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  • Luzzu

    Luzzu

    I had expected a film on the lines of Fred Zinnemann's 1936 film "Redes," a neo-realist film, set in Mexico, with non-actors on exploited fisherfolk. The Maltese film "Luzzu" begins with idealism of the fisherfolk in "Redes" and ends with capitulating compromises all the way. Why make a defeatist film?

  • The Sign Painter

    The Sign Painter

    Interesting at times, swaying between comedy and tragedy. Add to it the curious cinematography with the camera intentionally tilted away from the horizontal almost throughout the film. Was it to accentuate the comic element? The only other film I can recall doing something similar was Aleksander Sokurov's "Faust." But Sokurov had a reason. I wish the Latvian director and his cinematographer could explain this. Bottom line of the film Latvians had bad rulers--dictators, Stalinist Russia and Nazis in that chronological order. Even the Christian priests do not seem to have Christian values in the film.

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  • Mirror

    Mirror

    Many have reviewed this masterpiece. Yet it is important to keep in perspective the real life family members of Tarkovsky. This helps the viewer to understand the subtle details in the film. My detailed review of the film attempts to do just that at moviessansfrontiers.blogspot.in/2013/06/146-russian-maestro-andrei-tarkovskys.html

  • Conversation Piece

    Conversation Piece

    On a second viewing after a 35 year gap, I am convinced this is indeed a lovely work and a major work of Visconti. This is is also one of those rare films that an actor--Burt Lancaster--helped a director to make a great film. (One recalls Kirk Douglas prevailing on Stanley Kubrick to change the ending of Paths of Glory, only to make it a major work of cinema). Here, Burt Lancaster, staked his own money to complete the film…