Even the staunchest ‘anti-war’ movies glorify killing fields. In MARWENCOL and LA FRANCE, we find a few key exceptions to the rule.
On the ultimate inciting incident and its recurrence in movies.
Playing a series of flipped-out villains turned Hopper into an eccentric character actor, obscuring the magnitude of his influence.
Brando seems to transcend his most memorable parts to symbolize a style of performance, a feat that few actors ever achieve.
Wayne made only thirty-one westerns, but in these roles he established the code of the screen hero—free, fair, decisive and determined.
On how the best of our political documentaries stand the tests of time.
Kubrick brought a grand vision to the screen with strikingly powerful images.
With his gift of rendering reprehensible antagonists human and complex, De Niro has remained one of the most watchable men in movie history.
As participants rather than ‘gatekeepers’ call the shots, the nature of the nonfiction storytelling game changes.
Riefenstahl’s misfortune was partly a historical one: her rise to glory as a director of international acclaim coincided with the rise of Nazi Germany’s bid for world domination.
Lillian Gish was hailed as the first serious movie actress, and her early shorts became training films for scores of actors making the transition from the theater.
THE VIOLIN, the violence, corrido and revolution: Francisco Vargas on his celebrated feature-film debut.