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Bloody Mama (1970)
The Chicago Five ?
The Chicago Five", the title is a mystery, as Ma Barker (Sheley Winters), the bloody mom of the original title (Bloody Mama), travels with her kids from Arkansas to Mississippi and Florida. Chicago", the title is a mystery, as Ma Barker (Sheley Winters), the bloody mom of the original title (Bloody Mama), travels with her kids from Arkansas to Mississippi and Florida. It doesn't even come close to Chicago. But even violent Chicago would be amazed at the violence of this lady, at this fine Corman. But even violent Chicago would be astonished at the violence at this lady, at this fine Corman.
A.I. Artificial Intelligence (2001)
Kubrick e Spielberg.
It's complicated to talk about "Artificial Intelligence" for a very basic reason: it was designed by two directors with very different views of the world. On the one hand we have Stanley Kubrick, father of films like Clockwork Orange and 2001: A Space Odyssey, while on the other we have Steven Spielberg, author of films such as Minority Report and Catch Me If You Can, just to name his most recent works. One is completely pessimistic, has a funereal view of the world, while the other is a top-notch emotional handler (according to our own friend Cyco_Clown). This mix was clearly visible in the film we're analyzing, but I'm going to avoid Kubrick-type comparisons as much as possible because I'm going to analyze the film for what it is, not what it should be. Before talking about the story of the film itself, it's good to talk a little bit about the story that became its production.
Betrayed (1988)
Costa-Gavras on US soil.
The film serves as a kind of denunciation of racist movements in the United States, which have their centers mainly in small towns in the interior. Based on true facts, "Trueless" tells the story of a secret FBI agent who approaches a farmer suspected of killing a controversial Jewish radio broadcaster. She becomes involved in a sinister plot involving the Ku Klux Klan, influential politicians and paramilitary forces. This was Costa-Gavras' second film on US soil (the first was the spectacular Disappeared). Famous for its poignant content, here the director is also more concerned with the plasticity of the scenes. The film gains rhythm with each sequence. The leading couple has Tom Berenger, a canastrian who was used to telefilms shown at Supercine, and Debra Winger, a delight at the time. She doesn't yield what she can, but neither does she commit. He sucks! However, the movie is so good and the subject is so disturbing, the acting doesn't compromise.
5 Card Stud (1968)
If it's a Bible, read it.
The director is Henry Hathaway , who, like Howard Hawks , knows the path of Western action. He also knows how to get out of one. "Blood Poker" has the elements of a western action: lots of battles, brawls, chokes, bar fights, fires and barbershops with hearts of gold. But there's also something quite rare, a well-crafted story. Most action westerns are driven by looks: good guy, bad guy, a standard fight pattern, an eventual triumph for the gentleman in the white hat. Not this one, which presents a suspenseful story in a western setting. In a card game, a stranger is caught cheating. He is taken out and hanged, despite Dean Martin's objections. Then, mysteriously, the other members of the card game are tied up one by one. Suspicion spreads through the city, everyone arms themselves, and there's a scene where the hysteria gets out of hand and everyone starts shooting at each other. There is a good evocation of the paranoia that pervades the city; an unusually restrained performance by Martin, which is effective; a villain satisfactorily misinterpreted by Roddy McDowall; and a fun scene between Martin and Inger Stevens, who plays the barber with the heart of gold. A footnote: Fans who like to see excerpts of Alfred Hitchcock in his films can look for Hathaway in this film. During the scene in the US delegate's office, he is the genius face looking out the window behind Martin.
Barry Lyndon (1975)
Kbrick the candle light.
There are films that, when watching, the spectator wants to do the same, that is, to make a film. There are others who, on the contrary, inhibit and discourage. In this second category, feature films by director Stanley Kubrick, such as "Barry Lyndon", are usually included. They are ambitious undertakings on the intellectual side and enormous for the material.
Here, the story of the adventures of the rogue Barry Lyndon is accompanied by the audacious use of the steady cam, following the advance of an army with the camera along an uneven terrain and without shaking. Even more spectacular is the use of special lenses so that the film could be lit by candlelight. More spectacular or more mannerist? In any case, Stanley Kubrick sometimes distances us a little from his object, as if art were interposed between him and us.
2001: A Space Odyssey (1968)
Omnia mors aequat (death makes all the same)
"We are born of monkeys who have risen, not fallen angels ... What are we going to think about our murders and massacres, missiles and irreconcilable regiments? Or about our agreements, for what they were worth or not, our symphonies, even though they are rarely touched, our peaceful camps, although they can often be turned into battlefields, our dreams, unless they can be realized.The miracle of humanity is not how much it sank, but the magnificent form as it ascended ".
A Clockwork Orange (1971)
Masterpiece
"Art is about reshaping life, but it does not create life and does not cause life. So attributing powerful suggestive qualities to a movie is the equivalent of a scientific view that, even in deep hypnosis, people can not do things that go against their nature. " (Stanley Kubrick)