NinadeL

The combination of Ivory and Forster seems to be very popular. This is a mature, interesting and even engaging work. The debuting Bonham Carter gives a hint of all her future qualities, and the cohort of co-stars are firmly established in the cramped confines of their roles - there's an old-fashioned Maggie, an emancipated Judi, and a traditionally Stanislavsky-armed Daniel Day-Lewis. If you enjoy heritage films, you will be very satisfied.

The story of Tom Wolfe's novel is typical of post-journalism and the term "great American novel" in general (which is not excluded). It turns, individually and in its entirety, to the foundations of American society, building on the most banal conflicts to expose a typecast story in a setting so familiar. We've got the shallow white class, we've got black hicks, manipulators, ladies, mistresses... and Wall Street and the courtroom. And, of course, the desire for money. That's kind of how I imagine Hollywood was back then. Like a critical mirror with a top star cast. The narrator is Bruce Willis, the anti-hero is Tom Hanks, the blonde is Mell Griffith, the wife is Kim Cattrall (and her daughter Kirsten Dunst), and the judge with a higher moral principle is Morgan Freeman.

A statuesque Charlize Theron, the Cold War coming to a head, a neo-retro look, atmospheric Berlin, lesbian romance, secret services... all this and more in Antony Johnston's adaptation of the comic "The Coldest City." This is the first movie to have an 1980s soundtrack and it’s about James Bond in skirts. That floored me.

Kirsten Dunst has been in films under the direction of Sofia for two decades and each film is a delight. Now, for the first time, they've invited Nicole to join them. The result? A wonderful visual experience told at its own pace, with only diegetic music.

A highly successful story from the life of a 16th century German physician. Naturally, it would be a mistake to look for the same qualities in Pabst's war films as in his Weimar films, because the style has changed. But the acting here by Werner Krauss and his antagonist Fritz Rasp is as fabulous as it was before the Third Reich.

"A Streetcar Named Desire" is one of Tennessee Williams' most famous plays. I've seen the emergence of young Brando several times and can only tick off the entry from post-war US cinema, for this is not a gem. But if I think more about Vivien Leigh's career, I can happily conclude that she has spent her life acting only to become Blanche DuBois for good, because all her sassy protagonists seem to have followed in the footsteps of this desperate being.

For international admirers of Greta Garbo, The Saga of Gösta Berling (1924) can be a difficult film to find. For an audience accustomed to her Hollywood films, it is not easy to perceive the full context of the Swedish adaptations of the works of the Nobel Prize winner for Literature, Selma Lagerlöf, who was regularly discussed with great intensity by Victor Sjöström and Mauritz Stiller after 1917. The important thing is to see a copy offering both parts, nothing abridged for an American audience. Today's view of the film often skims over the magical connection between Stiller and Garbo, who guided her through all the pitfalls on her journey from Sweden via Germany to Hollywood but only had the opportunity to direct her once in America (and was replaced by Fred Nibble before The Temptress was finished...). Still, it's worth paying attention to other aspects of this excellent melodrama from the golden era of Swedish silent cinema; there's the great Lars Hanson, the fascinating atmosphere, and the closed world of people addicted to the freezing nature. From time to time it is good to indulge in it.

Surprisingly, even outside the 100th anniversary of František Čáp's birthday, Vesna is worth paying attention to. A debauched tale as if tastefully transposed from pre-war Czechoslovakia to post-war Yugoslavia. Or boys before graduation, gossipy grandmothers, one professor with a frown, and one girl who would like to experience great love. It’s playful, pleasantly old-fashioned, and tasteful all at the same time. I wonder what the sequel is like.

In the same way that I'd never seen Howards End, I had The Remains of the Day tucked away as a vague memory of an interesting trailer from the days of VHS rentals. However, the impression was so strong that it was easy to get excited about the possibility of seeing the whole film on the big screen. And indeed, it did not disappoint - on the contrary, it exceeded expectations. Strong acting performances all round, just the way I like it.

I had an impression of the film Poor Girl shortly after the year 2000 when I first saw that famous poster by Martin Frič. The combination of the perfectly magical face of Marwille and the demon of the big city was almost hypnotic. And while not even 20 years had passed, I had the opportunity to confront my impression with the actual film. As the classic says, patience is a virtue. Today, I'm feeling great, I can revel in five whole films from the Marwille era under Frič's direction, both silent and sound. Is it any surprise then that I don't find a speck of anything to criticize in Poor Girl? Few cinematic dreams offer such an individualized tale to delight. This one offers one of the best-photographed couples - Marwille in the arms of Rubík, which is a great asset in and of itself. Poor Girl moves, titillates, and excites us. In the end, it is impossible to even draw in breath. A mere recommendation is nothing. Harmony is above everything.