No, it’s not the story of the 18th President of the United States. Kirk Douglas must have been a big hit in Rome, starring in one of the first and best of the Italo epic ‘classics,’ before the musclemen cornered the market. Homer’s tale of the husband who took ten years to come back from Troy is given real star power, a splendid production and best of all, an intelligent script. This disc looks a lot better than the ragged earlier DVD, plus it offers a superior Italian language soundtrack. And don’t forget Gary Teetzel’s recommendation: as an adaptation of The Odyssey, it’s right up there with O Brother Where Art Thou!
Ulysses
Blu-ray
Kl Studio Classics
1954 / Color / 1:37 flat Academy / 94 104 117 min. / Street Date November 17, 2020 / Ulisse / available through Kino Lorber / 29.95
Starring: Kirk Douglas, Silvana Mangano, Anthony Quinn, Rossana Podestà, Jacques Dumesnil, Daniel Ivernel, Sylvie, Franco Interlenghi,...
Ulysses
Blu-ray
Kl Studio Classics
1954 / Color / 1:37 flat Academy / 94 104 117 min. / Street Date November 17, 2020 / Ulisse / available through Kino Lorber / 29.95
Starring: Kirk Douglas, Silvana Mangano, Anthony Quinn, Rossana Podestà, Jacques Dumesnil, Daniel Ivernel, Sylvie, Franco Interlenghi,...
- 11/21/2020
- by Glenn Erickson
- Trailers from Hell
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“Lurid Love And Noir”
By Raymond Benson
Film historian Jeremy Arnold, who provides the excellent audio commentary as a supplement for the terrific Blu-ray release of Kiss the Blood Off My Hands, says the movie’s title is remarkably “lurid.” The Production Code people obviously had a problem with the title and tried to get it changed, but an appeal from up and coming star Burt Lancaster, whose newly formed production company (co-founded with Harold Hecht) made the picture, resulted in the “lurid” title staying in place.
The film does not live up to the implied sensationalism. While we do get a dark, at times brutal, and cynical piece of film noir, we also get an atypical love story at the picture’s heart.
Kiss the Blood Off My Hands, from 1948, is based on a novel by Gerald Butler, and was adapted by...
“Lurid Love And Noir”
By Raymond Benson
Film historian Jeremy Arnold, who provides the excellent audio commentary as a supplement for the terrific Blu-ray release of Kiss the Blood Off My Hands, says the movie’s title is remarkably “lurid.” The Production Code people obviously had a problem with the title and tried to get it changed, but an appeal from up and coming star Burt Lancaster, whose newly formed production company (co-founded with Harold Hecht) made the picture, resulted in the “lurid” title staying in place.
The film does not live up to the implied sensationalism. While we do get a dark, at times brutal, and cynical piece of film noir, we also get an atypical love story at the picture’s heart.
Kiss the Blood Off My Hands, from 1948, is based on a novel by Gerald Butler, and was adapted by...
- 8/21/2020
- by nospam@example.com (Cinema Retro)
- Cinemaretro.com
From Christopher Isherwood's 'limbo of mirror-images' to 'the projected film's best-kept secret'
We don't have to think about what we like, but thinking can be part of our pleasure, rather than opposed to it. When I was asked to write Film: A Very Short Introduction – the book became the 300th in a series that covers topics from advertising to witchcraft, anaesthesia to the World Trade Organisation – I jumped at the possibility, because I took it as a chance to think fast and hard about a much-loved topic. Not everybody thought this was a good idea. One of the publisher's readers said the project was distinctly amateurish, and the other said it was impossible. These responses were not unkindly meant, and I found them helpful. I realised I wanted the book to be the work of an amateur – a lover of film – though not amateurish in the sense of inept.
We don't have to think about what we like, but thinking can be part of our pleasure, rather than opposed to it. When I was asked to write Film: A Very Short Introduction – the book became the 300th in a series that covers topics from advertising to witchcraft, anaesthesia to the World Trade Organisation – I jumped at the possibility, because I took it as a chance to think fast and hard about a much-loved topic. Not everybody thought this was a good idea. One of the publisher's readers said the project was distinctly amateurish, and the other said it was impossible. These responses were not unkindly meant, and I found them helpful. I realised I wanted the book to be the work of an amateur – a lover of film – though not amateurish in the sense of inept.
- 5/18/2012
- by Michael Wood
- The Guardian - Film News
It’s probably a dereliction of my sworn duties as a dilettantish semi-pro occasional pretend critic to characterize this new Steven Soderbergh joint entirely in terms of genre slop cinema—there’s a prominent visual cite to Charles Burnett’s Killer of Sheep, for god’s sake—but I was still pretty pissed that nobody in my sparse, 50-and-up weekend evening art movie crowd was moved to stand up and scream “she’s going haywire!!!” This thing whisked me back like nothing else to days of sitting in a friend’s basement at age 13 with rented Don “The Dragon” Wilson vehicles on VHS, or maybe a good Godfrey Ho/Cynthia Rothrock feature—at one point there’s a fight in a dry cleaners where Gina Carano starts up a conveyor belt and I almost had a stroke thinking someone was going up on a hook like in Undefeatable, though I...
- 1/27/2012
- MUBI
Nuri Bilge Ceylan’s “Three Monkeys” and the Dardenne brothers’ “Le Silence de Lorna” are two films that provoked feelings of admiration at the 2008 Cannes Film Festival, and not without reason. Ceylan is one of the consistent Turkish auteurs whose filmography is distinguished for the austere and cinematographic-specific way it treats its subject matter. The same applies to the Dardenne brothers who have created a distinctive filming style that deftly oscillates between emotional detachment and intense involvement.
Among other similarities, the two films share an emphasis on cinematographic narration in the way Robert Bresson understood it, that is, as a diegetic form that is not subservient to the plot or the scenario. In both films, the camera does not function as a means of reproduction of a pro-filmic reality, but as an instigator of emotions, gestures and responses that are not necessarily predetermined by the script. On the surface, they...
Among other similarities, the two films share an emphasis on cinematographic narration in the way Robert Bresson understood it, that is, as a diegetic form that is not subservient to the plot or the scenario. In both films, the camera does not function as a means of reproduction of a pro-filmic reality, but as an instigator of emotions, gestures and responses that are not necessarily predetermined by the script. On the surface, they...
- 6/29/2010
- by Angelos Koutsourakis
- The Moving Arts Journal
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