These notes accompany screenings of Orson Welles’s Mr. Arkadin (aka Confidential Report) on September 19, 20, and 21 in Theater 3.
By the time Mr. Arkadin (aka Confidential Report) finally arrived in America in 1962, the career of Orson Welles (1915–1985) had undergone more highs and lows than a roller coaster constructed across the expanse of the Himalayas.
Gary Cooper and Burt Lancaster in Vera Cruz. 1954. USA. Directed by Robert Aldrich
These notes accompany screenings of Robert Aldrich’s Vera Cruz on September 12, 13, and 14 in Theater 3.
Robert Aldrich (1918–1983) brought an extraordinary pedigree to his directorial career.
La Strada. 1954. Italy. Directed by Federico Fellini
These notes accompany screenings of Federico Fellini’s La Strada on September 4, 5, and 6 in Theater 3.
When Federico Fellini (1920–1993) followed I Vitelloni with La Strada, he was still in the throes of his neo-realist heritage and hadn’t yet been deified.
On the Waterfront. 1954. USA. Directed by Elia Kazan
These notes accompany screenings of Elia Kazan’s On the Waterfront on August 29, 30, and 31 in Theater 3.
In Elia Kazan’s On the Waterfront, Marlon Brando gives one of the most superb tragicomic performances in the history of the cinema.
The Word. 1954. Denmark. Directed by Carl Th. Dreyer
These notes accompany screenings of Carl Th. Dreyer’s Ordet (The Word) on August 15, 16, and 17 in Theater 3.
A writer once referred to the “ravishing austerity” of Carl Th. Dreyer’s Ordet (the Word).
The Golden Coach. 1953. France/Italy. Directed by Jean Renoir
These notes accompany screenings of Jean Renoir’s The Golden Coach on August 15, 16, and 17 in Theater 3.
Critic J. Hoberman was on to something when he linked Jean Renoir’s The Golden Coach with Vincente Minnelli’s The Band Wagon
White Mane. 1953. France. Directed by Albert Lamorisse. Cinematography by Edmond Sechan
These notes accompany a program of films by Albert Lamorisse and Edmond Sechan on August 8, 9, and 10 in Theater 2.
In my description of this week’s program, I referred to the films as “quasi-documentaries.”
To Catch A Thief. 1955. USA. Alfred Hitchcock
These notes accompany the screenings of Alfred Hitchcock’s To Catch a Thief on August 1, 2, and 3 in Theater 3.
By 1955, Alfred Hitchcock was enjoying a level of celebrity never attained before or since by a movie director, with the possible exception of Cecil B. De Mille when he was hosting Lux Radio Theatre.
M. Hulot’s Holiday. 1953. France. Directed by Jacques Tati
These notes accompany the screenings of Jacques Tati’s M. Hulot’s Holiday on July 24, 25, and 26.
When a director acts in his own movie, it’s almost like he’s automatically on third base in his bid to score as an auteur.
The Great Adventure. 1953. Sweden. Directed by Arne Sucksdorff
And now for something completely different! Over the past several weeks we have looked at films that seem to be definitive statements of the worldview of major artists
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