Above: James Mason in The Reckless Moment.Does James Mason look pretty upset in the above publicity still? He should! He’s in love with Lucia (Joan Bennett), the housewife he is blackmailing. You see
Above: Françoise Lebrun surrounded by Jean-Pierre Léaud and Bernadette Lafont.As part of the film series True and False: Jeff Wall on Cinematography, the San Francisco Museum of Modern Art will be screening
Above: Jeon Do-yeon in Lee Chang-dong’s Secret Sunshine, which topped the polls.One of the most important things to keep in mind when thinking about world cinema is just how few films that are made actually
Above: Olga Tschechowa cradles Wolfgang Liebeneier in 1933’s Liebelei. I was initially worried after seeing La Signora di tutti (Italy, 1935) that Ophüls’ earlier films would be as unconvincing as that
This week’s notable soundtrack is for Jean-Luc Godard’s Nouvelle vague (France, 1990), which was tragically awarded the top undistributed film of the 1990s vote by Film Comment magazine (click here for
I sadly was not able to attend one of the harder-to-see films in BAM’s Max Ophüls’ series, his sole Dutch film, entitled The Trouble with Money (1936). Luckily, a good friend and excellent writer was
Above: Monday morning in a lonely place, Gloria Graham and Humphrey Bogart…Some cinematic poetry for your Monday morning: Nicholas Ray, Bogart’s visibly aging face, Graham’s electricity, the soul of
I do not want to turn the Notebook into a news-heavy magazine, but when an auteur like Pedro Almodovar announces his new film, we sit up and take notice. Uncannily in tune with our link of the day posted
Above: Simone Berriau, the tender enemy.Max Ophüls’ French film The Tender Enemy (1936) is a cute lark, echoing many of the director’s favorite themes in a mostly comedic fashion, and not amounting to
Today’s link is to Girish Shambu’s blog. While each post is always suffuse with interesting quotes, thoughts, and links relating to cinema, the comments section for each of Girish’s posts have gradually
Above: Danielle Darrieux in La Ronde (Ophüls, France, 1950).One of my favorite and most perfect of Max Ophüls’ films is La Ronde (France, 1950). It is not as baroque in structure or look as Lola Montès
Above: Isa Miranda in La Signora di tutti (Ophüls, Italy, 1934).La Signora di tutti (1934), a film Max Ophüls made in Italy, bares all of the director’s trademarks but suffers from awful, awkward storytelling