33 Movies to Restore Your Faith in Humanity: Ebert's Essentials
Language: English
Pages: 118
ISBN: B007Z9K7SE
Format: PDF / Kindle (mobi) / ePub
The Classical Hollywood Reader
Sight & Sound [UK] (March 2016)
Mother India (BFI Film Classics)
it has returned again to video, where it crouches inside its box like a tall man in a low room. You can view it on video and get an idea of its story and a hint of its majesty, but to get the feeling of Lean’s masterpiece you need to somehow, somewhere, see it in 70mm on a big screen. This experience is on the short list of things that must be done during the lifetime of every lover of film. Moolaadé NO MPAA RATING, 124 m., 2007 Fatoumata Coulibaly (Collé Gallo Ardo Sy), Maimouna Hélène
sounds like work. But there’s a hunger for messages of hope, and when a film offers one, it’s likely to have staying power even if it doesn’t grab an immediate audience. The Shawshank Redemption premiered at the Toronto Film Festival in September 1994, and opened a few weeks later. It got good reviews but did poor business (its $18 million original gross didn’t cover costs; it took in only an additional $10 million after winning seven Oscar nominations, including best picture). There wasn’t
American midlands, where life flows in and out through open windows. There is a father who maintains discipline and a mother who exudes forgiveness, and long summer days of play and idleness and urgent, unsaid questions about the meaning of things. The three boys of the O’Brien family are browned by the sun, scuffed by play, disturbed by glimpses of adult secrets, filled with a great urgency to grow up and discover who they are. I wrote earlier about the many ways this film evoked my own
circles, and he looks exhausted and frightened. In the jury room, some jurors make veiled references to “these people.” Finally Juror No. 10 (Ed Begley) begins a racist rant (“You know how these people lie. It’s born in them. They don’t know what the truth is. And let me tell you, they don’t need any real big reason to kill someone, either. . . .”) As he continues, one juror after another stands up from the jury table and walks away, turning his back. Even those who think the defendant is guilty
British to work on the bridge. Nicholson says the Geneva Convention states officers may not be forced to perform manual labor. He even produces a copy of the document, which Saito uses to whip him across the face, drawing blood. Nicholson is prepared to die rather than bend on principle, and eventually, in one of the film’s best-known sequences, he’s locked inside “the Oven”—a corrugated iron hut that stands in the sun. The film’s central relationship is between Saito and Nicholson, a