The woman is of course Deborah Kerr, the governess whose complaint has brought the knight-errant to her side. Criterion Collection's November 2020 Titles Include 'The Irishman,' 'Ghost Dog,' 'Moonstruck' (Critic Andrew Sarris reported seeing the original U.S. release version—possibly the same version Scorsese saw on television—when it opened and being immediately intrigued, if puzzled, by it. I learnt from Deborah what love is.” But Kerr, lovely and wistful though with great inner strength, deserves special note. ... Molly Haskell and Farran Smith Nehme, discussing female characters in Lubitsch films. Unbowed by grief or complexity, he keeps moving forward. There are few films I know as well—or love as much—as Howard Hawks’ His Girl Friday (1940), the director’s fast and furious remake of The Front Page.I’m also well acquainted with the great Mildred Pierce (1945 ) starring Joan Crawford and directed by Michael Curtiz. Take the way the film deftly straddles the line between comedy and war tragedy. There is a new 27-minute interview with director Claudia Weill recorded for the Criterion Collection in New York in 2019, and a new 13-minute interview with screenwriter Vicki Polon recorded in 2020. Molly Haskell is a critic and author whose books include From Reverence to Rape: The Treatment of Women in the Movies; Love and Other Infectious Diseases; Frankly, My Dear: “Gone with the Wind” Revisited; and Steven Spielberg: A Life in Films. The charming, bemedaled lieutenant, home on leave, has been stirred by the letter of a young English governess in Germany complaining of anti-British propaganda being spread by a certain well-known spy. The Criterion Collection Arrow (UK) Arrow (US) Indicator Masters of Cinema British Film Institute (BFI) Second Run Anti-Worlds Shout Factory! Whether it is 1902, 1914, 1942, we are all the same, we will all die. The camera then comes to rest inside a carriage where a man and a woman are waiting breathlessly for the result. Cluny Brown is one of my favorites. Relic, The New Mutants, and a Criterion edition of Parasite. Get info about new releases, essays and interviews on the Current, Top 10 lists, and sales. Or a triangular love story in which two men’s pursuit of a single woman (Deborah Kerr, multiplied by three) pays gallant homage to the theme of the eternal feminine, transcending time and place? Other films bearing the Archers’ stamp, like The Red Shoes (1948) and The Tales of Hoffmann (1951), have been in regular circulation since they were made. To prove that Candy, too, was young once, the film transports us back to 1902, time of the Boer War. Or, more benignly, the camera obscura through which Roger Livesey peers at the villagers in A Matter of Life and Death. Livesey’s Candy is the perfect John Bull of a blockhead when it comes to love. and how long it takes his character to realize Wendy Hiller’s loves him. By Molly Haskell. Discussing Rebecca from feminist perspectives, the fascinating, invigorating conversation turns on Second … Thanks to this magical coincidence, his love will remain forever young, forever fair. And yet what passions we have in life. But she, too, is possessed of an insight he lacks. On Tuesday, the Criterion Collection releases a sharp, swank 4k digital restoration on DVD and Blu-ray, with lots of extras and a splendid essay by critic Molly Haskell. After the laserdisc was released in 1988, he would write several celebratory articles.) Criterion provides five excellent bonus features including an enclosed essay by writer Siri Hustvedt. Their life is a round of international diplomatic parties; she goes along with his sporting life and dies young. Yet just how the filmmakers do this is as mystifying as what the movie is. It was …, The teenage girl on the cusp of sexual awakening is a beloved icon of French cinema. Melodrama casts noirish shadows in this portrait of maternal sacrifice from the Hollywood master Michael Curtiz. She won the 2017 career achievement award from the New York Film Critics Circle. (Credit: Criterion) In this 1942 comedy a group of actors in Warsaw use disguises to fool the occupying Nazi troops. Categories, belonging to the rational-adult here and now, are useless when it comes to Powell and Pressburger. Critic Gavin Millar wrote that in contrast to the bloodlessness of most British culture, Powell’s work showed “an unashamed expression of artistic passion—from which the British recoil in horror.” There was a sensuality and eroticism, even a perversity, that was very un-English. Livesey’s aging Candy certainly looks like the bald-pated gent with the walrus mustache, and can be a splut-splut-spluttering old fart. In Memoriam: Richard Corliss. These scenes of preverbal, almost primitive recognition occur when Kerr is kissing Livesey good-bye in Colonel Blimp, lingering a second too long, and he looks a little startled, unsure of a sensation he’s never had before; when, in an epiphany both spiritual and erotic, Sheila Sim turns her face toward Eric Portman in A Canterbury Tale (1944); when Kerr and Farrar part in Black Narcissus (1947). But throughout, he is less a figure of derision than a poignantly high-minded, if blinkered, human being. When pressed as to whether she doesn’t bear a startling resemblance to their Edith, Theo gently and ironically reminds his friend that Edith and he faded and grew old together, that when she died she was no longer the ravishing young woman of his memory. Women are a foreign planet to him and as such can remain an opaque and beautiful mystery. The Soft Skin: Love and Betrayal on the Lecture Circuit. . Including an essay from author and critic Molly Haskell, the Criterion Collection’s release of The Awful Truth features a video essay, an audio interview, and an interview with critic Gary Giddins about the improvisational style that McCarey used throughout the film. Criterion offer optional English (SDH) subtitles on their Region 'A' Blu-ray. The mixture of moods, the extravagant color, were baffling to those accustomed to various kinds of social realism. Brashly and against orders, Candy makes a secret trip to Berlin, where the beautiful Englishwoman—a ravishing, twenty-year-old Kerr—proves as spirited and intemperate as he in rooting out the double agent.