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Landmark revives two classic films not on AFI Top 100
A moment from The Conformist forever frozen in memory, engraved on my brain, never to be forgotten.
Video:
Hiroshima Mon Amour | Trailer
This debut feature from Alain Resnais, written by Marguerite Duras, a story told in two tenses about the aftereffect of the atomic bomb as experienced by two lovers in Hiroshima, is one of the great masterworks of modernist cinema, now fully restored.
Video:
The Conformist (1970)
Original movie trailer for Il Conformista.
Tommy Wiseau will not be on hand to introduce, nor will there be a live RiffTrax commentary track to help make guests feel even more superior to the slop on screen than they already do. Landmark’s Ken Cinema instead provides first-cabin accommodations for sparkling 4K restorations of two acclaimed European masterworks, Alain Resnais’s feature debut Hiroshima, Mon Amour and Bernardo Bertolucci’s The Conformist.
At least I remember both being masterworks. Ashamed as I am to admit it, my first screening of Hiroshima — a scratchy 16mm print shown in a college film history class — turned out to be my last. It’s also been a couple of decades since I sat down and watched The Conformist from beginning to end. Nothing can beat the initial batch of dye-transfer Technicolor release prints Paramount commissioned of the latter in 1970. It’s certain that several shades of cinematographer Vittorio Storaro’s warm hues will be lost in the digitized translation, but it sure beats the alternative.
Movie
Hiroshima, My Love <em>(Hiroshima Mon Amour)</em> ****
Even with extreme caution, Resnais's first feature can be called one of the most influential movies ever made. It had critics grasping for Proust or Bergson, and filmmakers grasping for the scissors, much more often, in the cutting room. And yet Resnais has afterwards managed to top this achievement with regularity. The grandiosity of design, of subjects touched, of effects attempted, of styles mingled (the lyrical, the surreal, the documentary, the newsreel), permits frequent leaks of dreadful stuff, particularly in the past-time sections. And Pauline Kael has mercilessly exposed its gauche tuggings on liberals' heart-strings or puppet-strings. It is a forbidding task to attempt to cover the basic narrative situation in one sentence, but it has to do with a French actress reliving, out loud, her memories of a traumatic affair with a German soldier during the Nazi occupation, and meanwhile, in present time, going through a peculiarly parallel affair with a Japanese architect in the rebuilt city of Hiroshima. As film scripts go, Marguerite Duras's is a major work, with continual poetical sweets and delicacies; and as film performances go, Emmanuelle Riva's is also a major work.
Movie
Conformist <em>(Il conformista)</em> ***
The enormous suspense potential of the Alberto Moravia novel, about an Italian Fascist whose yearning for normality and acceptance has brought him the assignment of murdering his former professor, remains buried beneath the hot-shot gimmickries and smart-aleckries indulged in by Bertolucci — the shuffled time sequence, the overly choreographed snow-white insane asylum, the mountains of walnuts piled high around a bureaucrat's office, the virtuoso hand-held-camera scramble through the forest, and the like. With Jean-Louis Trintignant, Dominique Sanda, Stefania Sandrelli.
DVD screeners were made available, but it seemed more respectful to wait. I’m as eager to see them on a big screen as I hope you are.
Separate admission is required for both pictures. In this case, you get what you pay for. See you there!
Here's something you might be interested in.
Landmark revives two classic films not on AFI Top 100
Landmark revives two classic films not on AFI Top 100
A moment from The Conformist forever frozen in memory, engraved on my brain, never to be forgotten.
Video:
Hiroshima Mon Amour | Trailer
This debut feature from Alain Resnais, written by Marguerite Duras, a story told in two tenses about the aftereffect of the atomic bomb as experienced by two lovers in Hiroshima, is one of the great masterworks of modernist cinema, now fully restored.
Video:
The Conformist (1970)
Original movie trailer for Il Conformista.
Tommy Wiseau will not be on hand to introduce, nor will there be a live RiffTrax commentary track to help make guests feel even more superior to the slop on screen than they already do. Landmark’s Ken Cinema instead provides first-cabin accommodations for sparkling 4K restorations of two acclaimed European masterworks, Alain Resnais’s feature debut Hiroshima, Mon Amour and Bernardo Bertolucci’s The Conformist.
At least I remember both being masterworks. Ashamed as I am to admit it, my first screening of Hiroshima — a scratchy 16mm print shown in a college film history class — turned out to be my last. It’s also been a couple of decades since I sat down and watched The Conformist from beginning to end. Nothing can beat the initial batch of dye-transfer Technicolor release prints Paramount commissioned of the latter in 1970. It’s certain that several shades of cinematographer Vittorio Storaro’s warm hues will be lost in the digitized translation, but it sure beats the alternative.
Movie
Hiroshima, My Love <em>(Hiroshima Mon Amour)</em> ****
Even with extreme caution, Resnais's first feature can be called one of the most influential movies ever made. It had critics grasping for Proust or Bergson, and filmmakers grasping for the scissors, much more often, in the cutting room. And yet Resnais has afterwards managed to top this achievement with regularity. The grandiosity of design, of subjects touched, of effects attempted, of styles mingled (the lyrical, the surreal, the documentary, the newsreel), permits frequent leaks of dreadful stuff, particularly in the past-time sections. And Pauline Kael has mercilessly exposed its gauche tuggings on liberals' heart-strings or puppet-strings. It is a forbidding task to attempt to cover the basic narrative situation in one sentence, but it has to do with a French actress reliving, out loud, her memories of a traumatic affair with a German soldier during the Nazi occupation, and meanwhile, in present time, going through a peculiarly parallel affair with a Japanese architect in the rebuilt city of Hiroshima. As film scripts go, Marguerite Duras's is a major work, with continual poetical sweets and delicacies; and as film performances go, Emmanuelle Riva's is also a major work.
Movie
Conformist <em>(Il conformista)</em> ***
The enormous suspense potential of the Alberto Moravia novel, about an Italian Fascist whose yearning for normality and acceptance has brought him the assignment of murdering his former professor, remains buried beneath the hot-shot gimmickries and smart-aleckries indulged in by Bertolucci — the shuffled time sequence, the overly choreographed snow-white insane asylum, the mountains of walnuts piled high around a bureaucrat's office, the virtuoso hand-held-camera scramble through the forest, and the like. With Jean-Louis Trintignant, Dominique Sanda, Stefania Sandrelli.
DVD screeners were made available, but it seemed more respectful to wait. I’m as eager to see them on a big screen as I hope you are.
Separate admission is required for both pictures. In this case, you get what you pay for. See you there!
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