Kurosawa’s first film in five years since 1975’s Dersu Uzala – a three hour war epic Kurosawa audaciously paints the sky red Set in 16th century feudal Japan—this is not from Shakespeare (though if you aren’t familiar with his work it could probably fool you)—sort of Alexandre Dumas The Man in the Iron Mask in some ways, too Set in 16th century feudal Japan—this is not from Shakespeare (though if you aren’t familiar with his work it could probably fool you)—sort of Alexandre Dumas The Man in the Iron Mask in some ways, too A

It is a far cry from Eastwood’s magnificent run in the early to mid-2000’s (he hasn’t had a Highly Recommend top-10 of the year level film or better since 2006) but it is an engaging narrative with a terrific lead performance from Paul Walter Hauser who came on the scene in I, Tonya and BlackKklansman in recent years a terrific lead performance from Paul Walter Hauser who came on the scene in I, Tonya and BlackKklansman in recent years Eastwood's use of muted greens, blues in the decor--- paired with the shadows and darkness is there-- again---

Sidney Lumet’s Serpico is a superb crime procedural and a rich character study—the achievement here may be even greater for Pacino than it is for Lumet Pacino is just in the middle of one of the great five year stretches for an actor. Panic in Needle Park in 1971, The Godfather in 1972, this and Scarecrow in 1973, The Godfather Part II and Dog Day Afternoon in 1975… wow Pacino carries the film- he’s in nearly every frame of the 130 minutes—there are a dozen scenes where he gets to erupt and flesh out this rich character. But

Kurosawa worked in the USSR (shot on location in Taiga) for Dersu Uzala- his first film in five years, his second in color, first on the larger Sovoscope 70mm canvas Shot almost entirely in exteriors – the Siberian taiga – Kurosawa catching the colors of the seasons (certainly his use of weather, all over the place here, a trait throughout his work) Shot almost entirely in exteriors – the Siberian taiga – Kurosawa catching the colors and changes of the seasons (certainly his use of the elements, all over the place here, a trait throughout his work)

Across the Pacific gets the gang back together from 1941’s The Maltese Falcon- Warners, John Huston, Bogart, Mary Aster, Sydney Greenstreet—this is actually Huston’s third film (a film between debut Falcon and this is a Bette Davis vehicle In This Our Life which I have not yet scene) Huston left for the war before finishing—saying to the guy taking over (about the plot) essentially “you figure it out”- haha Don Siegel does some of the montage work (also for Casablanca and a few others during this stretch) Bogart’s character is named Rick— he’d make another Warners classic in 1942

An important film in the history of film noir, Italian neorealism (even if it doesn’t fit most of the characteristics of the movement), and Italian cinema in general The beginning of Luchino Visconti’s distinguished career as auteur- and despite fitting into (or starting) these genres and movements, it is his fully his film—a Visconti film—and has much in common with Senso and Death in Venice for example. Visconti seems to have arrived as a fully formed mature voice as an artist- this is an accomplished work and one of cinema’s great debut films. Visconti did work as an apprentice

You’ll leave impressed by the young Ingrid Bergman (age 21 here) as you probably expect to be given the film’s reputation as her start—but the big takeaway from the film is Gustaf Molander’s dedication to the artistry of the frame. Specifically, there are a dozen or more frames loaded with floral arrangements. And not just sitting on a table in the background either (and that does happen)- but in frame in the foreground with the main action going on just beyond it You’ll leave impressed by the young Ingrid Bergman (age 21 here) as you probably expect to