Like almost all of Ivory’s film’s the ensemble is fantastic, a young Hugh Grant (first archiveable film), Denholm Elliott, Simon Callow (in a key and gorgeous early scene at the beach), Ben Kingsley and a

Easily the strongest effort to date in 1985 from James Ivory and his producer Ishmail Merchant—it was a box office hit of sorts- and the Oscars loved it as well- 8 noms, 3 wins (screenplay,

John Ford’s The Searchers is many things: a meditation on wilderness and civilization is chief amongst them An update of Melville—John Wayne is Ahab here, obsession—monomaniacal My #1 film of all-time, #9 on TSPDT, #7

It’s an odd combination for the archives: Dobkin’s direction is amazing in the first 15-20 minutes with the set-up of the initial scene and of course the wedding montage—great work. Then the superior talents of

Clearly influenced by rock opera Tommy and revenge films like Death Wish this has still has the feel of a unique voice. Nods for sure to the surreal nightmare world of David Lynch. Cosmatos paces

A strong supporting cast (including Jessica Tandy, Lina Hunt, Wallace Shawn) but this is Vanessa Redgrave’s show. She’s superb—so much so that it magnifies the unremarkable work of Madeleine Potter and Christopher Reeve as her

Period elegance from Merchant Ivory. Set in 1927, trendy society in New York- but it’s a dog eat dog world—the young and beautiful innocent Isabelle Adjani (great casting) is almost served up as lunch or

A unique and rich take on the comedy, the fish-out-of-water comedy If there are 10 reviews 8 mention how “charming” it is and it extremely charming. Affirming-- filled with Forsyth’s splendid wit Love the scene

A supreme visual and aural achievement—when combined with the utmost formal exactitude— it leaves us with one of the best three films of all-time If you still need more evidence of Kubrick’s genius--- how about

The in medias res opening is a dazzler- a long tracking shot through a cluttered (stunning mise-en-scene) basement. There are bicycle wheels in the frame, lights hanging in the foreground, objects- it’s Ozu and it’s

It’s both an important film (probably the most easy to point to singular bridge between noir and the French new wave) and a fantastic work of art without the important influence associated Heavily influenced by

Ivory (and Merchant/Ivory)’s 3rd feature It’s airy and delicate- takes it’s time with the romance and building the atmosphere (shot on location in India) of the traveling players Love the gorgeous sculpture montage in the