As John Simon’s insert essay “The Lower Depths” asserts in Criterion’s Blu-ray re-release of Ingmar Bergman’s 1953 masterpiece Sawdust and Tinsel, the title was something of a turning point for the Swedish cinematic titan, who had yet to claim the international reputation he would soon come to be known for. Previous titles Summer Interlude (1951) and Waiting Women (1953) had recently found Bergman compete for Venice’s Golden Lion, and while 1947’s A Ship to India had been part of the Cannes program, it was 1955’s Smiles of a Summer Night which gave him his first crack at the Palme d’Or, while 1957’s Wild Strawberries would take home the Golden Bear in Berlin.…...
- 1/1/2019
- by Nicholas Bell
- IONCINEMA.com
David’s Quick Take for the Tl;Dr Media Consumer:
Shame is Ingmar Bergman’s “war movie,” a disclosure that already feels to me like I said too much, since I went into this one knowing next to nothing about it and was therefore all the more pleasantly stunned and staggered by the discovery. So if you haven’t yet watched it, stop reading now, and go do so right away, or at least before you proceed much further in reading here. It’s an excellent film and in my opinion, yet another marvelous, essential “must see” entry into Bergman’s canon. (Other critics, and even the director, don’t share my assessment; I’ll address that below.) But for those who’ve seen it, I have to figure they can agree with my surprise at the inclusion of screaming fighter jets, exploding grenades, dead paratroopers hanging from branches, machine gun blasts,...
Shame is Ingmar Bergman’s “war movie,” a disclosure that already feels to me like I said too much, since I went into this one knowing next to nothing about it and was therefore all the more pleasantly stunned and staggered by the discovery. So if you haven’t yet watched it, stop reading now, and go do so right away, or at least before you proceed much further in reading here. It’s an excellent film and in my opinion, yet another marvelous, essential “must see” entry into Bergman’s canon. (Other critics, and even the director, don’t share my assessment; I’ll address that below.) But for those who’ve seen it, I have to figure they can agree with my surprise at the inclusion of screaming fighter jets, exploding grenades, dead paratroopers hanging from branches, machine gun blasts,...
- 12/27/2016
- by David Blakeslee
- CriterionCast
A few weeks ago I featured a couple of posters by the French illustrator Roger Jacquier, also known as Rojac. Since then I’ve tried to find out as much about him as possible, but have gleaned little more than that he was born in 1913, designed his first posters in 1932 (when he was just 19), worked steadily throughout the 30s, 40s and 50s, and died in 1997. Beyond that, and the fact that he always signed his posters with “rojac” and the last two digits of the year, I know nothing and if anyone can enlighten me further I’m all ears. I did, however, manage to find a number of Rojac’s posters online, almost all of which confirmed my first impression of him as one of the great movie poster illustrators. If he’s not as well known as some of his peers, it may be because a lot of...
- 4/29/2011
- MUBI
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