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Displaying 4 of 657 films
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Displaying 4 of 9 wall posts.
Robert Regan
24Oct12
Yes, Johnny, there certainly is such a thing as English Sensibility. There are certainly films popular in the UK the appeal of which escapes practically all Americans, even the Anglophiles among us. This, of course, applies to all nations and cultures. However, I don't think this is the case with Anderson. His work, especially If, is highly regarded in the US. The key here, I think, is sensibility, that of the artist and that of the viewer, or listener, or reader. Many scholars, critics, reviewers, and cinephiles seem to believe in the existence of some sort of absolute determinant of quality. Actually, each artist and each viewer brings to a work a lifetime of feelings and thoughts that are unique to him alone. Of course, these disparate sensibilities frequently connect and overlap. This is why we love some films and filmmakers, not to mention some people. Cheers. Bob
Robert Regan
22Oct12
You're welcome, Johnny. I was lucky to be able to see a bunch of those Free Cinema shorts which I liked a lot. For a few years there it seemed that a fun fair scene was an absolute necessity in the British cinema. Anderson was probably the best filmmaker of the group, but I don't connect with his sensibility as an artist, and I haven't really liked his films, as good as they may be. Schlesinger I always hated for his undisguised misogyny and his large number of amazingly wrong directorial choices. Richardson did okay when he was working with remarkable writers from Shelagh Delaney to Marguerite Duras, but I gave up on him when he made a boring movie out of the Charge of the Light Brigade. History aside, give me Curtiz and Flynn any day. So, for me, that leaves Reisz. I liked all of his films to varying degrees, except Morgan, Everyone Wins, and the modern parts of French Lieutenant's Woman. Some novels just do not translate to the screen. Try to see Who'll Stop the Rain, and let me know what you think. Bob
Robert Regan
19Oct12
Hiya, Johnny. It was back in the seventies that I worked at MOMA, but I still remember the pleasure of being able to mention the most obscure film names to co-workers knowing they would be recognized. And I will never forget the thrill of original nitrate prints of movies like Sternberg's Docks of New York, Murnau's City Girl, and Casablanca, a more beautifully photographed film than I had realized from previous viewing in 35, 16, and on tv. Have you seen much of later Karel Reisz? God luck with all your varied activities. Cheers. Bob
Robert Regan
17Oct12
Hi Johnny, Since we're both helping Michael with Filmycks, thought I'd say hello. I like the Richardson and Reisz pieces you wrote, both films I haven't seen for a very long time and now want to revisit both. I've always liked Reisz, though he never quite became the first rank director that I had hoped for. Still, a few damn good movies! Stay well. Bob
Favorite Auteurs
Displaying 10 of 41 auteurs
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Displaying 8 of 144 comments
CHOOSING A CAMERA FOR A DOCUMENTARY in GARAGE
about 1 year ago
Chomsky Film
almost 2 years ago
Still Scary After All THese Years in The Exorcist
over 2 years ago
Curse of the Cinephile
over 2 years ago
The World of My Childhood is Vanishing
over 2 years ago
Problems of an Aspiring Filmmaker in GARAGE
almost 3 years ago
DENNIS HOPPER HAS DIED
almost 3 years ago
Three Colors Trilogy: Which one of the three do people like best?
about 3 years ago