RETRO-ACTIVE: THE BEST FROM THE CINEMA RETRO ARCHIVES

Almost two-thirds of the students admitted to French film academies are women and noted actresses such as Daniele Delorme, Isabelle Adjani and Jeanne Moreau have been active in governmental aid to French cinema.

Cinema Retro has received the following press release:

Third world cinema expresses issues, problems and emotions that no other cinema expresses.

Free cinema Essays and Papers - 123HelpMe

The story then finds Sleigh on hunt across exotic European locations in search of Clouseau. It's a journey that rapidly becomes wearying despite Edwards' attempts to liven the proceedings with frequent scenes of slapstick humor. Sleigh meets up with Cato (Burt Kwouk), Sellers' longtime man servant, who has now established their apartment as a museum in honor of his employer, replete with wax figurines representing Clouseau's greatest disguises. The scene seems more like another desperate gimmick on the part of Edwards to summon the presence of Sellers, even if its in the form of a wax model. Along the way, Sleigh also encounters characters from the early "Panther" films including those played by David Niven, Robert Wagner and Capucine (all of whom filmed their reunion scenes for "Trail" with the understanding that some of the footage would be utilized in "Curse"). The assemblage of these notable stars is one of the few inspired aspects of "Curse" and it's a joy to see them together, even though the ailing Niven had to be re-voiced by impressionist Rich Little, who did a very commendable job of it. A gangster played by Robert Loggia is introduced into the convoluted plot that takes on an "everything-but-the-kitchen sink" aspect and another character from Clouseau's past, Prof. Balls makes a couple of brief appearances to little effect despite the fact that the role is played once again by the great comedic second banana Harvey Korman. The proceedings drag on through flat and completely predictable sight gags, some of which go on interminably (i.e Sleigh in drag as an undercover cop in New York and later using a blow-up sex doll in an attempt to convince bystanders she is his girlfriend. There's also a seemingly endless fight scene in which Sleigh takes on the baddies with the help of a sexy female martial arts expert). What is most shocking about "Curse" is how the timing is off on almost every comedic set-up, which is rather surprising given the fact that Edwards originated the series and professed to care about it immensely. It would be easy to blame Ted Wass for the film's failure but in reality the young star gamely performs his required duties with admirable skill. However, he's hampered by a poorly-developed character and Edwards seemed convinced that the mere intention to name him as Sellers' successor would immediately win over audiences. However, Wass's Sgt. Sleigh is merely a klutz with none of the fabled eccentricities of his predecessor. The fact that he wears over-sized eyeglasses that make him look remarkably like Christopher Reeve's Clark Kent only adds to his burden. The film only comes alive in the final act with an extended and clever cameo appearance by Roger Moore (amusingly billed as "Turk Thrust II", a reference to Bryan Forbes' screen credit in "A Shot in the Dark"), who was simultaneously filming the James Bond movie "Octopussy" on another sound stage at Pinewood Studios. Moore's deft comedic timing steals the entire latter part of the film and left this viewer pondering that, had he been the star of the production, the movie might not have been so ill-fated. It must be said, however, that the film does boast one other positive aspect: the traditional, wonderfully animated opening credits that make it all the more apparent how frustrating movies seem today in the sense that they usually eschew opening credits all together. An entire art form is vanishing from the industry in the urge to "cut to the chase" and get immediately into the story.

Language of Cinema: Martin Scorsese's Essay Explains …

Were it not for some of the more sordid elements, "Hollow Creek" would have fit well into the ABC Movie of the Week productions that were telecast on TV in the 1970s. That's meant as a compliment, not a knock. The film isn't without flaws. It has a primary plot loophole in that, when Angelica goes missing, it's never explained what happened to her SUV, which was parked near the villain's house. Additionally, the film's chaotic but exciting conclusion incorporates elements of the supernatural that seem somewhat superfluous since the film succeeds on the level of being a compelling real-life crime saga. Nevertheless, it's an extraordinarily accomplished work for the aspiring director and her cast. Moro certainly doesn't give herself an easy time of it. In addition to having written and directed "Hollow Creek", she puts her character through the ringer, having to endure torture and death threats from her sadistic captors. Although the film has unsettling aspects to it, Moro refreshingly doesn't bleed into slasher territory and shows restraint when it comes to crossing the line into showing repulsive imagery. She gives a terrific performance, as does Steve Daron. The supporting cast is also exceptional with not a false note to be found. Burt Reynolds makes a brief but effective appearance in an obvious gesture to lend the credibility of his name to the film. The movie is impressively scored and shot, though cinematographer Jon Schellenger can't resist being a bit gimmicky by utilizing a distracting technique of filming some scenes inexplicably in a garish blue hue. The finale packs in some cliches and predictable action scenes but there is an imaginative and moving finale.

Film historian David Bordwell discusses Bresson's place in the history of cinematic style.
This essay will argue that transnational cinema could be emerging to a new level in the film industry.

Essay for students on Indian Cinema - …

This book consists of two essays focused on contemporary American cinema. The first essay considers the extent to which films of the last thirty years or so have diverged from storytelling models formulated during Hollywood’s studio era. The second essay analyzes visual style and is an expansion of the essay, “Intensified Continuity,” which appeared in Film Quarterly some years ago. Both essays tackle more general issues of continuity and change in Hollywood, try to dispute the idea of a “post-classical” Hollywood, and consider the role played by independent filmmaking. Films analyzed include Jerry Maguire, Memento, JFK, A Beautiful Mind, The Two Towers, and Two Weeks Notice. The Way Hollywood Tells It can be considered an essayistic sequel to some of my sections oof The Classical Hollywood Cinema (1985).

Read the to The Way Hollywood Tells It.

Bresson's aim in cinema is to sound out the profound mysteries that lurk within the spaces between objects, actions, and emotions.

Essays - The Cinema | Woolf Online

The authors argue that this cinematic representation constitutes a good example of "melancholic nostalgia," where producers and viewers used archetypal characters and romantic entanglements as a way of explaining the strengths and weaknesses of various French and "Indo-Chinese" colonial relationships.

The neorealist transgressions of Pier Paolo Pasolini.

Cinema Essays | Page 2 - StudentShare

Revisiting the theme of immigration, the topic of their prophetic breakthrough film La Promesse and of 21st-century cinema, they again demonstrate how to recount an outsider's story without sentimentality or excessive melodrama.