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Review: Pom Wonderful Presents: The Greatest Movie Ever Sold
Reviews
Belle Toujours
Quel dommage!
By
MICHAEL ATKINSON
|
May 17, 2007
BELLE TOUJOURS
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Stars
BELLE DE JOUR: Warmly Parisian, but still a disapointment.
Manoel de Oliveira made this long-range sequel to Buñuel’s 1967 fetish classic
Belle de jour
— can you imagine a less Buñuelian filmmaker, Iberian roots or no? Michel Piccoli returns, 38 years older, as the sadistic family friend of the masochistic-wife-turned-prostitute. (The Catherine Deneuve role is now played by Bulle Ogier; Deneuve, no stranger to Oliveira’s corpus, must have been busy.) In an ironic, warmly Parisian, but also arguably extraneous play on the first film (remember, Oliveira was 98 last year, only eight years the long-gone Buñuel’s junior), Piccoli’s craggy libertine stalks the disinterested woman and tempts her with a tempting mystery — what was whispered into an ear in the first film, an enigma Buñuel would’ve been appalled that anyone solve.
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Waved off
Ah, Eurocinema, the blood and backbone of film culture as it grew from out of the Hollywood shadow in the post-war decades — the Godards, the Bergmans, the Antonionis, the bristling Hungarians, the mordant Poles, the café-dawdling French!
Portuguese man of war
Manoel de Oliveira occupies a unique seat on the global film culture’s board of directors.
Primary concerns
The last thing people are looking for when they go to the movies is a reminder of the political crapola they are trying to escape.
A Christmas Tale
Maybe Charles, who died of leukemia three decades ago, at the age of six, knew what he was doing.
Blu Christmas . . . without DVD
Ah, yes: the most wonderful time of the year, tinged with muddy snow and the creeping darkness of our most recent Depression.
Lifting the veil
If we’ve learned anything in the past five or so years of our foreign policy, it’s that we should know a few things about a country before bombing the crap out of it.
Review: The Girl on the Train
Here in this country, we’re familiar with the practice of pinning a crime on a member or members of another race.
Flashbacks, May 12, 2006
These selections, culled from our back files, were compiled by Chris Brook and Ian Sands.
Paradis found
Must we still make the case for French pop?
Cinema belongs to him
For many backlashing film scholars and canonical cinéastes, most of the big players in the French New Wave — Truffaut, Chabrol, Rohmer, Resnais, etc. — have been, over time, at least a touch overrated, save two: Jean-Luc Godard and Jacques Rivette.
Star power
Deneuve has been in the public eye long enough to know that only damn fools reveal themselves to the public.
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ARTICLES BY MICHAEL ATKINSON
REVIEW: THE DEEP BLUE SEA
| March 29, 2012
Like a bad dream trapped in amber, Terence Davies's studied film adaptation of Terence Rattigan's famous 1952 play is both spectrally beautiful and frozen in self-regard.
REVIEW: YOU ARE ALL CAPTAINS
| November 08, 2011
A sublime meta-fictional trifle that evokes Abbas Kiarostami's '90s mirror-films of children, Oliver Laxe's jaunt lands in a semi-rural Moroccan school for orphans.
REVIEW: WE CAN'T GO HOME AGAIN
| November 02, 2011
Made as a communal experiment, the film is an avalanche of amateur avant-garde hijinks, closer to Brakhage and Markopoulos than to Hollywood.
REVIEW: STRAW DOGS
| September 20, 2011
Remaking, polishing, and in effect housebreaking what should've remained untamed and feral, Rod Lurie's new version of the Peckinpah classic follows the original's story beats closely, and so the devil is in the details.
REVIEW: THE DISAPPEARANCE OF MCKINLEY NOLAN
| August 30, 2011
An investigative doc brimming with cultural resonance and historical savvy, Henry Corra's film has ahold of a pungent story — that of the titular black Texan fella who vanished in Vietnam 40 years ago.
See all articles by:
MICHAEL ATKINSON
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