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Joaquín Luis Romero Marchent
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A wagon load of convicts on their way to prison is being escorted through the mountains by a cavalry troop. They are attacked by a bandit gang, and only a sergeant, his beautiful young daughter and an assortment of seven sadistic, murderous prisoners survive, and they are left without horses or a wagon. The sergeant must find a way to get his prisoners to their destination while protecting his daughter, watching out for the still pursuing bandits and trying to determine which one of the prisoners was the man who raped and murdered his wife.
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皮埃尔·舍恩德费尔
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In 1954 Vietnam, at the time of Diên Biên Phu, a French unit on patrol under the command of an inexperienced lieutenant is gradually depleted by Vietminh until only an ex-Wehrmacht Alsatian adjutant remains. He is to die, a title informs us, in Algeria in 1960.
Semi-documentary in style, this is an effectively low-key appraisal of the difficult choices with which war confronts its soldiers. As so often in Vietnam films the enemy is only glimpsed from a distance, the camera remaining a disembodied observer among the group. Bertrand Tavernier acted as co-writer on the film.
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大卫·格瑞尼
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The story appears simple on the surface, but is revealed, especially after multiple viewings, as more multi-layered and textured than Cassavetes at his best. Ostensibly it concerns a 14-year old Catholic girl, Wynne (Agutter) growing up in this post-modern wasteland, who develops a crush on her much older adoptive brother (Marshall)- a crush which perversely deepens and grows into infatuation once she starts to believe he is the local sex killer. This is in itself an idea that makes you sit up and jolt, but as the narrative develops, it continues not necessarily along a linear path but in several confusing and fascinating directions: the family's history, (detailed effectively in chilling flashback during an improvised seance) is a chequered one, and has suffered at least one major relocation and upheaval in the last ten years.
At the crux, however, it's the depiction of socialal changes that make I Start Counting so fascinating and elevate its language far beyond the confines of the standard horror film. The major subtext- that teenage girls were maturing more quickly than before, and developing full sexual and romantic appetites (even if in thought rather than deed) but were not possessed of enough discretion to make the right choices- was a step forward for a genre in which its young females had previously been portrayed as bimbo victims (Cover Girl Killer and The Night Caller spring to mind), but not one that all viewers would necessarily agree with.
But most striking of all, and possibly the most enduring image which the viewer will take away with them, is of the masterful symbolism with which director Greene invests every shot. Every inch of the Kinch family's world- their house, their walls, their TV, Agutters underwear, bedroom furniture and toys, Sutcliffe's clothes, Marshalls van, the local Catholic church, their town centre, their record shop) - is painted a bright, scintillating white- a white which, by inference, is slowly becoming smudged and corrupted with the dirt of the outside world. White also symbolises, of course, purity and innocence (two qualities Catholic schoolgirls are supposed to hold dear), and it is into this world of innocence that the ever-present red bus (a symbol of violation and penetration), conducted by the lecherous yet similarly juvenile Simon Ward, makes regular journeys. The allegory is further expanded in one scene where Agutter believes she sees the Christ figure in church weeping blood: by the time we acknowledge it, its gone, but the seed has already been planted. Rarely in a genre production has the use of colour and background been so important or effective in creating a uniformity of mood.
I Start Counting is as near-perfect an end to a decade as one could hope for, and exactly the kind of film people should be making now- which is, of course, exactly why they never will. A genre essential.
by D.R. SHIMON@lounge.moviecodec.com
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费尔南多·迪·莱沃
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Fernando Di Leo's "Milano Calibro 9" is an out-and-out masterpiece of Italian Crime cinema and, in my opinion, one of the most astonishing crime stories ever told. The first film in Di Leo's excellent 'Milieu' trilogy, "Milano Calibro 9" was followed by "La Mala Ordina" (aka. "Manhunt", also 1972) and the brilliant "Il Boss" (1973). The three films are not connected story-wise, but all three are excellent, and highly realistic portrayals of organized crime. As far as I am concerned "Manhunt" is (allthough excellent) slightly inferior to this one and "Il Boss" which both stand out as absolute all-time highlights of crime cinema. "Milano Calibro 9" is the best of them all, a film that is astonishing in all aspects, be it the ingenious plot that, apart from a compelling story and clever twists, includes social criticism, the performances, the gritty atmosphere and suspense or the brilliant score. I can hardly find the right words to express my admiration for this masterpiece which easily ranks among the greatest Gangster flicks ever brought to screen.
Gastone Moschin stars as Ugo Piazza, a tough and elliptical ex-convict who has just been released from prison. Immediately after his release, Ugo is approached by members of the Milan mob lead by the irascible gangster Rocco (Mario Adorf), as they suspect him to be responsible for the disappearance of a large sum of money belonging to their boss, an American (Lionel Stander) who controls the organized crime in Milan...
"Milano Calibro 9" is a film that delivers an astonishingly realistic mood of the underworld like hardly another. The intriguing storyline goes in hand with interesting characters, raw atmosphere, suspense and breathtaking action, social criticism and brutal violence. The film is simply stunning from the beginning to the end, which is even intensified by the brilliant score, a collaboration of the famous composer Luis Enríquez Bacalov and the Italian Progressive Rock band Osanna. Ugo Piazza must be one of the most charismatic gangster characters ever in cinema, and Gastone Moschin was the prefect choice for the role. Moschin delivers a brilliant performance, and the rest of the cast is also great. Mario Adorf is irascible like a rabid dog as the ferocious gangster Rocco, a role that fits him like a glove. The great Lionel Stander fits perfectly in his role of the American Mafia Don.
The two cop characters in the film are played by two of the greatest regulars of Italian genre-cinema, Luigi Pistilli and Frank Wolff (who committed suicide before the film was released). The ravishing Barbara Bouchet is astonishing and incredibly sexy in the role of Ugo Piazza's stripper girlfriend. Bouchet is both a stunning beauty and an excellent actress and this is doubtlessly one of her most memorable roles. This is also a political film and director Di Leo embedded a lot of social criticism about topics like corruption. This film simply has everything one can possibly desire in cinema. Films like "Milano Calibro 9" are the reason why I love cinema. This is an absolute masterpiece in all regards and, without exaggeration, one of the greatest Crime flicks ever made! The ingenious opening scene alone is more memorable than most films get in two hours.
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莫里兹·斯蒂勒
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“Sangen Om Den Eldröda Blomman” ( “Song Of The Scarlet Flower” ) was a recent and remarkable silent surprise for this Herr Von; the oeuvre is an excellent Herr Stiller silent film that this German count watched in a newly restored and tinted copy. It combines the well-known aesthetics, technical improvements and artistic merits for which the Nordic director was known and praised since those early silent times till today.
The film tells of the merry and carefree love life of young Olof ( Herr Lars Hanson ) a woodsman who during his search for true love, seduces many frauleins ( just like this German aristocrat… well, not exactly because the purpose of this Herr Von’s seduction of rich fräulein heiresses are their great fortunes… ). He will suffer disappointment and deception, all those problems that turn up in any loving relationship. Finally he will find responsibility and maturity, learning during his particular quest that his actions always have consequences in different degrees to the people around him. This Herr Von can describe “Sangen Om…” as a kind of coming of age film, the special introspective growth toward maturity of a free and easy youngster.
As this German count said before, the film displays Stiller’s characteristic artistic virtues. ; in the first part of the film, we can see elements of comedy, not exactly like the comedy of intrigues in other Stiller films, but humor of a more cheerful sort, highlighting the self-involvement of our hero. Olof ‘s frivolous flirtations with the different girls eventually turn romantic and then turn into drama. There is conflict in the troubled relationship between Olof and his father and later with the father of his beloved. The beautiful and wild natural landscapes of Norrland and northern Sweden lend the tale a certain power and is characteristic of Herr Stiller’s other silents where Nature emerges as an important character in the story. This is strongly reflected throughout the film but especially during the frantic scene wherein Olof descends into the troubled waters of a river, a beautiful metaphor for the hardships that our hero has to endure until he finds himself.
“Sangen Om Den Eldröda Blomman” is an excellent, beautiful film, a solid, technically perfect and intricate production of 1919 that demonstrates once again the importance of Herr Stiller for silent film history.
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列夫·库里让诺夫
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World War II veteran Kuzma Kuzmich Iordanov has become a heavy drinker with no interest in finding employment of any kind. He joins a collective farm, claiming to be the father of Natasha, a resident there, and is forced to analyze his life when he finds himself falling in love.
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Alexander Singer
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In London, the pregnant wife of an industrialist falls down the stairs, loses her sight and has no recollection of the events but suspects that a mentally traumatic experience prior to the fall caused her accident.
Psyche 59 is a 1964 British drama film directed by Alexander Singer and written by Julian Halevy. It is based on the 1963 novel Psyche '59 by Françoise des Ligneris. The film stars Patricia Neal, Curd Jürgens, Samantha Eggar, Ian Bannen, Beatrix Lehmann and Elspeth March. The film was released on 29 April 1964, by Columbia Pictures.
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Dennis Dimster
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Mikey是个看似天真的小男孩，然而凡是收养他的家庭总会发生一连串无法解释的“意外”死亡，之后他又被新的家庭收养。 在影片开头，养母因为Mikey在屋里玩火而教训了他，结果他把妹妹淹死在游泳池，趁养母洗澡时电死她，拿球棒打死了养父。警方没有怀疑Mikey，因为他才9岁， 警察 听信了他编的故事，以为是有人闯进屋杀了这家人。 Mikey被带到一个新家。他爱上邻居的漂亮大姐姐Jessie，但是Jessie对他没兴趣，因为两人年龄相差15岁，而且Jessie有男友。学校的一位老师注意到Mikey的异常举动，开始调查他。结果Mikey把Jessie的男友电死在浴池里，然后杀掉了养母、老师、校长，还差点杀死了Jessie，最后制造煤气爆炸烧死养父。Mikey伪造了自己也被一同烧死的假象金蝉脱壳。在影片结尾，Mikey化名Josh，再次走进一个新的家庭。
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Neal Sundstrom
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一群男女来到五百年前的城堡观光，接着三个人离奇失踪，剩下的人发现城堡的机关能通往一个迷宫密道，然后他们下去搜寻，却一个挨一个死去，而城堡的伯爵似乎有所秘密隐藏，于是他们开始互相猜忌，到底是狼人的诅咒还是人为。
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查尔斯·克莱顿
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Classic British comedy adapted from a James Thurber story about a tweed manufacturer's elderly accountant who devises a plan to save the company from an American takeover bid. The arrival of an efficiency expert from the States causes enough of a stir but, when it turns out to be a woman, the old-fashioned number cruncher declares war. Man-eating businesswoman, Angela Barrows is sent by her US company to Edinburgh to investigate export opportunities. She meets businessman Robert MacPherson en route and he persuades her to help bring his company into the 20th century. The staff, lead by Mr. Martin, have other ideas and a battle between the old and new business methods breaks out.
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克里斯托弗·汉普顿
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这是一个上世纪20年代的真实故事。朵拉（艾玛·汤普森 Emma Thompson饰）是英国文艺圈里的一名画家，她长相帅气，心中有着世俗无法理解的感情观；同样的性格也可以在作家利顿（乔纳森·普雷斯 Jonathan Pryce 饰）身上看到。他们心灵相通，互相寄托着真爱，却又同时在其他人身上寻找慰藉。利顿在爱上朵拉的同时，也对另一名男子帕特里奇（史蒂芬·威丁顿 Steven Waddington 饰）钟情，于是，朵拉选择了嫁给帕特里奇，从而留住心爱的利顿。当帕特里奇的朋友杰罗（塞缪尔·韦斯特Samuel West 饰）远道而来后，朵拉和这个新来的朋友很快就打得火热。终此一生，他们都在不同的角色中间游走，当利顿病逝后，朵拉也结束了自己的生命。也许朵拉和利顿心中的真爱，已经交付给彼此。©豆瓣
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Attila Szász
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Christmas 1944. Soviet soldiers invade Hungary and drag every young woman with German origins away from a small village and transport them to a Soviet labor camp where they are forced to work in the coal mines under inhuman conditions. This is where Irén, one of the Hungarian women, meets Rajmund who decides to teach her how to survive. While she is determined to return home to her little daughter and family, history and fate have a different plan: Irén and Rajmund fall in love.
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马里亚诺·利纳斯
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本片讲述了三个以字母为代号的男人的神秘冒险经历，时长245分钟，共分为18章节，以魔幻现实的手法表现出阿根廷近代历史文化的变迁，叙事方法新颖独特，长镜头摄影精湛，尽管并不属于大制作，而是小成本的独立电影，但最后的结局却给人以强烈而深刻的印象，是近些年来难得一见的阿根廷实验电影杰作。（08维也纳国际电影节）
In this adventurous experiment in storytelling, secret identities, missing persons, lost treasures, exotic beasts and desperate criminals are only a few of the elements woven into a grand tapestry of mysteries.
其他介绍：
http://www.viennale.at/en/programm/filme/2969.shtml
http://www.filmfestivalrotterdam.com/professionals/programme/film_titles_az/film.aspx?ID=b34d8c83-f2d8-4121-b71d-84b93bc7ab5c
http://www.beyondchron.org/articles/Cinequest_Wrap_Up_Historias_Extraordinarias_The_Tour_and_Esther_s_Inheritance__6700.html
