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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Pagina
... There is never an explanation of the other race that presumably left the monoliths and provided the star gate and the bedroom. 2001 lore suggests Kubrick and Clarke tried and failed to create plausible aliens. It is just as well. The ...
... There is never an explanation of the other race that presumably left the monoliths and provided the star gate and the bedroom. 2001 lore suggests Kubrick and Clarke tried and failed to create plausible aliens. It is just as well. The ...
Pagina
... There is a lot of moviegoing in The 400 Blows, with Antoine's solemn face turned up to the screen. We know that young Truffaut himself escaped to the movies whenever he could, and there is a shot here that he quotes later in his career ...
... There is a lot of moviegoing in The 400 Blows, with Antoine's solemn face turned up to the screen. We know that young Truffaut himself escaped to the movies whenever he could, and there is a shot here that he quotes later in his career ...
Pagina
... there is a keyboard on which you can play them like an organ so that [it will] sound just like a human choir but yet, at the same time, very artificial and really quite eerie.” I emphasize the music because the sound of a Herzog film is ...
... there is a keyboard on which you can play them like an organ so that [it will] sound just like a human choir but yet, at the same time, very artificial and really quite eerie.” I emphasize the music because the sound of a Herzog film is ...
Pagina
Roger Ebert. There are times when Fassbinder uses deliberately mannered visuals to make a point. He often separates ... there's dialogue about the condition of foreign workers in Germany: not a “message,” but a reflection of reality. A ...
Roger Ebert. There are times when Fassbinder uses deliberately mannered visuals to make a point. He often separates ... there's dialogue about the condition of foreign workers in Germany: not a “message,” but a reflection of reality. A ...
Pagina
... there's something a girl could make sacrifices for,” Monroe says. “And probably has,” says the director. “Sable,” Monroe explains. “Sable?” asks the producer. “Did she say sable or Gable?” Monroe: “Either one.” If Monroe steals her own ...
... there's something a girl could make sacrifices for,” Monroe says. “And probably has,” says the director. “Sable,” Monroe explains. “Sable?” asks the producer. “Did she say sable or Gable?” Monroe: “Either one.” If Monroe steals her own ...
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