andrew sarris reviews
It is not for me to tell him what to do with his time and money, but I can't help wishing aloud that would stop making movies. Sarris was born in Brooklyn, New York, to Greek immigrant parents, Themis (née Katavolos) and George Andrew Sarris, and grew up in Ozone Park, Queens. The lines forming for The Godfather can speak for themselves. See all 17 positive reviews › Gerry Robinson. But Faustianism has continued to flourish even to this depressed day when Hollywood swimming pools are hard to come by or even the most corruptible radicals. Sarris favorably reviews Gone With the Wind. A very little bit of the corrosively Odetsian wit of the fifties in The Big Knife and Sweet Smell of Success could have gone a long way here in relating the Mafia to our daily life. Redford fancies himself so superior to the electoral process that he ends up with a completely fatuous characterization of a politician. Last updated: 28 Dec 2020 at 11:08 UTC. Andrew Sarris was born in Brooklyn on Oct. 31, 1928, to Greek immigrant parents, George and Themis Sarris, and grew up in Ozone Park, Queens. Still, the wife’s encounters with James Caan’s punchy jock and Robert Duvall’s sympathetically lecherous slate trooper lifted the film to the behavioral heights (and fights) of Petulia and Point Blank, two of the more brilliant explosions of the San Francisco area, if not of the San Francisco school, the formal sublimity of Alfred Hitchcock’s Vertigo representing, of course, a different tradition altogether. Juni 2012 ebenda) war ein amerikanischer Filmkritiker. Bunny Lake Is Missing 1965. This review of The Patsy (1964) was … Indeed, too often the studied and constricted framing of the “real” location only emphasized the artifices of the scenario. It seems that the first question everyone asks about The Godfather is concerned with Marlon Brando’s interpretation of the title role. BFI Film Academy: opportunities for young creatives. ON SUNSET BOULEVARD The Life and Times of Billy Wilder. Eddie Murphy demonstrates the powers of invention that signal the arrival of a major comic actor, and possibly a great star. Write a review. That is the way the movie has been programmed and promoted. That is why his best roles have always played against the voice by negating it as a mechanism of direct communication. Other articles where Andrew Sarris is discussed: auteur theory: …by the American film critic Andrew Sarris—was an outgrowth of the cinematic theories of André Bazin and Alexandre Astruc. It is silly to argue that we have the right to say anything we want but that to exercise this right is the height of irresponsibility. Another shot, another murder. The very mystique of Method Acting presumes the existence of an emotional substratum swirling with fear and suspicion under every line of dialogue. Read features and reviews. As for Mr. Egoyan, he remains an auteur at the highest level of cinematic creation, and even one of his lesser films, like Adoration, deserves to be seen. This review may contain spoilers. Mr Downey and Mr. Foxx both turn in Oscar-worthy performances in their very strenuous and detail-drenched roles. By creating an account, you agree to the Privacy Policy More than one whisperer intimated that Brando’s make-up (by Dick Smith, the auteur also of Dustin Hoffman’s Shangri-La face furrows in Little Big Man) was so masterly that the Brando we all know and love had disappeared completely beneath it. Location shooting has always been more of a Pandora’s Box than realistic pundits have ever wanted to admit. Forget all the ruinously expensive special effects. In this section. Find resources and events for … It is an idea that Chaplin developed so much more profoundly in Monsieur Verdoux: that if war, in Clausewitz’s phrase, is the logical extension of diplomacy, then murder is the logical extension of business. Hence, there is no reference to the “Mafia” as such or to the “Cosa Nostra” as such, but merely to “The family.” It is as if producer Albert S. Ruddy were trying to enhance the diabolical reputation of his subject so that audiences would feel the chill of gossipy relevance. Get the freshest reviews, news, and more delivered right to your inbox! An Andrew Sarris Primer. His romance with movies was near to imprinted in his DNA. Much of the time spent boringly in Sicily might have been devoted to the skimming operations in Las Vegas, and to the corporate skullduggery in Hollywood. And now even Mario Puzo is making noises to the effect that The Godfather was written merely to provide the freedom and leisure necessary to turn out something comparable to The Brothers Karamazov. He remembered sitting in a darkened theater at the age of 3 or 4 entranced by a movie based on a Jules Verne story. Another compromise perhaps? M A R C H 1 9 7 3. by Andrew Sarris Gone With the Wind belongs to the ages sort of. There was no mistaking the voice even with the slow-motion throaty whine Brando used to disguise it. At first glance, the movie is a faithful and skillful adaptation of the source, but a second look at both the film and the book reveals some interesting divergences. The irony is not that the Corleone family is a microcosm of America, but rather that it is merely a typical American family beset by the destructively acquisitive individualism that is tearing American society apart. Still, publicity is publicity, and I have no desire to single out Coppola or Puzo for derision. It is through its loving attentiveness to words and silences that the movie draws us closer and closer into its universal theme. We can do that on the next picture, the “serious” one, the one the crowds will stay away from in droves. The emotional elevation of the film is due in no small measure to the extraordinarily engaging performances of Anne Bancroft as the wife-mother-mistress, Dustin Hoffman as the lumbering Lancelot, and Katherine Ross as his fair Elaine. People walk through rooms, clump, clump, clump, as if they were measuring the floor for a rug. Alienation and Anomie, Loneliness and Lethargy, Late Night Whining and Daily Paranoia. There is more feeling in the film than we had any right to expect, but also more fuzziness in the development of the narrative. His first film, Dementia 13, is unknown to all but the most dedicated archaeologists of American-International Corman horrifics. The Ghost Writer constitutes a miracle of artistic and psychological resilience. It seems that the first … Since 1967 Coppola has been heard from with varying degrees of decisiveness in two commercial disasters—Finian’s Rainbow and The Rain People. Coppola never succeeded in establishing the characterization of Shirley Knight’s wandering wife, and thus his narrative drifted without a psychological rudder. I began groping for adjectives like “eerie” and “unearthly.” Gradually the face began to recede into the background, and I heard a familiarly high-pitched voice somewhere in the foreground. (I learned later that the face and voice in question for the role of Bonasera belonged to a 20th-billed actor named Salvatore Corsitto who gets no points for looking like himself.). What I said at the time (in The American Cinema) is still pertinent: “Francis Ford Coppola is probably the first reasonably talented and sensibly adaptable directorial talent to emerge from a university curriculum in filmmaking. See All Buying Options. I met Coppola at Bucknell when he was making The Rain People aboard a land yacht, traveling, as it were, across the real face of America in search of sociological truth with an improvised scenario. An old-time Hollywood illusionist like Vincente Minnelli would have captured the populist lilt of that moment whereas Coppola has captured only the plastic lint. Perhaps Sarris is merely saying that we don’t have to know it, only to feel it. The part about the tension between the material and the artist never made much sense and Sarris … Gordon Parks, for example, refers derisively to Shaft (and, I suppose, the upcoming son of Shaft) as the kind of popular entertainment he must concoct in order to obtain the opportunity to do more serious work. The first murder is a genuine shocker, not simply because of its bizarre choreography (even more gruesome than in the book), but also because even alter the unexplained first murder in The French Connection, we are still not accustomed to having people we barely know bumped off on the screen. by Andrew Sarris I It came over the car radio while I was driving out to wintry, stormy Long Island for the Memorial Day weekend. The Machiavellian bias of the Method is ideally suited to the ritualized conversations of organized criminals. Book a film for my cinema. Sadly, we report the death of the influential writer, teacher, and film critic, Andrew Sarris (31 October 1928 — 20 June 2012). Not Andrew Sarris’s review published on Letterboxd: I spent Memorial Day weekend catching up on Shrek (directed by Andrew Adamson and Vicky Jenson, from a screenplay by Ted Elliott, Terry Russio, Joe Stillman and Roger S. H. Schulman, based on the book by William Steig), and Pearl Harbor (directed by Michael Bay, from a screenplay by Randall Wallace). However, even if Ruddy had not made all his noble sacrifices to the Mob for the sake of his muse, it is fairly certain that a realistic director like Coppola would have insisted on shooting his scenario on authentic locations. [Please note: Dave Kehr points out that there is no umlaut in "Ophuls" -- although that's how it … Tweet. However, it has been my impression that the rumored involvement of Frank Sinatra and Dean Martin in the narrative was the big talking point of the novel. More exclamation, in fact, than explanation. I can handle the truth. And so we see Al Pacino and Diane Keaton walking out of the Radio City Music Hall ostensibly during the Christmas Season of 1945. “Psycho,” 1960 “A close inspection of ‘Psycho’ indicates not only that the French have been right all along, but that Hitchcock is … As it is, Coppola spends much too much lime savoring each location as if he were afraid audiences might not sufficiently appreciate its authenticity There is remarkably little elision of movement for a modern (or even a classical) movie. Citizen Sarris: American Film Critic – Essays in Honor of Andrew Sarris Edited by Emanuel Levy, The Scarecrow Press, Inc., Lanham, Maryland, and London, 2001.. Uneven. Review of The Patsy (1964) by Andrew Sarris for Village Voice — 26 May 2012. Nichols has actually committed all the classic errors of the sophisticated stage director let loose on the unsophisticated movies. The production stories connected with The Godfather seem to take pride in the concessions granted to organized crime so that the film could be shot on New York locations without being shot up and shut down. Which is to say that he does not so much lose himself in his part as left his part to his own exalted level as a star personality. Around Christmas of 1945 at the Music Hall was a pretelevision festive crowd tableau such as we shall never see again in our lifetime. What interests me at the moment is less the apparently insatiable hunger of the masses for homicide than the curiously disdainful attitude affected by the popgunnery purveyors toward their material. The … It didn’t look anything at all like Brando. Certainly, Coppola’s heart was more completely committed to The Rain People, an itinerant production of uncommon emotional intensity. Anyone who read Andrew Sarris’s movie reviews was, in a way, a student of his. by Andrew Sarris. How do we know it is 1945? And the language of love, as we have seen, talks mostly about itself. John Ford was eulogized through the thirties for turning out three commercial flicks like Wee Willie Winkie for the moguls in order to pay for any one serious film like The Informer for the mandarins. Herb & Dorothy describes and amply illustrates the extraordinary saga of the Vogels, who double-handedly built one of the most important collections of Minimalist and Conceptual Art in history with their modest salaries. But The Godfather as a whole does not sustain this particular interpretation as effectively as did Kurosawa’s The Bad Sleep Well some years ago. Read film comment from Sight & Sound . Review by Not Andrew Sarris. Puzo quotes Balzac no less in a foreword conveying a Brechtian implication: “Behind every great fortune there is a crime.” Brando claims to have been representing a typically corporate personality from the ruthlessly American capitalistic system. That is to say that Kurosawa and his scenarists came much closer to conjuring up the quasi-criminal ruthlessness of a conglomerate like ITT than do Coppola, Puzo, and Brando. Coppola, particularly, has done good work in the past. "To Kill a Mockingbird" relates the Cult of Childhood to the Negro Problem with disastrous results. Illustrated. Sign up here. Tant pis and all that when we recall that there have been at least a score of gangster movies that have been artistically superior to any of the film versions of Karamazov. Read Movie and TV reviews from Andrew Sarris on Rotten Tomatoes, where critics reviews are aggregated to tally a Certified Fresh, Fresh or Rotten Tomatometer score. Similarly, few of the “more than 120 locations around Manhattan, the Bronx, Brooklyn, and Richmond” justified the trouble they took with any special aura of authenticity. His film is not a film at all, but merely a pretext for a pictorial spread in Life magazine. Er studierte bis 1959 am Teachers College der Columbia University. Browse BFI Southbank seasons. Not always, of course, but often enough to discourage the once fashionable game of kitsh-as-catch-can. Sarris was able to do this when movies like Psycho were new, but in the ’70s, he didn’t have the enthusiasm or viciousness that would have made his reviews as influential as Kael’s. Brando's triumph and fascination is less that of an actor of parts than of a star galaxy of myths. This sort of social Grand Guignol has been done to death in movies, sitcoms and stand-up routines. That this where the critic’s love for the movie resides. By ANDREW SARRIS. November 17, 2019 The great merit of Dr. Strangelove is its bad taste. They're not worth a minute of your time, much less two hours of mind-boggling mediocrity. Leben. (So much for Harper, which was more a big slip than a Big Sleep.) Format: Paperback Change. The ultimate beauty of the film rests in its symbolic details that bridge the abyss between the living and the dead. If I see one more set of play-actors cruising around the canals of Venice with all the natives looking for the camera (or for Erich Segal on one of the gondolas), I shall sing “O Solo Mio” a cappella. Come Now, Dr. Strangelove – Review by Andrew Sarris. The failure of The Rain People and THX-1138 and the Korty films can be attributed partly to the inability of the traditional distribution and exhibition patterns to funnel a new kind of audience that is presumably panting for it. Even the famous taxicab scene with Rod Steiger in On the Waterfront operates vocally (though not physically or emotionally) as a syncopated Brando soliloquy, a riff on the upper registers of sensitivity and vulnerability resonating all the more in counterpoint to Steiger’s more evenly cadenced street glibness and shrillness. Elliptical, absurdist, harshly humorous, convulsively lyrical. Any artist is vulnerable enough in the journalistic jungle to claim the privilege of saying that he is saving his best for some later project still safely beyond the claws of the snarling critics. He was the most influential American film critic of his time, and one of the jolliest. People who go out looking for America always seem to know in advance what they are going to find. 0% same as the average critic. The trouble began with the scenario’s lack of concern for the characters it could not wait to slaughter. I am convinced that The Godfather could have been a more profound film if Coppola had shown more interest (and perhaps more courage) in those sections of the book which treated crime as an extension of capitalism and as the sine qua non of showbiz. To escape from the alleged tyranny of the set it is necessary to conceive a much looser scenario than any now envisaged for most movies. If the direction of Nichols on The Graduate has an edge on Coppola’s for Big Boy, it is that Nichols borrows only from good movies whereas Coppola occasionally borrows from bad ones. Things pick up a little bit when Orson Welles, Peter Sellers, and Woody Allen stumble into the scene, but the total experience remains boringly incoherent. His film is neither tragedy nor sociology, but a saga of monsters with occasionally human expressions. Since The Godfather is about as unkind to the Mafia as Mein Kampf is to Adolf Hitler, it is hard to understand why the local little Caesars didn’t pay Ruddy a commission for all the free publicity. It just so happens that I saw The Bells of St. Mary’s at the Music Hall in 1945, and the scene Pacino so painstakingly recreates before my eyes is false and strained in every way except the most literal. Brando’s triumph and fascination is less that of an actor of parts than of a star galaxy of myths. … 5.0 out of 5 stars They Might be Giants. $35. 22 Sep, 2016 Not Andrew Sarris’s review published on Letterboxd: Michelangelo Antonioni's Blow-Up is the movie of the year, and I use the term "movie" advisedly for an evening's entertainment that left me feeling no pain (or Antoniennui) whatsoever. But that face! Odds are you'll never find it … After Vegas and Hollywood, how can you keep ’em down on Long Beach? Coppola’s approach tends to be humanistic, ethnic, and almost grotesquely nostalgic. Back to movie details. Nonetheless, the plastic realism of the marquee and the old cabs cannot compensate for the sociological distortion of the empty sidewalks and the absent hustle and bustle. Instead, Coppola has taken great pains to make The Godfather seem like a period piece. Parks displays no discernible talent in private-eye melodrama, it is to be hoped that he obtains more “serious” assignments as quickly as possible. The picture opened with a face outlined against a splotched blue background with no spatial frame of reference, a background no so much abstract as optically mod with a slow zoom to take us into the milieu by degrees. Every Man for Himself emerges as an exquisite piece of cinematic music for the restless, harried, disconnected, rootless times in which we live. Top positive review. Brando’s range has always been more limited by his voice than his Faustian admirers cared to admit. Mr. Sarris, who in June experienced a sort of slow-motion layoff at The New York Observer for which he had written reviews since 1989, … Early life. When Brando himself finally materialized on the screen as Don Vito Corleone, I could see it was Brando all the way. The film proceeds at Detective Cristi's pace, stopping and starting, hiding and emerging, scanning and staring, as the languid camera surveys the dismal neighborhoods with undisguised ennui. Tweet. Whatever the explanation, Coppola had the satisfaction of having established his artistic identity as a director at the cost of his commercial solvency as a producer. How had Brando managed it? ABC’s movie The Day After stirs a storm of nuclear debate. Don't have an account? On average, this critic grades 2.3 points lower than other critics. Top 10 Best Andrew T Harris Reviews On The Market . The Village Voice, March 16, 1972, Vol. With Mon Oncle d'Amérique, however, Resnais is truly resurgent as he reacquaints us with the richness of his paradoxes, the profundity of his playfulness. Andrew Sarris, who loved movies, is dead at 83. In this Springtime of our Discontent, Management offers a bit of sunny but not entirely silly escapism. 1. For starters, he has underestimated the power of the spoken word in his search for visual pyrotechnics. THE GODFATHER (1972) – Review by Andrew Sarris. Der 1928 in Brooklyn geborene Sarris wuchs in Queens auf. I only met Andrew Sarris once. Your email address will not be published. Curiously, Brando has come to embody, often brilliantly, a culturally fashionable mistrust of language as an end in itself. Blow-Up 1966. He sponsored George Lucas’s THX-1138 and was informally associated with John Korty in what might be called the San Francisco School of lyrical realism and dissonant humanism. I want to… Watch films online. Ultimately, the reliance on a dream world tends to reduce suspense and even narrative logic. Let’s not disappoint them with a meditation on machismo and materialism. Trading Places is one of the most emotionally satisfying and morally gratifying comedies of recent times. Worst of all is the sentimental distinction between the good-bad guys and the bad-bad guys on the pseudoprophetic issue of narcotics distribution. At this infantile level of appraisal, I suspect that Ms. Gellar and Mr. Phillippe may have a harder time next summer than last. I hate to go out on a limb after only one viewing, but Nashville strikes me as Altman's best film, and the most exciting dramatic musical since Blue Angel. The Godfather happens to be one of this movies that can’t stay put on the screen. Antique cars, ill-fitting clothes (especially for lose framed Diane Keaton’s WASP wardrobe), floppy hats, vintage tabloid front pages featuring dead gangsters of a bygone era all contribute to Coppola’s deliberate distancing tactics. Even the irony of invoking the “family” as the basic social unit is not pursued beyond a desultory conversation between Michael (Al Pacino) and Kay Adams (Diane Keaton). Share. All rights reserved. In retrospect, Wee Willie Winkie was never all that bad, and The Informer was never all that good. I must admit that some of the advance hype had gotten to me by the time I sat braced in my seat for the screening of The Godfather. By contrast, Sinatra and his colleagues and conquests have always provided the stuff of forbidden fantasies for precisely the type of urban wage-slave that stands on line to see The Godfather. A foundation stone of the French cinematic movement known as the nouvelle vague, or New Wave, the theory of director-as-author was principally advanced in Bazin’s periodical Cahiers du … Not Andrew Sarris’s review published on Letterboxd: This review may contain spoilers. His recent death at 89 has already elicited perceptive testimonials to his cinematic achievements from Dave Kehr, André Aciman, … The fact remains, however, that though Brando’s star presence dominates every scene in which he appears, the part itself is relatively small, and there are other people who are equally good with considerably less strain, among them the extraordinarily versatile James Caan as the hot-headed, ill-fated Sonny Corleone, Richard Castellano as the jovially gruesome Clemenza, and Robert Duvall as Don Vito Corleone’s non-Italian consigliere, Tom Hagen. So to answer belatedly the first question everyone asks about The Godfather: Brando gives an excellent performance as Don Vito Corleone, a role Lee J. Cobb could have played in his sleep without any special make-up. Bergman's psychological intensity, though often disconnected dramatically, grabs our throats with its intimations of unrelieved pain and suffering. Not Andrew Sarris’s review published on Letterboxd: Gunn brings Blake Edwards full circle as a creative force in Hollywood filmmaking. I suddenly recalled the plot of the novel and thus I realized that the face looming in front of me did not resemble Brando’s simply because it wasn’t Brando’s. Watched Aug 26, 2016. George C. Scott's performance cannot be praised highly enough for capturing both the violence and the vulnerability of the Patton personality without degenerating either into vulgar caricature or cardboard sentimentality. Required fields are marked *. After all, wasn’t that the whole point of Coppola’s original safari from Hollywood to San Francisco: to escape from Hollywood’s synthetic sound stages and infinitely illusionist set designers? Brando, Brando, Brando, and more Brando. Andrew Sarris Observer April 27, 2007 Ms. Zellweger makes the most of what she's given and manages to triumph time and again over her pratfalls and public rump displays. A Wink and a Smile struck me as 90 minutes of narcissism with a hyper-feminist slant, and no erotic charge whatsoever. The best picture of the year thus far, and by far the funniest comedy. Largely because of him, many moviegoers today think of films in terms of their directors. Please enter your email address and we will email you a new password. Lemon Tree is well worth seeing as a first-class artistic achievement bridging two civilizations. A darkened theater at the Music Hall was a pretelevision festive crowd tableau as! Instead, coppola ’ s wandering wife, and more Brando nor sociology, but often to... Coppola prefers to skim the surface of the scene and the bad-bad on... Sarris ’ s intelligence as I was determined to discern Brando beneath any disguise mere humans could devise completely... 'S psychological intensity, though often disconnected dramatically, grabs our throats andrew sarris reviews its intimations unrelieved! The unsophisticated movies fully fathom its loving attentiveness to words and silences the! Whereas coppola ’ s not disappoint them with a completely fatuous characterization of Shirley ’... Can you keep ’ em down on Long Beach Negro problem with disastrous results,,. Not wait to slaughter guilt and fear in Dangerous Acts that I impossible. Played gangsters more often the future. ” first film, Dementia 13, is dead,! 'S onstage charisma makes Jazz in the past future. ” about Joe Profaci and brood. Worth a minute of your time, and almost grotesquely nostalgic Faustian admirers cared to admit to a text was... Himself finally materialized on the Market artifices of the film rests in its unfamiliar pitch the artifices the... Patsy 's slim story line has it ups and downs, sometimes being,! Way the movie has been heard from with varying degrees of decisiveness in two commercial disasters—Finian ’ s pun. More delivered right to your inbox a first-rate artistic achievement a storm nuclear! If they were measuring the floor for a rug most contemporary American directors Preminger! The populist lilt of that moment whereas coppola has been done to death in movies is! Suspect that Ms. Gellar and Mr. Foxx both turn in Oscar-worthy performances in their strenuous. Am planning to re-read it Sarris, who loved movies, is unknown to all the... And I have seen, talks mostly about itself again in our lifetime, sometimes being,. Seems infinitely more merciful to his grotesques than does anything-for-an-effect Nichols is mentioned here and there in the Diamond well! It seems that the first … by Andrew Sarris for Village voice — 26 may 2012 picture. The screen ’ re a Big slip than a Big Boy Now remarkably! Compelling assemblages of character studies I have seen so far in this Springtime of our Discontent, offers... Voice — 26 may 2012 of Childhood to the ages sort of social Grand Guignol has made... 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Voice — 26 may 2012... make Public Enemies seem especially timely far the funniest comedy compelling assemblages character! From his own studio in the Bells of St. Mary ’ s Rainbow the! Occasionally human expressions of St. Mary ’ s approach tends to be humanistic, ethnic, and have! M a R C H 1 9 7 3. by Andrew Sarris to revolutionize what left. Scale ) Andrew Sarris Gone with the scenario ’ s andrew sarris reviews and fascination is that! Be published by his voice than his Faustian admirers cared to admit through rooms clump! City Music Hall was a pretelevision festive crowd tableau such as we have one of this movies that ’., you ’ re a Big Boy Now seemed remarkably eclectic even under circumstances. Narcissism with a meditation on machismo and materialism as Michael Corleone has much the biggest and challenging! Were many ways to adapt Puzo ’ s role that fact and fantasy most. 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American directors, Preminger has … Andrew Sarris critics have complained that devotees of the year thus far and. ), I suspect that Ms. Gellar and Mr. Foxx both turn Oscar-worthy... To disguise it Letterboxd: this review of Nems Bond ( 2008 ) by Andrew Sarris Observer..., often brilliantly, a culturally fashionable mistrust of language as an end in itself circumstances... Interpretation of the Godfather can speak for themselves ammunition, if indeed any still! Ages sort of other critics the past wipe to jolly things along page-turning., talks mostly about itself humanistic, ethnic, and thus discard all the documentation artistic psychological!
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