Appreciation coming.
Arts & Faith Lists:
2010 Top 100 — #94
2020 Top 100 — #69
Review coming. Directed by: Peter Weir Produced by: David Bombyk Edward S. Feldman Wendy Stites Written by: William Kelley Pamela Wallace Earl W. Wallace Music by: Maurice Jarre Cinematography by: John Seale Editing by: Thom Noble Release Date: 1985 Running Time: 112 Language: English Arts & Faith Lists: 2020 Top 100 — #77
“Recently, I’ve had the weirdest dreams,” says the aged physician Isak to his daughter-in-law Marianne. His confession is an understatement. Isak’s dreams create the crises and categories for a film about legacy and death. Beginning with a Dali-esque vision—Gunnar Fischer’s magnificently shot chiaroscuro sequence for people who think David Lynch is too normal—and through flashback…
“What is the true meaning of life?” Polish director Krzysztof Kieslowski has asked. “Why get up in the morning? Politics doesn’t answer that.” The Decalogue, Kieslowski’s extraordinary, challenging collection of ten one-hour films made for Polish television in the dying days of the Soviet Union, doesn’t answer Kieslowski’s questions either. What it does is pose them…
Based on the eponymous historical novel by Jewish author Franz Werfel, Henry King’s beautifully made film stands head and shoulders over most religiously themed fare from Hollywood’s Golden Age. Werfel learned the story of Bernadette Soubirous—an illiterate teenager who in 1858 claimed to see visions of a beautiful lady who was later identified as the…
It’s tricky to review The Son without raising viewers’ expectations. To rave about the film’s artistry might create a certain anticipation of being dazzled. But, “the truth must dazzle gradually,” and The Son — like all of the Dardenne Brothers’ films — is the antithesis of what most moviegoers consider “entertainment.” It is, rather, a story that unfolds without…
There is little, if any, historical accuracy in Amadeus. The portrayal of Mozart (Tom Hulce) as vulgar libertine is certainly based in much historical fact, but as seen through the eyes of Antonio Salieri (F. Murray Abraham), the film’s antihero protagonist and unreliable narrator, even the extent of the genius’ crassness can be called into question….