elvircorhodzic Reviews

The Samurai (1967)

"I never lose. Never really."

[8/10 · 12 December 2017]

LE SAMOURAI is a mysterious crime drama film that is made in the pattern of Hollywood gangster films in the noir genre. Mr. Mellville has added several popular details from Japanese culture into a fictitious gangster story. The protagonists, costumes, nightclubs, streets and murders have all the characteristics of the noir genre.

Jef Costello lives in a single-room Paris apartment whose spartan furnishings include a little bird in a cage. He is a professional Parisian assassin-for-hire who, by nature of his work's solitary demands, has no friends. Although he is loved by Jane, Costello knows that she already has a lover. After he successfully wipes out a nightclub owner at the behest of his boss, he is seen leaving the scene by several witnesses, including piano player Valérie. Although he survives a police lineup thanks to a lie offered up by the fearless Valerie, Costello's alibi disintegrates rapidly and his shadowy employer takes out a contract on him. He seeks revenge...

This is a sort of moral value test in rough circumstances. Namely, the main protagonist is in conflict with the law, his boss and himself. He does not make the difference between human shades. He does what he is paid for, and that, of course, will lead him to his seppuku.

This film contains very little dialogue, characterization could have been better, but, the atmosphere is great.

Alain Delon as Jef Costello is an attractive man and a cold-blooded killer at the same time. His selfish nature makes him incompetent to life, but unswerving when it comes to his work. Mr. Delon has offered a very good performance.

His support are François Périer as a persistent investigating officer, Nathalie Delon (Jane) as a devoted "fiancé", who provides almost perfect alibi, and Cathy Rosier (Valérie) as a brave and enigmatic piano player.

The direction is certainly impeccable, however, the plot is a frozen and the romance is improperly superficial.

The Producers (1967)

"Don't be stupid, be a smarty. Come and join the Nazi party."

[8/10 · 10 December 2017]

THE PRODUCERS is a music comedy film that mocks at a satiric, but a vulgar way, a very tricky theme.

Theatrical producer Max Bialystock was once the toast of Broadway. Now he lives in his seedy office, cadging cash contributions from wealthy old ladies in exchange for sexual favors. His new accountant, Leo Bloom, the soul of honesty, suggests that Max produce a hit to try to recoup his losses, but Max knows that it's too late for that. Leo discovers a $2,000 discrepancy in the accounts of Max's last play. Max persuades Leo to hide the relatively minor fraud, and while shuffling numbers, however Leo has a revelation...

The story is very fun, though the plot is a little confusing. The theme is a matter of taste, but I think that Mr. Brooks did not taken into account the sensitivity of a certain part of the audience. The conclusion is nonconforming with the rest of the story, although a certain amount of sentimentality rescues the situation. However, the relationship between the two major protagonists is remarkable. Their conversations are hilariously fun, but their product has made the greatest damage to this movie.

"The Hitler you loved, the Hitler you knew, the Hitler with a song in his heart." It is so grotesque and vulgar, yet it has caused a positive response with a fictional audience.

Zero Mostel as Max Bialystock is a cunning fox, who catches the last straw of salvation in his life. His performance is very funny, however, his brutal fraud reminds us of a some daily routine. Gene Wilder as Leopold "Leo" Bloom is a nervous, hysterical and shy accountant. He is Mostel's support, but his character changes, so that he becomes aware of the consequences of their scams, but still he is more satisfied with himself than he was before. Kenneth Mars as Franz Liebkind has offered a good performance as a Nazi fanatic.

This is very funny, but it could be packed much better.

In the Heat of the Night (1967)

"They call me MISTER TIBBS!"

[8/10 · 8 December 2017]

IN THE HEAT OF THE NIGHT is a mysterious crime drama film that, through a detective story, brings a critical view of a racial hatred and prejudices. The story is presented as a sort of dilemma between an unresolved murder and an illness of a society. Every interrelationship is described as a kind of incident in this film. It is based on John Ball's 1965 novel of the same name.

Mr. Colbert, a wealthy industrialist from Chicago, is constructing a factory in Sparta, Mississippi. One night in September 1966, when driving back into town after a meeting at the plantation home of one of Sparta's leading citizens, Mr. Endicott, he is murdered. Police Officer Wood has found his lifeless body on the street. Police Chief Mr. Gillespie arrives on the scene where the body has been discovered and takes direct charge of the investigation. He speculated that the crime was committed by a random passer-by. At the town train depot, Wood finds a black man, Virgil Tibbs, sitting quietly with his luggage in a business suit. Officer Wood immediately arrests him, cursorily searches him, and finds more than $200 in cash in his wallet. However, Mr. Tibbs is not an ordinary passer-by...

Credible characters, melodramatic plot and honest look at one of the biggest social problems are the main aces of this movie. Well, Mr. Jewison did not take into account the coincidences, so some sequences are pretty confusing, but its do not make a great deal of damage to this movie. A clash between an arrogant and incompetent white police chief and a capable and detailed black detective is the most interesting segment of this movie.

The characterization is very good and it corresponds to the tense atmosphere and the hostile environment.

Sidney Poitier (Detective Virgil Tibbs) and Rod Steiger (Police Chief Bill Gillespie) are two characters with the same problems but with a very different approach. In fact, it does not matter who is the better cop of these two, but who is the better man. Both actors have offered very good performances. A chemistry and tension between them is very impressive.

The other actors were not bad, but some of them are quite unconvincing and irritating.

Every problem, any suspicion and prejudice can be overcome by communion.

The Dirty Dozen (1967)

"Down to the road block..."

[9/10 · 6 December 2017]

THE DIRTY DOZEN is a war action film that, in an unconventional and violent way, but with a lot of emotions, glorifies a group of criminal soldiers. This story is very brutal and perverted with a single sadistic note, but it is not irresponsible. It is based on E. M. Nathanson's novel of the same name that was inspired by a real-life group called the "Filthy Thirteen".

Major Reisman is assigned to coordinate a suicide mission on a French château held by top Nazi officers. He is to train a small band of the Army's worst convicts (selected for him) and turn them into commandos to be sent on a virtual suicide mission. After witnessing a hanging in a military prison, Reisman meets his 12 convicts (the 'Dirty Dozen'), all either serving lengthy sentences or awaiting execution. He visits them individually in their cells. Some details of their crimes are revealed and he uses a different approach with each in an effort to gain their cooperation. After being forced to construct their own living quarters, the 12 men are trained in close combat by Reisman and gradually learn how to operate as a group...

Simply, it is difficult to imagine such a situation and conditions, but the plots are very exciting. The characters have an anti heroic mood, which corresponds to their harsh habits and indiscipline. This story does not resist various forms of sadism and morbid situations. Mr. Aldrich has made a trap, as he has managed to bring the army and the criminals into an imaginary line. This may be somehow absurd, however, given the conditions of warfare, that makes sense. Simply, in this movie, they are all rough, crazy and incapable for something.

The characterization is not bad, but dialogues are pretty poor.

Lee Marvin as Maj. John Reisman is an impolite and ruthless but very brave colonel. Charles Bronson as Joseph Wladislaw is a silent and staid killer. John Cassavetes as Victor R. Franko is a psychopathic rebel, who has a strange desire to prove to himself. Telly Savalas as Archer J. Maggott is a sexual maniac under the guise of a religious fanaticism. He is, probably, the most striking character in the movie. Jim Brown as Robert T. Jefferson is an athlete who seems to be in a wrong place. Donald Sutherland as Vernon L. Pinkley is a good-natured laddie with a mild form of mental retardation.

Other actors respond well to their roles This war experience is quite exciting and morbid to some extent.

You Only Live Twice (1967)

"You only live twice, Mr. Bond."

[7/10 · 3 December 2017]

YOU ONLY LIVE TWICE is an an adventurous action thriller, the fifth in the James Bond series, in which the secret agent 007 is dispatched to Japan after American and Soviet manned spacecraft disappear mysteriously in orbit. With each nation blaming the other amidst the Cold War, Bond travels secretly to a remote Japanese island to find the perpetrators and comes face to face with Ernst Stavro Blofeld, the head of SPECTRE.

A good race with time on Japanese soil is very fun, unlike an unconvincing conflict of power in the universe. Unfortunately, beside some sequences from Japanese culture and tradition, this movie did not offer anything new. Of course, some beautiful young women, who cannot resist, seems a bit tired British agent, appear in the movie. However, the magic of previous films is gradually disappearing. This is a ruthless and somewhat confusing adventure that glorifies some unconvincing ideals.

The plots are rather confusing, especially when focus is placed on an electronic device. The dialogues are pretty poor regardless of Japanese influence. A tense atmosphere goes beyond the limits of good taste in the second part of the film. However, a final battle has improved my impression to a certain extent.

Sean Connery as James Bond is too nonchalant in this movie. Although his performance is at a high level, when it comes to action sequences, his tiredness is visible in relationships with women.

Akiko Wakabayashi as Aki, an agent with the Japanese SIS who assists Bond and Mie Hama as Kissy Suzuki, an Ama diving girl and Bond's wife, look fresher than their man. Tetsurō Tamba (Tiger Tanaka) is a better version of Felix Leiter as head of Japanese secret service. Donald Pleasence as Ernst Stavro Blofeld is overly grotesque as the head of the terrorist syndicate known as SPECTRE.

Bonnie and Clyde (1967)

...these bullets kill actually...

[9/10 · 2 December 2017]

BONNIE AND CLYDE is an action crime drama film about a pair of notorious robbers who have robbed banks during the Great Depression. It's a ruthless and cruel story that looks nice, touchy and fresh in small sequences. This movie is not a faithful representation of the desperado careers of Clyde Barrow and Bonnie Parker, a notorious team of bank robbers and killers who roamed Texas and Oklahoma in the post-Depression years. I think that is the best, otherwise, in some more realistic view, all the charm and humor of this movie would be lost.

In the middle of the Great Depression, Clyde and Bonnie meet when Clyde tries to steal Bonnie's mother's car. Bonnie is excited by Clyde's outlaw demeanor, and he further stimulates her by robbing a store in her presence. Clyde steals a car, with Bonnie in tow, and their legendary crime spree begins. The duo's crime spree shifts into high gear once they hook up with a dim-witted gas station attendant, C.W. Moss, then with Clyde's older brother Buck and his wife, Blanche, a preacher's daughter...

The biggest controversy of this film is through the fact that the young audience likes classic anti-heroic characters. However, those characters are people who love, suffer, and have quite ordinary life problems and dilemmas. They simply run away from themselves. Ultimately, they die in one of the most spectacular and the most horrible scenes in cinematic history. This movie has hit a taste of a subculture just like "The Graduate". I think this story does not bring a nostalgic charm, but it fits in a rebellious nature of the 1960s.

The characterization could be better, however a scenery and atmosphere are great.

Warren Beatty as Clyde Barrow is sympathetically unhappy and stubborn. He is trying to be faced with life problems in an inherent way. Mr. Beatty has offered a solid performance. Faye Dunaway as Bonnie Parker is a young woman who wants a kind of change and excitement in her life. It may be just a flight from ordinary suffering or love for rebellion. Regardless of all a beautiful Miss Dunaway has stolen this show.

Their support are Gene Hackman(Buck Barrow) with his bad jokes, Estelle Parsons (Blanche Barrow) as an irritating wife and Michael J. Pollard (C.W. Moss) as a faithful companion and seems, the greatest fan.

These bullets kill actually.

Cool Hand Luke (1967)

"Yeah, well, sometimes nothing' can be a real cool hand."

[10/10 · 30 November 2017]

COOL HAND Luke is a crime drama film. This film is a very powerful representation of brutality and sadism on one side and a rebellious indifference on the other. The main protagonist tries to find sense in cruel conditions in a prison thanks to his ingenuity, charm, humor and firm attitudes. This leads to unnecessary idolization, which gets a tragic epilogue. It is based on Donn Pearce's 1965 novel of the same name.

Luke Jackson is sentenced to a stretch on a southern chain gang after he's arrested for drunkenly decapitating parking meters. The chain gang is run by a stern warden, the Captain, and a stoic rifleman, Walking Boss Godfrey, whose eyes are always covered by a pair of mirrored sunglasses. Luke refuses to observe the established pecking order among the prisoners and quickly runs afoul of the prisoners' leader Dragline. When the pair have a boxing match, the prisoners and guards watch with interest. Although Luke is severely outmatched by his larger opponent, he refuses to acquiesce. However, Luke knows how to win at poker, even with bad cards, by using his smarts and playing it cool. Luke also figures out a way for the men to get their work done in half the usual time, giving them the afternoon off. After news of his mother's death reaches Luke, the Captain, anticipating that Luke might attempt to escape in order to attend his mother's funeral, has him locked in the prison punishment box. After that, he begins to plan his escape...

This is a story about a lonely man who hides certain doses of his defiance and scorn under his own mask of sarcasm. That man accepts his current life situation, but in spite of that he wants to consolidate his beliefs. However, his expression, in prison conditions, becomes a symbol of rebellion. He becomes a symbol of mutiny on one side and the subject of beating and torture on other. Such conditions destroy pride and will for life, however, a firm belief remains untouched in this case. This is the irony of this movie. An excellent characterization very well corresponds to a melancholic mood in this film.

Paul Newman as Lucas "Luke" Jackson has offered a top performance as a loner who looking for his lifestyle. His unbridled nature and alienation are in reverse contrast to his actions. Simply, he is a positive character, while fate is playing with him. George Kennedy as Dragline is a pragmatic man who has found his own passion in the actions of his friend. A friendly, almost fraternal, mood has enriched his character. Strother Martin (the Captain) and Morgan Woodward (Boss Godfrey) are a personification of brutality and torture. Jo Van Fleet, as Luke's mother, shows, in a certain way, his emotional loneliness.

This is a realistic and very convincing experience.

The Graduate (1967)

"...well...hello Mrs. Robinson..."

[9/10 · 28 November 2017]

THE GRADUATE is a romantic comedy drama that, through a generation gap, examines a youthful rebellion, confusion and their strange views on life. This is sort of a collision between a sort of counterculture and a worn idealism. The satire gets a tragic epilogues in this film because, youthful turmoils usually blend from one to the other extreme. It is based on the 1963 novel of the same name by Charles Webb.

Benjamin Braddock, aged twenty-one, has earned his bachelor's degree from Williams College and has returned home to a party celebrating his graduation at his parents' house in Pasadena, California. He is a confused young man, who avoids crowds and questions, which are related to his plans for the future. In fact, Benjamin does not have any concrete plans. Mrs. Robinson, the neglected wife of his father's law partner, insists that he drive her home. Benjamin is coerced inside to have a drink and Mrs. Robinson attempts to seduce him. Benjamin has rejected her proposal, but frustrated by the behavior of his parents, he clumsily organized a meeting with Mrs. Robinson in a hotel. The two start a discrete sexual relationship. However, problems arise when Benjamin's parents encourage him to call Elaine, Mrs. Robinson daughter, on a date...

An intellectual disruption is evident through a vulgar and harsh behavior of older protagonists and a vivid playfulness of young protagonists. This is probably a result of a traditional view of life and a radical view of social development. Logically, this is the way to an uncertain future in which, perhaps, a youthful zeal, perseverance, and love will not be enough.

The plots rely on small incidents. The dialogues are somewhat raw, but rather intriguing. Some scenes have become, rightly, a part of the culture of the 1960s. Almost authentic environments, a very good characterization and excellent music make a tense atmosphere in this movie.

Dustin Hoffman as Benjamin Braddock is a young man who is dovetailed between his own confusion and youthful enthusiasm. His ironically-pathetic character is an unsafe step out of an unhealthy society. Anne Bancroft as Mrs. Robinson is simply an unhappy woman, which finds moments of her own pleasure in bed with a confused young man. Her rough expression is probably a reflection of life frustration, though I think it is about escaping from the truth. Mrs. Bancroft has offered an excellent performance. Katharine Ross as Elaine Robinson is a helpless and sensitive character trapped between two generations. Elaine is a beautiful young girl who does not care about the truth, she relies on a youthful enthusiasm where every decision represents a fundamental change in her life.

Other actors have responded to the task.

This is a great cynical comedy in which you need to understand an emotional and social whirlwind, from which the protagonists pull the worst and the best traits.

Tokyo Drifter (1966)

"...a drifter needs no woman..."

[7/10 · 26 November 2017]

TOKYO DRIFTER is an action thriller film that on a unrelated, disoriented and possibly destructive way shows the life of a yakuza. A contrast is expressed in the fact that a well-known yakuza becomes a drifter because he chose to live honestly.

Tetsuya is a member of a recently deactivated Yakuza gang. His boss, to whom he holds absolute loyalty has given up the life of crime. Tetsuya wants to change his life. A rival gang boss attempts to recruit Tetsu into his organization, but is turned down. However, the yakuza are determined to get him back into their life - or kill him if he refuses...

Mr. Suzuki has showed a surrealistic style mixed with a pop culture, noir and westerns. An unconventional story is full of black humor, which receives an inappropriately tone. Because of this, a vivid action gets iconic character. This is especially true in a very interesting fight in a brothel. A tense atmosphere is great, the environment is impressive, and the melody is excellent. However, plots are very confusing and it is very difficult to link this movie into one whole.

Tetsuya Watari as Tetsuya "Phoenix Tetsu" Hondo is too cool for a disappointed former assassin. However, his strange character fits perfectly into this experimental style. If a dangerous yakuza has no friends, why would a singing drifter had friends.

The Sword of Doom (1966)

"...the sword is the soul..."

[8/10 · 25 November 2017]

THE SWORD OF DOOM is a action drama about a tradition, family and honor, which are connected by a bloody sword. A melodramatic story suggests some form of madness in a lecherous society. It is based on the serial novel of the same title by Kaizan Nakazato.

Ryunosuke Tsukue is an amoral and bloodthirsty master swordsman with an unorthodox style. He kills, in cold blood, an elderly Buddhist pilgrim who he finds praying for death. Later, he kills an opponent in self-defense in a fencing competition that was intended to be non-lethal, but became a duel after he coerced his opponent's wife to have sex with him in exchange for throwing the match and allowing her husband to win. He is, for murder, banished from the city. His opponent's ex-wife goes with him. In order to support his wife and child, Ryunosuke joins a mercenary service, which is composed of ronins. Eventually, he learns that the younger brother of the man he killed in the fencing match is looking for him, intent on revenge...

It is an isolated and wild action, which has peaks in various forms of killings and bloodshed. The atmosphere is very anxious in an impressive environment. Social categories are distorted in many ways, therefore, this movie reminds on an amoral game, where the winner is only weapon - the sword. A traditional spirit has had a decisive influence on a very good characterization.

Tatsuya Nakadai as Ryunosuke Tsukue is an intelligent assassin. He certainly does not show emotion. This is evident in the scenes where he looks his family with a touch of quiet contempt. He is an unconscionable character, but his spirit is shaken when he met his match swordsman. Mr. Nakadai has offered a good performance.

His support are Michiyo Aratama (Ohama) as his frightened mistress, Yuzo Kayama (Hyoma Utsuki) as a vengeful, but sensible young man, Yoko Naito (Omatsu) as a young beauty, who is a victim of a sick society and Toshiro Mifune (Toranosuke Shimada) as the master swordsman in the true sense of the word.

The film's abrupt ending leaves many plot elements unresolved. Mr. Okamoto has left us to think about destiny, justice, romance and bloody sword.

A Man and a Woman (1966)

"She wired, 'I love you.' Admit it boy, you just don't understand women."

[7/10 · 23 November 2017]

A MAN AND A WOMAN is a romantic drama, which in an honest, but shabby, way awakens emotions. This is a melodic and visually beautiful display of a romance, which has very complex background. A sentimental part of the story consists of friendly gatherings, which grow in love and culminate with a passionate sex. It is simply not enough, regardless of a social culture.

A young widow Anne, a film script supervisor, is raising her daughter alone following the death of her husband, who worked as a stuntman. A young widower Jean-Louis, a race car driver, is raising his son alone following the death of his wife, who committed suicide after Jean-Louis was in a near fatal crash during the 24 Hours of Le Mans. The twosome meet at the boarding school where their children are enrolled. She misses her train, he offers her a ride. It is the first of several friendly encounters which eventually blossom into love...

The story is linked to series of charming incidents. The characters seem to be trapped in their past. Their spontaneous humor and honesty are truly impressive, however their behavior towards their children is somewhat trivial. Simply, it is very difficult to link all the elements into one harmonious whole in this film.

The characterization is not particularly good, but a visual expression and emotional melodies are very impressive. It seems, that Mr. Lelouch has delighted with his cinematography, while the characters has failed.

Anouk Aimée as Anne Gauthier is a very fragile character, which constantly renews the memory of touching and romantic moments with her deceased husband. It is very difficult to be happy in such internal relations. Jean-Louis Trintignant as Jean-Louis Duroc seems to be sincere in love, but he can not accept the fact that someone refuses love and happiness because of the past. His monologues are quite interesting.

I think that a visual beauty and melodious are not in accordance with the romance in this film.

Closely Watched Trains (1966)

..sex is very important because the trains are constantly passing...

[8/10 · 21 November 2017]

CLOSELY WATCHED TRAINS is a comedy drama, in which, the paradox of a point is included in the title. This is a reference to a shy youth, social and political turmoil, while arrogant trains of life passing by. The film is based on a 1965 novel by Bohumil Hrabal.

The young Miloš Hrma, who speaks with misplaced pride of his family of misfits and malingerers, is engaged as a newly trained station guard in a small railway station during the Second World War and the German occupation of Czechoslovakia. The stationmaster is passionate breeder of pigeons and rabbits. The train dispatcher Hubička is preoccupied with women. Miloš holds an as-yet platonic love for the pretty, young conductor, but he is still a virgin. The Nazi-minded Zednicek periodically visits a train station. However, it seems that his propaganda has no effect on the station staff. Problems arise when Máša wants sex with Miloš...

It is a coming-of-age story about a nervous young man who is going through a kind of "sexual crisis" to a desperate knowledge. Mr. Menzel has showed a birth of a heroic act from an indifferent social environment and internal youthful anxiety. This is a charming and witty deflection from false problems.

The atmosphere is very good, while the characterization is excellent. Some scenes are imaginative to tragicomic proportions. I would not characterize this film as a kind of ideological criticism. This is only a preview of a touching reality.

Václav Neckář as Miloš Hrma is a funny and tragic hero who constantly volunteers in a suicide mission. Josef Somr as train dispatcher Hubička is enough perverse, aware and sympathetic to one member of the resistance. Jitka Bendová as conductor Máša is girl who is full of understanding. Jitka Zelenohorská as telegraphist Zdenička has realized that the stamps can be very creative. Vladimír Valenta as stationmaster has understood that nothing can be black and white. Libuše Havelková as stationmaster wife is a clever woman. Naďa Urbánková as Viktoria Freie is a kind of salvation, which, unfortunately, take a young life.

Cul-de-sac (1966)

"Get the hell outta my fortress!"

[7/10 · 19 November 2017]

CUL-DE-SAC is a psychological comic thriller as an unusual set of surreal circumstances in a realistic landscape. The characters are trapped in a confusing context, which is made up of a mafia, art, promiscuity and perversions. The story is peppered with all sorts of antics, but it is not unpleasant. The plots are inconclusive, but its are enriched with a huge dose of black humor.

A neurotic and effeminate middle-aged Englishman named George lives with his promiscuous young French wife Teresa in a dark castle on a hilltop. Two gangsters, after the unexpected upward tide, invade their messy home and hold them as hostage. Teresa is mad at her timid husband, who does not take any action on the bandits. Gangsters are starting to behave a bit eccentric, while waiting for help from his boss. Uninvited guests come to a visit. Simply, someone has to "boil over"...

Mr. Polanski, in this film, covers topics such as the alienation and a latent madness, which are closely related to a sexual activity. He has managed to replace an emotional void in this film with a combination of black humor, crime and perversion. The characterization is not bad.

Donald Pleasence as George is a kinky and fun husband who has his grotesque moments in this film. He is a man who feels comfortable in a transparent nightgown but he, with a huge dose of disgust, takes a gun in his hand. That is a phenomenal paradox of the situation in the world. His cowardice is ambiguous, because, despite everything, he wants to return a harmonious relation in his home. Lionel Stander as Dickey, through his gangster attitude, distinctive voice and eccentric behavior enjoys the general madness. Françoise Dorléac as Teresa is a beautiful, attractive and nude factor of confusion between George and Dickey.

Mr. Polanski has skillfully managed to balance all segments in this film, but this story still reminds me to a sexy morbid joke.

Masculine Feminine (1966)

"Understand what you will."

[7/10 · 18 November 2017]

MASCULIN FEMININ is a romantic drama which, in an unusual and unclear way studying the attitudes and habits of young people in Paris. Basically, the story boils down to a youthful, somewhat confused, attitude towards politics, music, film and sex. The basic question is, can the young people cope with an economic growth, political situation and changes in customs through popular culture?

Paul is an impressionable teenager who tries to make sense of the world by working as an interviewer for a research firm. He chases a beautiful pop star. They cohabit with two additional young ladies joining the nocturnal festivities. However, their attitudes are totally different. A battle between emotion and revolution can begin...

The story is interesting, but inconclusive, without any conclusion. This is a humorous reference to an unstable youth, who can not found itself in any sphere of a modern society. The dialogues are long and tedious without a clear objective.

Jean-Pierre Léaud as Paul is a young idealist, who is a bit lost in his ideals. It's a bit pale due to („Les Quatre Cents Coups", 1959). Chantal Goya as Madeleine Zimmer is a young singer, who fits perfectly into some cultural changes.

A nervous romance between Paul and Madeleine is the biggest asset of this film.

This film is very appealing to a youthful, naive, point of view.

The Professionals (1966)

"Maybe there's only one revolution, since the beginning, the good guys against the bad guys. Question is, who are the good guys?"

[8/10 · 16 November 2017]

THE PROFESSIONALS is adventurous western film, that offers an exciting and very tense heroic action in a dangerous and inaccessible desert landscape. An unusual introduction, brutal actions without excessive melodrama and a constant cynicism are the biggest advantages of this film. The script was adapted from the novel "A Mule for the Marquesa" by Frank O'Rourke.

During the Mexican Revolution, a powerful and wealthy rancher hires four men, who are all experts in their respective fields, to rescue his kidnapped wife Maria from the clutches of the desperado Raza. Raza is a former revolutionary leader. The professionals ravels 100 miles into Mexico to retrieve the woman. After crossing the Mexican border, the team tracks the bandits to their hideout. They witness soldiers on a government train being massacred by Raza's small army. The professionals follow the captured train to the end of the line and retake it from the bandits. Their rescue operation is successful, but it seems that a rich rancher's not telling the truth...

Charismatic characters are skillfully grooved between their professionalism, past, justice and truth. The money as a powerful motive is contrary to their ideals. However, money is part of their job, even if they do not reach it.

The atmosphere is very good, the characterization is not bad either.

Lee Marvin as Henry 'Rico' Fardan is a former military officer and expert on modern weapons. He is a former participant in the Mexican Revolution, which left big scars in his heart. Fardan is a mysterious character with a high degree of respect for his work, revolution and past. Burt Lancaster as Bill Dolworth is an expert in explosives. Dolworth is an impulsive character who will accept any bid and draw the best from it. It seems that his weakness are beautiful, rebellious and strong women such as Maria (Claudia Cardinale) and Chiquita (Marie Gomez) Robert Ryan as Hans Ehrengard is a horse trainer who adopts a brutal lesson from his colleagues. Woody Strode as Jake Sharp is a master of crafts as a traditional Apache scout.

Jack Palance as Jesus Raza is a typical character of a revolutionary, who has, after the disappointment in his ideal, became a bandit. Ralph Bellamy as Joe Grant is sort of the epitome of what comes after every bloody revolution.

The Sand Pebbles (1966)

"Hello, Engine; I'm Jake Holman."

[8/10 · 14 November 2017]

THE SAND PEBBLES is an adventurous war drama that, in a fascinating way, shows a confusion of an unstable society towards an external symbol of prejudice and an internal growth of nationalist revolution. The environment, which is a kind of collision of the culture and the traditions blended with poverty and ignorance, is fascinating. The photography is very impressive. The story shows an unbalanced relation between rebellious and responsible characters, which are exposed to impending, but shocking, events. It is based on the novel of the same name by Richard McKenna.

In 1926, as China teeters on the edge of political revolution in the midst of a civil war, the USS San Pablo, is ordered to patrol the Yangtze River to represent and protect American interests. The ship is nicknamed the "Sand Pebble" and its sailors "Sand Pebbles". The new crew member is Machinist's Mate 1st Class Jake Holman. Because he takes an interest in mechanical work, Holman involves himself directly in the operation and maintenance of the ship's engine. As a result, the chief engine room coolie, Chien, is insulted. Holman also earns the antipathy of most of his fellow sailors. He does become close friends with one seasoned, sensitive seaman, Frenchy. A stern but inexperienced commanding officer Captain Collins frequently drills his charges, unsure what else to do. Holman's methods and his empathy for the Chinese population leads to frequent clashes. When Frenchy dies from a disease, Holman has found himself, protecting Frenchy's pregnant wife, at the center of a political scandal...

This is the story of the anger, bitterness, reluctance and non-acceptance. The direction is excellent, the atmosphere is dark, while the plots are extremely turbulent. Well, there are present a kind of ironic attitudes, particularly in the case of political turmoil or, to say, in a case of rescue nationals who do not want to be saved. Of course, that irony can not be effective without a well-known inferiority, arrogance and hypocrisy. In such relations, we do not need a hero.

Steve McQueen as Jake Holman is somewhat desperate and closed character, who has no confidence in his superiors and a common mission. He is an engineer, who does his job very well, takes care of his only friend, and run away from love, so as not to hurt a lovely missionary.

Richard Crenna as Lieutenant Collins is a sharp and stubborn captain, who does not have enough self-confidence. Richard Attenborough as Frenchy Burgoyne is a sailor who tries to plant a life where the world is falling apart. Marayat Andriane as Maily is a touch of an exotic, who is associated with her cruel fate in an uncompromising society. Candice Bergen as Shirley Eckert is a beautiful missionary who gives love and kindness, and in return receives a war.

Don't Look Now... We're Being Shot At! (1966)

"...two for tea and tea for two..."

[8/10 · 12 November 2017]

LA GRANDE VADROUILLE is an adventurous war comedy that breaks the political and military myths while glorifying the heroism of ordinary citizens. Of course, in a hilarious comic way. The aim of this film is, perhaps, to return a smile to the face of generations who has survived the occupation during the World War II.

A Royal Air Force bomber becomes lost after a mission and is shot down over Paris by German flak. Three of the crew, parachute out over the city and manage to hide from German soldiers. They found allies in a romantic painter, nervous conductor, resourceful puppeteer and brave nun, who have decided to help the airmen in their escape to a free zone...

This film has offered a kind of comic tension, which is closer to a Hollywood blockbuster than a European film. The scenery is very rich, while the photography is beautiful. The plots, although predictable, are very exciting. National stereotypes, although the protagonists are the French and the British, did not become a subject of comedy. That's good, because, a comedy of absurd is presented in an universal way. There is some truly hilarious situations as a homoerotic encounter in a Turkish baths, a spectacular chase, or a "fiery" night in a hotel. The characterization is not bad.

André Bourvil (Augustin Bouvet) and Louis de Funès (Stanislas Lefort) are two artists, who are constantly in a petty-bourgeois conflict. Their struggle is the most entertaining aspect of the film.

This is a very good comic contrast, which is, from time to time, complete with exciting action sequences.

Seconds (1966)

The modernity of broken parts.

[8/10 · 11 November 2017]

SECONDS is a science fiction drama about the alienation and the midlife crisis. It is a kind of psychological conflict between life dissatisfaction, and a sort of rebirth with the limits. It is based on the novel of the same name by David Ely.

Arthur Hamilton is a middle-aged businessman whose life has lost purpose. He lives with his wife in the New York suburbs. He's achieved success, but finds it unfulfilled. Arthur has completely neglected his family. Through a friend, Charlie, he thought was dead, Arthur is approached by a secret organization, known simply as the "Company" which offers him a new life. The Company is a high-tech service which, for a price, provides older men with plastic surgery, a beefed-up body, and a fresh start in life. Arthur submits to the operation that will turn him into a "Second". He becomes Tony Wilson, an attractive man and successful painter...but...

A gloomy and bizarre atmosphere is the biggest asset of this film. A disturbing transition from a business to a hedonistic expression is quite well designed. Mr. Frankenheimer has used a kind of expressionist symbols to avoid a generalized existential questions. I think that, the obsession with eternal youth is not the main theme of this film. I think that each of us, from time to time, wants a new opportunity or a new beginning that is associated with with our youth. Of course, a new life and identity change is a radical move, but it fits in the theme. A paranoid character gets shocking proportions in this film.

Rock Hudson as Antiochus "Tony" Wilson has offered an intense performance, especially after his revelations and conclusions. Jeff Corey as Mr. Ruby is a vivid agent which offers new life. Will Geer as Old Man is an embodiment of a false kindness. Salome Jens as Nora Marcus is a young woman who has chosen hedonism as a kind of salvation.

The modernity of broken parts.

Fantastic Voyage (1966)

"Man is the center of the universe."

[7/10 · 9 November 2017]

FANTASTIC VOYAGE is a science fiction adventure film that, in the background of some sort of Cold War, examines a medical journey into the human body. This is a well-rounded story, in which, the most attention draw miniaturization techniques and race against time through the human body.

The United States and the Soviet Union have both developed technology that can miniaturize matter by shrinking individual atoms, but only for a limited amount of time, depending on how small the item is miniaturized. One scientist has figured out how to improve that process. However, his brain is damaged in an assassination attempt on him. To save his life, agent Charles Grant joins a group of scientists in an experimental mission. Through a revolutionary and as-yet-untested process, the scientists and their special motorized vehicle are miniaturized, then injected into the blood stream of a near-death scientist. They will be faced with the dangers of the human body and saboteur among them.

An extremely interesting environment, surreal view of the interior of the human body and believable visual effects are the biggest advantages of this film. Of course, the probability of some scientific facts must be put aside. I would not leave room for some sort of disbelief, because this journey is, nonetheless, quite creative and comfortable.

Stephen Boyd as Charles Grant is very good as a lifeguard on a duty, despite his initial surprise and disbelief. Raquel Welch as Cora Peterson is an attractive beauty in a leather suit, who assists the head doctor from time to time. An attenuated affection of Charles towards Cora is quite nice.

Edmond O'Brien (General Carter), Donald Pleasence (Dr. Michaels) and Arthur Kennedy (Dr. Peter Duval) were up to the task.

El Dorado (1966)

"I'm lookin' at a tin star with a... drunk pinned on it."

[7/10 · 7 November 2017]

EL DORADO is a romantic western comedy about a friendship, love, responsibility and politics. It is the second of three films directed by Hawks about a sheriff defending his office against belligerent outlaw elements in the town, after "Rio Bravo" and before "Rio Lobo". I think there was a perfect chemistry between the actors in the movie "Rio Bravo". Taking into account almost similar plot lines, this is a very reliable remake.

Cole Thornton, a gunslinger-for-hire, has found himself in the middle of a conflict between a wealthy rancher, the hardworking McDonald family and law in a fight for water. The local sheriff J. P. Harrah is his friend. Cole, unwilling to fight his friend and to the relief of saloon owner Maudie, has turned down a job with the wealthy and evil rancher. However, Cole accidentally shoot the youngest member of the McDonald family. He, in turn, gets a bullet next to his spine. Several months later, Cole runs into another gunslinger-for-hire named Nelson McLeod and a young greenhorn with a peculiar hat called Mississippi. It seems that his friends and the McDonald family are in great danger. Cole decides to return to El Dorado...

Nothing is spectacular in this film, except a very fun relationship between the two big movie stars. The dialogues, that glorifying friendship and responsibility, are comical, gunfight are very exciting and, unfortunately, two romances remain suspended in the air.

The scenery is quite cramped. The atmosphere is good.

Robert Mitchum as Sheriff J.P. Harrah is very good in the role of a competent sheriff, who became an alcoholic because some women. However, he is ready to pull the trigger on the right time. John Wayne as Cole Thornton is a charming and charismatic drifter who finds himself in the right place at the right time, and even when to get shots.

It is a very pleasant, but already seen.

How to Steal a Million (1966)

"You don't think I'd steal something that didn't belong to me, do you?"

[7/10 · 5 November 2017]

HOW TO STEAL A MILLION is a romantic crime drama film which, through an illusion of fiction, merges art and fraud. A clumsy fraud, mixed with a pleasant romance, can quickly enter in our hearts.

Charles Bonnet is well-known as an art collector, but actually he copies famous works of art. His daughter Nicole disapproves his "work" and is also afraid that he may get caught. His replica of a famed Cellini sculpture is inadvertently displayed in an art museum, and he begins to worry that he'll lose his reputation once the experts evaluate the statuette. Nicole decides to steal sculpture from the museum with the help of a mysterious burglar. However, her assistant is actually a well-known private detective who investigates frauds of her father...

A simple story with lot flaws is enriched with a very thrilling twist. The film is full of fictional tricks, through which it develops a delicious romance. Mr. Wyler has managed to create a frivolous version of double deception. He has, through a healthy dose of humor, emphasized Mrs. Hepburn style. A scene with a key is probably one of the most memorable. I think that a key has a double meaning in this case. This is a key to the heart and the truth.

Audrey Hepburn as Nicole Bonnet is, as always, a magic woman, this time in the role of a romantic rich girl and morally sensitive daughter at the same time. Peter O'Toole as Simon Dermott is a calm seducer, between an eccentric detective and inexperienced burglar. All for love. There's good chemistry between the two of them.

Hugh Griffith as Charles Bonnet is funny an art counterfeiter. Eli Wallach as Davis Leland is crazed collector, who effectively shows the characteristics of a sexual perversion.

Every art is a kind of deception!? Each theft is a form of art!? However, it is very difficult to mislead or steal one's heart.

Django (1966)

"...if you're a coffin maker... sure did pick a good town to settle, sure did..."

[8/10 · 4 November 2017]

DJANGO is a Spaghetti Western film, that sets the cruelty and the violence to a whole new level. This film has some kind of a surrealist direction. Muddy streets, violent gunfight, massacre and mutilation fully correspond with the dark atmosphere and rather simple (Yojimbo) story in this film. A harsh and explicit dialogue usually ends with a violent murder. Mr. Corbucci skillfully avoids melodrama, hence this one-way street reminiscent of a war zone from which no one will come out whole. The motives like a revenge, gold, revolution and political radicalism, bordering on racism are sufficient for an energetic plot.

A mysterious man named Django arrives in a Mexican border dragging a small coffin behind him. When he saves a woman who is being attacked by a group of bandits, he finds himself in the middle of a conflict between Mexican gangsters and racist Yankee thugs. The two come in a small town, which is a sort of neutral zone between the two sides. A local bartender thinks that their presence will bring more trouble to him and his prostitutes. Shortly thereafter, Django confronts with a small group of Yankee thugs. He challenges their leader to return with all of his accomplices. The barmen predicts Django's death. However, a small coffin keeps a large and deadly secret...

I think, that an excessive violence destroys all credibility of the story in this film. A visual impression in combination with a very good soundtrack is very impressive. The characterization is not bad, especially if we consider an almost grotesque romance.

Franco Nero as Django is a blue-eyed beauty with clear objectives. He is ruthless until the moment when he realizes that mere coincidence can change his plans. His appearance is striking, however, Franco Nero did not offer a good performance. Loredana Nusciak as María is a very brave woman who is tortured on all sides. Her emotions are muted to the limits of despair.

Their support are José Bódalo as General Hugo Rodríguez who must choose between his greed and revolution, Eduardo Fajardo as Major Jackson as a racist, who is strong on words and Ángel Álvarez as Nathaniel is a bartender who witnesses the madness that surrounds him.

Fahrenheit 451 (1966)

Behind each of these books, there's a man.

[7/10 · 2 November 2017]

FAHRENHEIT 451 is a Dystopian science fiction drama film which takes place in a controlled society, in an indefinite future, where books and written texts are prohibited, while, individual thought has become a question of consciousness. The books have become public enemy number 1. The story has a demonstrative character, regardless of the lack of strong emotions. This idea is not well treated, because it comes down, in a rougher sense, on a fight between the books and the media. A kind of revolution is a excessive background of the story. It is based on the 1953 novel of the same name by Ray Bradbury.

In the future, an oppressive government maintains control of public opinion by outlawing literature and maintaining a group of enforcers known as "firemen" to perform the necessary book burnings. One of the firemen, Montag, meets one of his neighbors, Clarisse, a schoolteacher who may be fired due to her unorthodox views. The two have a short discussion about his job. Montag begins to question the morality of his vocation. Curious about the world of books, he soon falls in love with a beautiful young member of a pro-literature underground - and with literature itself...

Mr. Truffaut has edited the contrasts with a large dose of the enthusiasm. People are going to save the world, but only if they become books. The books will save the world, as soon as they become people. A world that rejects literature fits in a sad and depressing atmosphere. The direction is unclear and undefined. The characterization had to be better.

Oskar Werner ( Guy Montag), Julie Christie ( Linda Montag/Clarisse) and Cyril Cusack (Captain) are carefree and pompous characters at the same time. A book brings unrest in their characters, which manifests itself through desire, fear, anger, pain and a kind of love in the end.

Watching this movie, I have an impression that I was on a promising party, which has eventually become uncomfortable and depressing.

The Battle of Algiers (1966)

"...when we have won, that the true difficulties begin..."

[9/10 · 31 October 2017]

THE BATTLE OF ALGIERS is a war drama film that, in a realistic way, describes events during the Algerian War. On the other hand, it is a traditional view of a conflict between a guerrilla movement for the liberation and a colonial superiority. Mr. Pontecorvo was inspired by the Italian neo-realism, which is evident in authentic locations and his documentary expression. Of course, when it comes to style, I would pull a thin line between this film and the film "Rome, Open City" by Roberto Rossellini.

The Battle of Algiers reconstructs the events that occurred in the capital city of French Algeria between November 1954 and December 1957, during the Algerian War of Independence. The story begins and ends from the perspective of Ali la Pointe, a petty criminal who is politically radicalized while in prison. He has joined the secretive organization in order to help rid the Casbah of vice associated with the colonial government. Ali is becoming one of the leading members of the National Liberation Front (FLN). The film traces the rebels' struggle and the increasingly extreme measures taken by the French government to quell what soon becomes a nationwide revolt...

This film, in a credible way, shows crimes against civilians, through an uncontrolled guerrilla war in an urban area. We have a very difficult task to draw a parallel between the bombings as one of the terrifying form of terrorism, and the colonial power, which is reflected through different forms of lynchings, torture and intimidation. Colonizer and colonized commit atrocities against civilians. The politicians, as always, tactical discuss some obvious facts. Some scenes from indigenous districts are frightening, while people falling into puddles of blood and after each new news something explodes. There is no some melodramatic plot, direction is too realistic to some part could be ignored.

The characterization is very good.

Brahim Haggiag as Ali la Pointe is the personification of a guerrilla fighter, who has mixed up his own life purpose and a strong desire for freedom. Saadi Yacef as Djafar is a very convincing as a leader and tactician of the National Liberation Front.

Jean Martin as Lieutenant-Colonel Mathieu is a tenacious officer who intends to defeat his opponent, with a certain military respect, at any cost.

Well, some have won the battle, while the other have won the war, and many of them have lost their lives.

Blow-Up (1966)

"Nothing like a little disaster for sorting things out."

[8/10 · 29 October 2017]

BLOWUP is a mystery drama film, which in an unconventional way shows us London and important cultural changes in that city. The film rejects emotional turmoils, while glorifies, in a strange way, a visual stimulation and a strange kind of mania. Naturalism, nudity, hedonism, and even a brief, orgiastic romp are very well fit into an indecisive and unpredictable behavior of the characters in this film.

Thomas is a a glamorous fashion photographer. He spends the night a doss house where he has taken pictures for a book of art photos. He seems very boring to work with attractive models. Wandering into Maryon Park, he takes photos of two lovers. The woman is furious at being photographed, pursues Thomas, demands his film and ultimately tries to snatch his camera. He refuses and photographs her as she runs off. Back at his studio, the woman from the park arrives asking desperately for the film. Their conversation is full of a deceit and lies. She's leaving. He, after developing the film, notices, on one of the photos a man with a pistol lurking love couple...

This melodramatic mystery is full of a uncontrolled wandering and vague symbolism. It is difficult to make a comparison with a cultural revolution. The plots are permeating between curiosity and concern. However, the authentic scenery is beautiful, the colors composition is excellent, even the accessories are very interesting. Well, there's a lot of fashion and a little bit of rock and roll. The characterization is not satisfactory.

David Hemmings as Thomas is an eccentric, cold and frustrated photographer. His aggressiveness has no clear message. His talent is in some kind of a conflict with his curiosity. He is not a lonely young man. Simply, he is devoted to his equipment and props, more than people around him. Vanessa Redgrave as Jane is a factor of unrest in Thomas's character. She is a seductive and cuddly, but aloof young woman. Sarah Miles as Patricia is a sight for sore eyes, which is, unfortunately, emotionally washed.