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But Dovzhenko had the ability to show it, Shukshin couldn't show it at all, one can at most surmise it. He made a wonderful use of Akasaka by night, although he had the images processed by reflecting them against the mirrors. Griffith, [Victor] Sjöström, the German expressionists, Chaplin, [Abel] Gance, and Eisenstein have, in their own ways, created languages that proved to be almost as expressive, as rich, and as supple as spoken language. But Tarkovsky remains silent, without saying things like that at all. Two hundred films, so it is said. Every critic should take to heart Jean Renoir's remark, "All great art is abstract. Like a medieval troubadour, he can sit in the middle of the room and hold his audience by telling stories, singing, playing the guitar, reading poetry, doing sleight of hand. If you had done so, the film should have become meaningless. I prefer to speak in terms of pathways. Would he shift gears? He didn't draw from life,
amateur sergey single mature females, life didn't influence him in any way. Many centuries hence, everyone would know that a pioneer had left us in the midst of his career, video blonde mature amateur hookup banged black lover man to whom the cinema owes its fundamental character, artistically as well as technically. Alfred Hitchcock, who is a remarkably intelligent man, formed the habit early--right from the start of his career in England--of predicting each aspect of his films. Orson Welles is a kind of giant with the look of a child, a tree filled with birds and shadow, a dog that has broken its chain and lies down amateur sergey single mature females the flower beds, an active idler, a wise madman, an island surrounded by people, a pupil asleep in class, a strategist who pretends to be drunk when he wants to be left in peace. I loved Fellini's pictures and I admired La Dolce Vita, but I was challenged by L' Avventura. At that time, the cinema was in the process of creating its own language.
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- I don't remember any of his works concretely. Rivette was one of. Bergman of today is not the Bergman of thirty years ago.
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Indeed, one can learn pretty much from his movies. The Sweden I like to visit is a lot of fun. I have respected John Ford from the beginning. Now the riverbed became visible. I am often accused of being too exacting with sets and properties, of having things made, just for the sake of authenticity, that will never appear on camera. His films are all very, very connected with each other and they're very recognizably his work, but it's very tough to put your finger on why that is or what you're seeing in that the technique is not immediately obvious.
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All the same I find him interesting. And it is under the total grip of the deep insights of Tarkovsky. I realised then, watching this film, that "action", the meaning of action in cinema is rather conditional. The same process is at work on a much more elaborate scale in CELINE AND JULIE GO BOATING, when Rivette applies the critical discoveries of doubling in Hitchcock to the "double" structure of his own film, doubling shots as well as scenes. Renew your Membership today to restore your access to the Member Clubhouse - your source for exclusive content, special offers and invitations Renew your Membership. Welles was an enormous personality, but when he plays Othello, everything goes down the drain, you see, that's when he croaks.