Reviews by fernando

Tres historias que se distraen entre sí. La novela (me lo dijo la actriz Isabel Gaona)tenía hasta una historia más, pero debieron prescindir de esa estrcutura que resta tíempo de construcción al personaje de Damián Alcázar. El es lo mejor del film, bien en su pequeña historia de 'amor platónco a inicio de la masacre', con su alumna de inglés. Su frase "ahora comienza el fin del mundo" resume todo y deja pasar el cliché erótico del cura con su mujer sobre la mesa del comedor.

Ray takes long scenes to make us understand that the problem with Charu is not of oppresion but of freedom. She doesn't know how to cope with the ability to feel, to love another man, to write and to think. She feels all that becuase his husband neglects her as India neglects its people and teir journalistic enterprise.

Damiani is a guilty pleasure for me. I forgive his sensationalism and comercial fatalism, but that wasn't so bad in 1971.Balsam is so cool walking stoically to his death, that you maybe forget what is he fighting against. What is clear is his class difference with Nero, that seems more important than the good and bad guys staff.

¡A surprise! Sirk as stylized as Von Sternberg (Gene Lockhart stumbling with the birdcages in the hat store is a pure delight)and as fine comedian as Wilder or Leisen. Glory to the amoral Vidock, redeemed because of pure comfort, after a great match with Lockhart (besto fo the cast) and the Tamiroff gang. Two twisted femmes, the ingenue Hasso and the fatale Landis.

Hollywood finding a reason to have Sirk and Sirk finding a reason to stay in Hollywood. Despite the war effort trite screenplay, Sirk is genuinely dramatic in the suicide of the girl, and in the caracterization of the mayor (Stossel). Carradine is superb as Heydrich, whose desire to stay alive is beyond nazism.

Me persuadió el comentario de Jean Gilli: le esfuerzo de Comencini en pintar a venecia con el detallismo de un Guardi o un Canaletto, más no paissajístico, es ejemplar. La secuencia de la cirujía e suna fiesta negra, más que el carnaval. El problema es que, aunque pueda ser fiela las memorias de Casanova, el no subrayar más su sexualidad antes de romper con la carrera religiosa, frustra algunas expectativas

Tan clásica, tan lineal y circular, tan serena y provinciana y con tanto turbulencia anárquica debajo. Don Lope es el sabor amargo, pero sabor, de una vida con deseos y límites muy claros. O no tan claros, pues se difuminan con los sueños de Tristana (trista ana) (badajo/pene), la mudez del pajero Saturno, el sentido común de Lola Gaos, distante del código de caballeros de Nero y del propio Lope.

Nice because you feel the harmony and joy in the music and the plot, no matter the documentary aspect of rhe close ups ot the girl attending the show. I'm not convicned by that approach because of the non 'stagey' decors. Unforgettable the rendering of papapapapageno.

OK match for "Funny girl", as H. Ross directed the musical numbers in the original. You love how Barbra deliver her lines and is provoked, even matches in many scenes, by great James Caan. The fight in the train is excellent acting by both.

Star debut vehicle for Barbra and more. Glossy and classy production makes contrast with Barbra´s/Fanny Brice's comic performance. She is nice in musical numbers (amazing tha navigation in a small vessel around de Statue of Loberty)and in love shots with Sharif.