Escaped from the Archives: Tomu Uchida's "Earth" (1939)
Dan SallittOn Earth (1939), Tomu Uchida’s must-see quasi-documentary “official classic.”
Dan Sallitt
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The Pleasures of Crisis: "Amoureuse" (Doillon, France, 1992)
Dan SallittPhoto courtesy of Helene Bamberger. New York theatergoers have had opportunity to see eleven rare films by French director Jacques Doillon in the last twelve months: mostly due to the tireless efforts
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It Might Get Quiet: "Ramrod" (de Toth, 1947) and "Pitfall" (de Toth, 1948)
Dan SallittAbove: Dick Powell in André de Toth's 1948 film Pitfall. Andrew Sarris's blurb on André de Toth in The American Cinema contains a hint about de Toth's style that is worth following: "Raymond Burr's
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At the cinematheque: "Cluny Brown" (Lubitsch, 1946)
Dan SallittAbove: Jennifer Jones and Charles Boyer in Ernst Lubitsch's Cluny Brown (1946). If Hollywood has made another film with as detailed a depiction of class difference and class coexistence as Cluny Brown
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Looking Back on Anthology’s Stahl vs. Sirk Series
Dan SallittAnthology Film Archives' recent "Imitations of Life: Stahl vs. Sirk" series demonstrates that, though John M. Stahl and Douglas Sirk both labored in the fields of the Universal melodrama, they don’t have
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Jacques Doillon at the French Institute Alliance Française
Dan SallittAbove: La Vie de famille (1985), with Sami Frey and Mara Goyet. Image courtesy of Jacques Doillon. I've been waiting all my filmgoing life for a retrospective of the formidable French filmmaker Jacques
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The Notebook's First Annual Writers' Poll: Dan Sallitt
Dan SallittEach of the Notebook's writers were given the opportunity to submit two lists of their ten favorite films of 2008. One is restricted to films receiving at least a week's theatrical run in the U.S., a
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Jean-Daniel Pollet
Dan SallittJean-Daniel Pollet’s oeuvre is weirdly divided into chilly, precise art films and lowbrow sentimental comedies. Hard to think offhand of another filmmaker with a similar split personality. The art films
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Now on DVD: "The River" (Borzage, USA, 1929)
Dan SallittThe greatest of Frank Borzage’s silent films, The River (1929) gave Hollywood’s foremost exponent of melodrama (I realize that I am slighting Griffith - I suspect that Borzage would not have approved of
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NYAFF, 2008: "Love on Sunday" & "Love on Sunday 2: Last Words" (Hiroki Ryuichi, Japan)
Dan SallittAbove: Horikita Maki plays the terminally ill teenager in Love on Sunday 2: Last Words. I can’t think of too many current directors of Hiroki Ryuichi’s stature and skill who work almost exclusively
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At the cinematheque: "Darling" (Kling, Sweden)
Dan SallittDan Sallitt reviews Johan Kling’s “dazzling 2007 debut feature” Darling.
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Now in theaters: "The Tracey Fragments" (McDonald, Canada)
Dan SallittThe first time I saw The Tracey Fragments, I felt as if I was seeing a revolution in film form, a new visual concept that made us process images in a fundamentally different way. And the second time I