H.G. Wells’s 1897 novella The Invisible Man is a work of science fiction. Jack Griffin’s invisibility derives from calculations pertaining to the properties of air, the speed of light, and the eliminated absorption and reflection of light. James Whale’s film of Wells’s tale, written by R.C. Sherriff, Preston Sturges and Philip Wylie, provides no other […]
Jean-Luc Cinema Godard’s Bande à part—I am quoting his name as it appears in the opening credits—finds the world’s most famous postwar filmmaker struggling to free himself from the tyranny of plot. There is a skeletal narrative of sorts, having to do with Odile and two guys and their planned robbery of money at the […]
Noel Coward’s play was a wartime lark—perhaps a skylark (note the title)—in which the institution of marriage and the death of wives are treated most casually, as though neither really matters. David Lean’s light, frothy film version added to the wifely ghosts their spouse, Charles, played chipperly by Rex Harrison, whose first wife, Elvira, died […]
Please see the third paragraph of my “informal capsule film comment” on Raoul Walsh’s High Sierra.
Although it followed on the heels of stronger similar works by Tian Zhuangzhuang and Chen Kaige, Huozhe struck a sufficient number of chords related to post-World War II Chinese history to bring down upon director Zhang Yimou official sanctions, public disgrace. Zhang’s film, a family saga covering roughly a quarter-century, was written by Yu Hua, […]