Monthly Archives: April 2015

Backlog #5: The Searchers (1956)

I mentioned earlier about playing bastards. John Wayne in The Searchers is probably as grand a bastard as the cinema has seen. He’s a confederate soldier returned from the war to his family, who soon after are massacred by the … Continue reading

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Backlog #6: Just Before Nightfall (1971)

This Chabrol picture is really, really good. It takes the dynamic of the previously discussed La Femme Infidele, with Michel Bouquet and Stephane Audran as virtually the same couple. This time however, the murder occurs right at the start – … Continue reading

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Backlog #7: The Loneliness of the Long Distance Runner (1962)

I hadn’t anticipated rating this one so highly. Perhaps because of Tony Richardson’s career peaking shortly afterwards and then going into a long decline. What makes this film is Tom Courtenay’s performance as Colin, the long distance runner of the … Continue reading

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Backlog #8: Edvard Munch (1974)

This biographic of the Norwegian painter is wonderful. It’s made in Peter Watkins’ characteristic fashion: a docudrama utilising non-professional actors, with a strong socio-political strain. With its three hour running time, it’s a move in Watkins’ development into a more … Continue reading

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Backlog #9: This Man Must Die (1969)

A proper gripping film, this. It’s an adaption of a novel rather than an original idea, so its tones and lines are more straightforward and clear-cut than in Chabrol’s other psychological thrillers. It’s also a good deal more elegiac: death … Continue reading

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Backlog #10a: Theorem (1968)

Theorem is brilliant. The plot is absurdly straightforward. An upper-bourgeois Milanese family live a frigid, statuesque existence. One day, in the midst of a torpid house-party, a handsome and charismatic stranger (Terence Stamp) walks in as if out of nowhere … Continue reading

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Backlog #10: That Obscure Object of Desire (1977)

That Obscure Object of Desire is a delight. Bunuel’s works strike one as conventional, possibly even humdrum on the surface. His method is very economical, quite spare. Things generally are presented as they seem (if one lived in mid-seventies France … Continue reading

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