Like Laura (1944), which it continually references, Otto Preminger’s subsequent Whirlpool may be partly or entirely a dream. Kristin Thompson alerted us that the living Laura Hunt’s return to her apartment after McPherson dozes off in the room with her gigantic portrait could be the police detective’s wishful dream inasmuch as he has fallen in […]
History as tragic illusion: writer-director Ritwik Ghatak, cinema’s Bengali poet of the Partition of India, begins Komal Gandhar, a.k.a. E-Flat, set in Calcutta, near the end of the second act of a nighttime performance addressing the 1947 event. (The play is Ghatak’s own 1952 Dalil.) A character in the play-within-the-film asks, “Why should I move […]
Please see the first two paragraphs of my essay on Elia Kazan’s A Tree Grows in Brooklyn (1945), filed under “Hollywood Film Reviews,” for my response to his later On the Waterfront.
Stitching together three stories by Birgit Tengroth, who also plays one of the lead roles (how adaptable those Swedish talents are!), Ingmar Bergman’s Törst, mistranslated as Three Strange Loves upon its original U.S. release, goes back and forth amongst characters and sometimes their recollections, hence different time frames, and also between reality and dream. The […]