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  1. 8 points
    just FYI........... Eddie Muller‏Verified account @EddieMuller 1h1 hour ago A MESSAGE FROM EDDIE M ... regarding this week's @NoirAlley offering, "The Sniper." Some people have objected to images from this film being posted here in the aftermath of the nation's latest mass shooting. Some have called for the film's broadcast to be postponed ... . or cancelled. Here's the thing: I was very hesitant to show this film at all, but decided there was no value in NOT confronting these issues head-on, even though we'd all prefer TCM to be "an escape." If you feel this is insensitive, I encourage you to watch my intro and outro, even if you don't want to watch the film. Also: these shows are scheduled months in advance; I wish I could say there's no way to predict when we'll have another mass shooting, but that's BS—we had one the day I booked this, which is why I had second thoughts. We have mass shootings constantly in this country, virtually every day. Cancelling an airing of a 66-year-old movie that had the foresight and courage to confront a disturbing issue is NOT the solution to our never-ending national disgrace.@NoirAlley
  2. 7 points
    Glenda Farrell will be familiar to aficionados of studio-era movies. She's faded from the popular consciousness, unlike headline stars such as Bette Davis, or others who maintain recognition by association with an iconic movie, like Fay Wray. But I wonder if TCMers have a true appreciation of her career and place in movie history. I didn't, until I read about her for this thread. Here's a good summary of her career and life: https://thoughtsandramblingsofhardwickebenthow.wordpress.com/glenda-farrell-her-life-and-legacy/ Most often characterized as the fast-talking, smart, sassy, brassy side-kick to the female lead, her other achievements are overlooked. But she wasn't so much type-cast, as a victim of her own success, along with her movie and real-life buddy Joan Blondell, in creating the type itself. A vein well and deeply mined by Jack Warner in a series of movies starring her and Joanie as a pair of adventuresses on the hunt for money and men, in varying orders of importance. People might dismiss this as gimmickry, not worthwhile acting, but I see a real dimension and humanity in her characterizations. Her professionalism, razor sharp timing, and bulls-eye delivery would be good enough to get her through a few movies, but the hard and edgy aspects of her roles would have paled if there weren't anything under it to make them sympathetic and people care about them. And this is what must have resonated with audiences, as she was an enormously popular actress, according to her bios, equal to any of her contemporaries. This popularity got her her own movie series portraying crack news reporter Torchy Blane. According to Ms. Farrell herself, she worked hard to make her portrayal more than superficial, smart, brash, intrepid; studying the women reporters she came in contact with, and emulating them. Warner tried to replace her when he latered her from the studio, but the public wouldn't have it. Only Glenda Farrell was ever accepted as Torchy Blane. I want to send out a big thank you, and a why-the-hell-did-it-take-you-so-long? to TCM for their long overdue tribute. Glenda Farrell, Star of the Month, November 2018.
  3. 6 points
    SEZ Australian born billionaire Rupert Murdoch
  4. 6 points
    The Razor's Edge (1946) 20th Century Fox's prestige production of 1946, a three million dollar screen adaption of the Somerset Maugham novel with every penny showing on the screen. The film's screenplay bristles with a sense of something profound attempting to be said and, while the attempts at philosophical ruminations ring hollow, the film is a constant treat for the eye with its stunning set design and the sumptuous black and white photography of Arthur C. Miller. Tyrone Power, in his first film after a return from war service, plays Larry Darrell, a young man recently returned from the WWI battlefields, who frustrates those around him by a failure to seek serious work as he decides, instead, to travel the world in a search for a meaning for existence. His search will begin in Paris, before eventually taking him to the Far East. Gene Tierney, at the peak of her beauty, plays Isabel, his high society fiancee who decides to wait for Power to get his search for something out of his system before he will, she hopes, be ready to settle down. The Razor's Edge is rich in character support, with Clifton Webb outstanding as Elliott Templeman, an effete (what else?) society snob and uncle/patron of Tierney who is openly disdainful of the wanderlusting Power. A suave Herbert Marshall also scores well in a droll, bemused performance as Somerset Maugham, interacting with the various story characters but also acting as observer of their behaviour, as well. Anne Baxter won an Academy Award as best supporting actress for her effective portrayal of the tragic Sophie, a happily married young woman who will turn to drugs and the life of a demimondaine after her husband and child are killed in an automobile accident. Power will later be determined to rescue her from her lifestyle. Tierney's character becomes increasingly more interesting as the film progresses as she plots and connives. The actress had demonstrated her ability at playing a manipulator the year before in Leave Her to Heaven and in this film, too, she is highly effective in her selfish role. The Razor's Edge has one of Tierney's most effective performances. The film works well if viewed as a series of impressive set piece sequences. There is that memorable shot of Tierney in a stunning black evening gown as she sweeps down a circular staircase to meet Power waiting for her below; Power, working as a coal miner, and his encounter in a small cafe with a bitter, haunted unfrocked priest (Fritz Kortner in a small but powerful performance), also now a miner, as thunder and lightning pound the streets outside; a drug haven, mysterious and eerie, where Baxter lies prone on a couch, her head resting in the lap of an Arab dealer and lover (?). In addition to these sequences there is the death scene of Elliott Templeman, with various principles gathered around him in his bed, as Clifton Webb breathes his last, his final words a caustic putdown on a society matron. And then there are the film's magnificent depictions of various Parisian clubs and night spots, graphically capturing their atmosphere and excitement. What a casting call for film extras it must have been on the Fox lot for these crowded scenes. Power is sincere and tries hard in the challenging role of Darrell but in his depiction of a man who, in essence at the end, is representative of pure goodness, he is in a struggle to seem real. Power's likeability is a major selling point here as opposed to any dramatic acting triumph achieved by him. Low point of the film is when Power meets an Indian Holy Man, played by Cecil Humphreys in a flowing long white beard. Aside from the artificiality (unlike the rest of the film) of the set design of this Himalayan sequence, Humphreys' English accent and stereotypical physical presentation of an Indian wise man is difficult to take seriously. Director Edmund Goulding must be congratulated, though, for keeping this sprawling, lengthy (almost 2 1/2 hours) production as dramatically involving as he does. Goulding also wrote the song "Mam'selle" (which would soon become a popular hit) as a bittersweet leitmotif for Anne Baxter's doomed Sophie. Alfred Newman's impressive, highly dramatic musical score for this film was originally created a decade before for Samuel Goldwyn's These Three. It works extremely well for The Razor's Edge, as well. 3 out of 4
  5. 6 points
    I have never felt comfortable discussing someone's children or personal matters in a public setting. Its really not my business. I have no opinion of Wagner because I haven't met him and don't pay attention to tabloids. I like the movies he's in and leave it at that. If his children are having personal problems, its not for me to blurt them all over social media. Those children didn't ask for the spotlight unless they themselves are actors. We all have families and we all have relatives/friends who have personal problems. Calling someone out like that isn't classy at all. What Wagner does with a grave is meaningless to me. Natalie is gone. Her films can live forever. I'd rather focus on that.
  6. 5 points
    I saw Wim Wenders' The Goalie's Anxiety at the Penalty Kick at the first Toronto Film Festival. It was part of a spotlight on new wave German films that included directors Wenders, Fassbinder, Herzog and others. I was bowled over by it. The film begins with a soccer match and the goalie, Arthur Brauss is sent off for attacking the referee. He is suspended for several games so he takes to the road to fill the time. Based on novel by Peter Handke, this existential film is not unlike Camus' The Outsider. Early on, Brauss strangles a girl for no apparent reason. In this case he doesn't even have the extreme heat of the sun to blame. He gives it about as much thought as reading the newspaper. And you don't get the impression he is a danger to commit the act again. Perhaps it was just curiosity or boredom. It is a strange road picture. Inconsequential things like a close up of an apple hanging in a tree are given equal weight to a shot of a stream that might contain the body of a murdered child. I wondered if it was my college age sensibilities that attracted me to this film and Wenders' other road pictures. Perhaps it may have lost its lustre with age? I can certainly see it might not be to all tastes. I saw it again a few weeks ago and still enjoyed it.
  7. 5 points
    Gee, I don't know noir, but I know what I like.
  8. 5 points
    The Daily Beast‏Verified account@thedailybeast "Fox and Friends" hosts say it's unfair to tie Trump’s rhetoric to the synagogue mass shooting because the alleged gunman wasn’t full #MAGA: "He didn’t even own a MAGA hat" https://www.thedailybeast.com/fox-and-friends-on-tying-alleged-synagogue-shooter-to-trump-he-didnt-even-own-a-maga-hat/?via=twitter_page
  9. 5 points
    Marina Sirtis‏Verified account@Marina_Sirtis Marina Sirtis Retweeted Ivanka Trump I wish you would stop tweeting these platitudes after every tragedy. Your father and his hate speech is the reason these racists feel empowered to carry out their abominable acts. Your tweets are always a day late and a dollar short. #PittsburghShooting
  10. 5 points
    David Axelrod‏Verified account@davidaxelrod This is kind of basic: If you have the biggest platform on the planet and you use it to rail against political opponents and the media as “evil” and “enemies of the people,” and you celebrate acts of violence, you are licensing enmity and further acts of violence. Period.
  11. 5 points
    http://www.tcm.com/schedule/weekly.html?tz=est&sdate=2019-01-01 http://www.tcm.com/schedule/weekly.html?tz=est&sdate=2019-01-08 http://www.tcm.com/schedule/weekly.html?tz=est&sdate=2019-01-15 http://www.tcm.com/schedule/weekly.html?tz=est&sdate=2019-01-22 http://www.tcm.com/schedule/weekly.html?tz=est&sdate=2019-01-29 Still perusing the schedule. Can't say I'm excited about the SOTM selection. Yuck! --- Special Spotlight: Elia Kazan Spotlight: Gladiator movies 1/1 100th Birthday Primetime Tribute to Carole Landis. I've always wanted to see Turnabout. 1/3 Marion Davies Birthday tribute 1/5 Noir Alley His Kind of Woman 1/7 Stan and Ollie Spotlight, The Music Box never gets old. 1/8 Miss Annie Rooney. I like Shirley as a teen actress. It's a shame that she wasn't able to cash in on her childhood success. 1/9 Dust Be My Destiny. A John Garfield movie that I haven't seen. 1/11 Man on a Tightrope. A possible premiere of an Elia Kazan film starring Fredric March and Gloria Grahame? 1/12 Noir Alley Lured. Lucille Ball noir! 1/14 James Stewart & Robert Mitchum spotlight, starting off with a documentary: "James Stewart, Robert Mitchum: The Two Faces of America." 1/23 Looks like it might have a primetime tribute to Ernie Kovacs? The schedule is titled but not filled out yet. 1/27 LA Noir spotlight. 1/30 Maureen O'Hara night
  12. 5 points
    I just saw The Story on Page One (1959). Great title for a newspaper drama, which this is not. The opening credits feature Elmer Bernstein's music and some noirish photographer from the great James Wong Howe, suggesting this will be a film noir, but it is not. It doesn't have the look or the feel of noir, although it is about a murder trial. Apart from a brief scene late in the movie, Howe doesn't have the opportunity for much in the way of interesting visuals. Instead, The Story on Page One is a well-acted courtroom drama. Clifford Odets both wrote and directed. Odets' direction is straightforward, but without much visual sense. Although Odets' writing for other films is sometimes mannered (the stylization in Deadline at Dawn works for me, though the dialogue in the adaptations of Odets' plays often doesn't), that is not the case here. I would never have guessed Odets as the author. One big plus is that the lengthy courtroom scenes are much closer than usual to permissible courtroom testimony, and the judge's rulings are what one would expect to hear in an actual trial. About those performances: I sometimes forget that Anthony Franciosa is on occasion (A Hatful of Rain, Career) a very good actor. He's playing a character who's like a sketch for the Paul Newman character in The Verdict, although his personal story is dropped after his first few scenes. Franciosa is committed and intense in all the right ways, and he commands our attention whenever he's on screen. Rita Hayworth has surprisingly aged in the decade or so since The Lady from Shanghai. She's playing a slightly frumpy, though attractive, housewife, quiet, modest, decent, and she's always believable. Gig Young plays her lover. For a good-looking man, Young played a number of weak and/or somewhat sleazy roles. He's a weakling here, trying to escape from under the thumb of his domineering mother (Mildred Dunnock) who has a Suthun accent out of Tennessee Williams. In fact, it's interesting and odd to see a Jewish New Yorker like Odets imitating the Southern Gothic school for Dunnock's scenes. To me, Dunnock, for all her talent, is only a skillful actress playing a cliched overbearing Mom, a type so familiar from 1950s drama. Although Dunnock has a big dramatic courtroom scene where she's cross-examined by Franciosa, Katherine Squire probably has more screen time as Rita Hayworth's mother, who has actually encouraged her daughter to turn to another man as an escape from an abusive husband. Squire, whom some may remember from The Doctors and Search for Tomorrow in the 1970s, always seems quirky and real, and her performance holds up better than Dunnock's. Other notables in the strong supporting cast include the famous acting teacher Sanford Meisner as the smarmy and supercilious, but smart and deadly, attorney who cross-examines Gig Young mercilessly; Hugh Griffith as the wise and fair judge; Jay Adler as an insurance salesman; and William Challee, terrific as a salacious hotel clerk. Hayworth has been a great choice for Star of the Month, and I now have a much better sense of her career and more respect for her work. I do wish that They Came to Cordura could have been included.
  13. 5 points
    The self Styled Siren had a blog posts that contains foreign movies, some of which haven't been mentioned so far in this thread. (She also mentions some American/English movies which I didn't feel the need to include.) 2017: The Year in Old Movies (because measuring it in other ways wouldn't be nearly as pleasant) The 10 best of what the Siren watched in 2017, presented without preamble, and in alphabetical order. The Siren wishes her patient readers a most happy 2018. The Big City (Mahanagar; directed by Satyajit Ray, 1963. Viewed on Criterion DVD) Madhabi Mukherjee’s performance instantly became an all-time favorite. It is part of Satyajit Ray’s genius that he refuses to make her husband (Anil Chatterjee, half lummox, half mensch) into a villain, instead showing how the man’s prejudices give way not only to love of his wife, but common sense. Bitter Stems (Los Tallos Amargos; directed by Fernando Ayala, 1956. Viewed at Metrograph) The Siren thinks this may be the noirest noir of them all. The movie weaves together guilt and ambivalence over Argentina’s history in World War II with the hero’s (Carlos Cores) own psychological unraveling. Magnificent cinematography by the Chilean Ricardo Younis. Do read Raquel Stecher’s post on the film’s restoration; you will see how close we came to losing this beauty forever. The Siren was so impressed that she donated to the Film Noir Foundation as thanks. The Glass Tower (Der gläserne Turm, directed by Harald Braun, 1957. Viewed during Film Society of Lincoln Center’s series The Lost Years of German Cinema: 1949–1963.) A classic women's picture about the emotional abuse inflicted on a former actress (Lilli Palmer) by a secretly psychotic tycoon husband (O.E. Hasse). You’d know this film influenced Rainer Werner Fassbinder even if the program notes never said so. The Siren loved the way it suddenly became almost an Agatha Christie mystery, loved the design (by Walter Haag) that envisions the couple’s life as a series of elegant glass-walled prison cells. The plot resembles Under Capricorn, but the film plays out to its resolution in a much more satisfying way. (Bosley Crowther’s review is possibly the most sexist thing he ever wrote, which is saying something.) I’ll Be Seeing You (directed by William Dieterle, 1945. Viewed on Kino Classics DVD). Somehow the Siren had missed this delicate wartime romance, which boasts one of Ginger Rogers’ most heartfelt and touching performances. As her character and that of Joseph Cotten gradually fall in love, you realize you are watching two psychically wounded people trying to heal. The Siren much prefers this to the better-known Love Letters (same year, same director), which has a torpid screenplay by Ayn Rand; I’ll Be Seeing You has a screenplay by Marion Parsonnet, whose credits include Gilda. The Siren saw I’ll Be Seeing You while researching her video essay on Ginger Rogers’ dramatic roles, which will be included in Arrow Films’ Blu-Ray release of Magnificent Doll in February 2018. Le Trou (The Hole; directed by Jacques Becker, 1960. Viewed at Film Forum’s run of the 4K digital restoration.) The Siren has a new favorite prison movie. And while this may surprise you, the Siren tends to like prison movies. The late-movie payoff is one that many Hollywood directors would sell a kidney to come up with. Paris Frills (Falbalas; directed by Jacques Becker, 1945. Viewed on MUBI.) It’s a pity this isn’t widely available, as it makes a terrific companion piece to Paul Thomas Anderson’s Phantom Thread. The Siren would love to know if Anderson saw it. Paris Frills also concerns an egotistical couturier (Raymond Rouleau), whose atelier is also in a palatial townhouse, and who also runs roughshod over the people around him, with much different consequences. Becker is more concerned than PTA with the daily labor of “les petits mains” and with suggesting all the lives beyond those of his leads. The Siren’s favorite scene involved the couturier, deep in a selfish funk about a love affair, being told off by Solange (Gabrielle Dorziat), his equivalent of Phantom Thread’s Cyril: “I don’t give a damn about her. She has time for sentimental complications, where here there are 300 who can’t be permitted that, and who you are going to put out in the street.” (Note for the Siren’s fellow lovers of fashion history: The gowns were by Rochas.) Roses Bloom on the Moorland (Rosen blühen auf dem Heidegrab; directed by Hans H. König, 1952. Viewed as part of the FSLC Lost Years series.) The Siren’s surprise of the year. One alternate title is Rape on the Moorland, which didn’t exactly sound like her sort of thing, and she saw it only because it was screening at a rare moment that found her in the Walter Reade neighborhood. The film turned out to be a unique combination of Universal horror movie and rural romance, with Ruth Niehaus splendid as the death-haunted peasant heroine, and Hermann Schomberg storming through his scenes as the **** villain. König makes exquisite use of the windswept, Bronte-esque setting, but what really sold the Siren was the denouement, with its unexpected warmth and humanity. Ruthless (directed by Edgar G. Ulmer, 1948. Viewed as part of the MoMA series “Poverty Row.”) Written about in the Siren’s roundup of this series at the Village Voice. Tonka of the Gallows (Tonka Sibenice, directed by Karel Anton, 1930. Viewed as part of MoMA’s series “Ecstasy and Irony: Czech Cinema, 1927–1943.”) The Siren wrote her heart out about this one at her Film Comment blog. Honorable mention, among many others seen and enjoyed: I Knew Her Well (Antonio Pietrangeli, Italy 1965) Kristian (Martin Fric, Czechoslovakia, 1939) Happy Journey (Otakar Vavra, Czechoslovakia 1943) False Faces (Lowell Sherman, U.S. 1932) Sword of Doom (Kihachi Okamoto, Japan 1966) Black Gravel (Helmut Kautner, Germany, 1961. Note: This one is not for dog lovers.)
  14. 5 points
    Another uninteresting SOTM. I'll start my Feb reading list early.......
  15. 5 points
    Bad Day at Black Rock (1955). As soon as Spencer Tracy’s John Macreedy steps off the train, having arrived at Black Rock, a town the inhabitants of which you could literally count on two hands, it’s like he’s traveled back in time, from 1945, the film’s setting, to the untamed Wild West, with frontier justice, where laws don’t matter, just men, in this case one man, Reno Smith, played with controlled menace by Robert Ryan. Macreedy is greeted with immediate hostility. He’s unable to book a room in a hotel with 100% vacancy. When he finally secures lodging, he finds a lanky, handsome Hector David (Lee Marvin), one of Smith’s acolytes, lying in bed. Hector interrogates Macreedy, ending every sentence with the dehumanizing “boy”, as in “This is my room, boy.” “What are you doing here, boy?” Macreedy has one arm, and as he’s going up the steps, carrying his suitcase, Hector says “You look like you could use a hand.” These are the people who live in Black Rock. With a tantalizing slowness, we learn why Macreedy is there. And it doesn’t surprise. Instead, it’s a well-earned payoff. This is a well-acted drama. It may remind some of The Petrified Forest (1936). It reminded me of High Noon (1952): individuals with other responsibilities making the hard choices to fight back against evil rather than leaving or being complicit through standing by and doing nothing. Spencer Tracy characteristically underplays; he represents a quiet, humble decency; traits that are effective contrasts to the testosterone-soaked portrayals of Lee Marvin’s smooth upstart, and Ernest Borgnine’s wild-eyed, fanatic thug. The topic of anti-Japanese racism must not have been easy only 10 years removed from WWII. Also starring Walter Brennan, Dean Jagger, John Ericson, and Ann Francis as an auto mechanic (yes, and she’s very good in the few scenes she has).
  16. 5 points
    "Sweet Bird of Youth" - Richard Brooks - 1963 - Richard Brooks, the writer/director has turned Tennessee Williams' fascinating, but unwieldy mess of a play into a gripping melodrama for the screen - at its' heart, are two interesting monsters in a dead heat for survival - an aging movie star and an aging giggolo - Paul Newman and Geraldine Page are superb - that the lady will survive and the man may not isn't exactly a foregone conclusion - but, surprisingly, in Richard Brooks' adaptation, both of these conflicted people do survive - the two stars are surrounded by an excellent ensemble cast, especially Ed Begley and Madeleine Sherwood - somehow, the power of this movie never seems to diminish - perhaps because two tigers are in a death grip - and that death grip is extremely compelling -
  17. 5 points
    NO ONE needs a "reality show" and most of the ones who have them now should be taken off the air. Talk about garbage TV!
  18. 5 points
    You may think you know about the Wagners but you just know a bunch of junk gossip you read on the internet. Like I said, it’s not anybody’s business what Robert Wagner and his family want regarding her gravesite.
  19. 4 points
    Found a free petition on the way the other day to keep Filmstruck alive. I've been encouraging people to look at it on Facebook. So far, it has over 2,400 signatures. It's worth a shot https://www.change.org/p/warner-media-save-filmstruck
  20. 4 points
    I search out many of the films that everyone has been mentioning in this thread. In the case of The Italian Connection I came across two versions: one dubbed in English with Henry Silva doing his own voice and the other in Italian with English subtitles. I'm assuming in the latter version that Adolfo Celi dubbed his own Italian. If so he has a much weaker voice than I imagined. I was used to his masculine voice as Emilio Largo in Thunderball. Robert Rietti revoiced Celi in Thunderball. Here is Rietti's obituary ... https://www.independent.co.uk/news/obituaries/robert-rietti-actor-who-became-best-known-for-providing-voices-for-bond-villains-as-well-as-the-10196589.html Below Rietti as the Monk in the Omen
  21. 4 points
    some films where letters were important: Thirteen Women--dire horoscopes sent to group of women The Time of Their Lives--a missing letter will free two ghosts The Shop Around the Corner--love blossoms through letters Leave Her to Heaven--incriminating letter sent to frame someone for murder 84 Charing Cross Road--20 years of letters transform a business relationship into friendship Miracle on 34th Street--the letters save Santa!! and one special one gives him hope..
  22. 4 points
    Kyle Griffin‏Verified account @kylegriffin1 Sens. Wyden, Markey and Merkley are demanding answers from the White House about Trump's use of Air Force One for political purposes, saying taxpayers shouldn't be footing the bill for partisan campaign events.
  23. 4 points
    The Shield and the Sword, Vladimir Basov, Russia, Poland & East Germany The Shield and the Sword - This is my new favorite of 1968. Alexander Belov is undercover in Nazi Germany during WWII as "Johann Weiss." There he gets a job as a driver but is promoted to an important military position. It is his duty to get important information on Nazi military plans back behind the Soviet lines. This is a good spy movie and Stanislav Lyubshin plays Belov as a slick agent and operative, quick on his feet and always one step ahead of the Germans. The German civilians are also shown in a humane light as unfortunate working class people swept up in the Nazi world beyond their control. They have to serve in the military and fight and die just to stay alive. They are shown as very human and with weaknesses and strengths like everyone else. This is a very good film and I definitely recommend it.
  24. 4 points
    I don't think anyone has mentioned The Whales of August..Lillian Gish was over 90 when she made the film..
  25. 4 points
    Here are the foreign language films that I saw in September, from the years that we've already covered in this thread: 1935 Toni, Jean Renoir, France (8/10) Walpurgis Night, Gustaf Edgren, Sweden (7/10) Swedenhielms Family, Gustaf Molander, Sweden (5/10) 1958 Equinox Flower, Yasujiro Ozu, Japan (8/10) The Magician, Ingmar Bergman, Sweden (7/10) Letter from Siberia, Chris Marker, France (7/10) The Rickshaw Man, Hiroshi Inagaki, Japan (7/10) Night Drum, Tadashi Imai, Japan (7/10) Perfect Game, Toshio Masuda, Japan (7/10) The Eternal Rainbow, Keisuke Kinoshita, Japan (7/10) The Chase, Yoshitaro Nomura, Japan (7/10) Rusty Knife, Toshio Masuda, Japan (6/10) Le Beau Serge, Claude Chabrol, France (6/10) Stolen Desire, Shohei Imamura, Japan (6/10) The Night Heaven Fell, Roger Vadim, France (5/10) The Robot vs the Aztec Mummy, Rafael Portillo, Mexico (2/10) 1959 The World of Apu, Satyajit Ray, India (8/10) The Bridge, Bernhard Wicki, West Germany (8/10) Odd Obsession, Kon Ichikawa, Japan (7/10) Les Cousins, Claude Chabrol, France (7/10) Two Men in Manhattan, Jean-Pierre Melville, France (7/10) Samurai Saga, Hiroshi Inagaki, Japan (7/10) The Ghost of Yotsuya, Noguo Nakagawa, Japan (7/10) A Town of Love and Hope, Nagisa Oshima, Japan (7/10) Farewell to Spring, Keisuke Kinoshita, Japan (6/10) Thus Another Day, Keisuke Kinoshita, Japan (6/10) The Snow Flurry, Keisuke Kinoshita, Japan (6/10) India: Matri Bhumi, Roberto Rossellini, Italy (6/10)

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