Khrustalyov, My Car!
One of the most disturbing Russian films of all time, Khrustalyov, mashuni (Khrustalyov, My Car!, 1998) provides the audience with a firsthand experience of the
L’assassino
Among the great wave of film debuts in the late 1950s and early 1960s, that of Rome-born director Elio Petri is often overshadowed by those
The Man with the Golden Arm
Two years after his censorship battle over The Moon is Blue (1953), Otto Preminger again provoked the censors with his 1955 film The Man with
La decima vittima
In the early to mid 1960s, the Italian cinema was going through a sort of renaissance, as it not only produced important films by such
Todo modo
Beginning with the socially-committed films of neo-realism, postwar Italian cinema became, perhaps even more than Italian postwar literature, a form that inherently tended to reflect
Anatomy of a Murder
In an interview with his fellow filmmaker Peter Bogdanovich, Otto Preminger speaks of the influence of the law on his life and work. Preminger’s father
I giorni contati
Although Elio Petri’s second film, I giorni contati (1962), has all the characteristics of the director’s debut feature, L’assassino (1961), it was written (with Tonino Guerra)
The Sun in a Net
At various points in Štefan Uher’s Slnko v sieti (The Sun in a Net, 1962) there are reminders of the many ways we look at
Trial of the Road
In her 2007 study of the Russian war film, Denise J. Youngblood argues that while Soviet society was in a state of stagnation in the
To Sign One’s Life (With Cinema) Francesco Rosi, Giuseppe Tornatore. Io lo Chiamo Cinematografo.
In the midst of one of his conversations with fellow director Giuseppe Tornatore, Francesco Rosi interrupts his own argument and says: ‘You should have called this book A life,