

'Complete' is a good description for this doc. Every man and woman alife who talked or lived or romanced or just photographed Salinger is here. The result is that you're are not sure of loving him as you love him before the doc. I feel the Sadness and resignation of Hotchner when he recalls the day their friendship ended.