The Great MoviesCrown, 9 apr 2002 - 544 pagina's America’s most trusted and best-known film critic Roger Ebert presents one hundred brilliant essays on some of the best movies ever made. Roger Ebert, the famed film writer and critic, wrote biweekly essays for a feature called "The Great Movies," in which he offered a fresh and fervent appreciation of a great film. The Great Movies collects one hundred of these essays, each one of them a gem of critical appreciation and an amalgam of love, analysis, and history that will send readers back to that film with a fresh set of eyes and renewed enthusiasm–or perhaps to an avid first-time viewing. Ebert’s selections range widely across genres, periods, and nationalities, and from the highest achievements in film art to justly beloved and wildly successful popular entertainments. Roger Ebert manages in these essays to combine a truly populist appreciation for our most important form of popular art with a scholar’s erudition and depth of knowledge and a sure aesthetic sense. Wonderfully enhanced by stills selected by Mary Corliss, the film curator at the Museum of Modern Art, The Great Movies is a treasure trove for film lovers of all persuasions, an unrivaled guide for viewers, and a book to return to again and again. The Great Movies includes: All About Eve • Bonnie and Clyde • Casablanca • Citizen Kane • The Godfather • Jaws • La Dolce Vita • Metropolis • On the Waterfront • Psycho • The Seventh Seal • Sweet Smell of Success • Taxi Driver • The Third Man • The Wizard of Oz • and eighty-five more films. |
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... played a score it had composed. At the Overlooked again, I saw Nosferatu with music by the Alloy Orchestra of Cambridge, Mass. I remembered seeing the original version of The Big Sleep on 16mm in the Los Angeles living room of the late ...
... played a score it had composed. At the Overlooked again, I saw Nosferatu with music by the Alloy Orchestra of Cambridge, Mass. I remembered seeing the original version of The Big Sleep on 16mm in the Los Angeles living room of the late ...
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... players of an age gone by. The still photograph's density, its search for the perfect single image, lends it a unique grip on our memories. In the 1930s, plenty of newsreel footage was expended on the Depression's poor, but the most ...
... players of an age gone by. The still photograph's density, its search for the perfect single image, lends it a unique grip on our memories. In the 1930s, plenty of newsreel footage was expended on the Depression's poor, but the most ...
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... played by Jean-Pierre Léaud, who has a kind of solemn detachment, as if his heart had suffered obscure wounds long before the film began. This was the first in a long collaboration between actor and director; they returned to the ...
... played by Jean-Pierre Léaud, who has a kind of solemn detachment, as if his heart had suffered obscure wounds long before the film began. This was the first in a long collaboration between actor and director; they returned to the ...
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... plays Guido as a man exhausted by his evasions, lies, and sensual appetites. He has a wife (Anouk Aimée), chic and ... played music during every scene (like most Italian directors of his generation, he didn't record sound on the set ...
... plays Guido as a man exhausted by his evasions, lies, and sensual appetites. He has a wife (Anouk Aimée), chic and ... played music during every scene (like most Italian directors of his generation, he didn't record sound on the set ...
Pagina
... played only bit parts. The story was inspired by All That Heaven Allows, the 1955 Douglas Sirk film starring Jane Wyman as an older woman who falls in love with her young gardener (Rock Hudson). Ali: Fear Eats the Soul.
... played only bit parts. The story was inspired by All That Heaven Allows, the 1955 Douglas Sirk film starring Jane Wyman as an older woman who falls in love with her young gardener (Rock Hudson). Ali: Fear Eats the Soul.
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