Spellbound @ 75 and the cinema of Salvador Dalí

by Cláudio Alves

Alfred Hitchcock's third and final film for producer David O. Selznick was released 75 years ago. During a time when psychoanalysis was gaining popularity and notoriety, Hollywood was quick to cash in on the phenomenon. They created psychobabble Pablum like Spellbound and its view on dreams are both too literal and ephemeral. It's a message picture in the costume of a radical polemic, devoid of authentic psychic unrest even though Selznick brought his own therapist to act as an advisor. All in all, it's rather mediocre with some blindingly bright highlights... 

For starters, this was Hitch's first collaboration with Ingrid Bergman, a partnership that would bear majestic fruit one year later with Notorious. She's not nearly as good in Spellbound, but there's an interesting tension between her and a profoundly miscast Gregory Peck. The two even had an affair on the set of the movie. Then, we have the score by Miklós Rózsa, an experiment in the use of Theremin for soundtracks that proved influential on the development of horror movie sonority. Finally, one can't talk about Spellbound without mentioning the surrealist sequence in the middle of its runtime. It was devised by none other than Salvador Dalí…

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Deneuve on Criterion

by Cláudio Alves

Catherine Deneuve is one of the most beautiful people to ever step in front of a camera. Since the 60s, she has dazzled moviegoers in projects that span from conventional fare to the craziest experiments. While it's true she may not be a performer of astounding tonal flexibility or chameleonic aptitude, many directors have known how to utilize Deneuve's ice queen persona to great effect. Demy made her into a paragon of youthful romance, Buñuel captured a dangerous masochism in her eye, Polanski made her sing rhapsodies of madness while Téchiné gave Deneuve opportunity to modulate her expression into painful naturalism. She is a muse to many an auteur and it's easy to see why – her face must have been made for the big screen by the cinema gods.

If you want to peruse her cinematic glories, The Criterion Channel is currently streaming a marvelous collection of 16 Deneuve films. Here are five highlights from the collection…

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Luis Bunuel's "Tristana" is 50...

by Eric Blume

Fifty years ago director Luis Bunuel's Tristana, his second collaboration with Catherine Deneuve, opened. It went on to become  a 1970 Best Foreign Film Oscar nominee.  While it lost the statue to Elio Petri's excellent Investigation of a Citizen Above Suspicion from Italy, it's fascinating to look back at Bunuel's fourth-to-final film and see it still standing strong.

In many ways, Tristana is one of the more straightforward and accessible Bunuel films, but "straightforward Bunuel" is thankfully still pretty fucked up...

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1972: Oversharing with "The Discreet Charm of the Bourgeoisie"

TFE will be periodically looking back at the 1972 film year before we hit the Supporting Actress Smackdown next Sunday. Here's Paolo. 

This is going to sound like I’m overestimating my writing power but here goes. The symbolism within Luis Buñuel’s The Discreet Charm of the Bourgeoisie, Oscar's Best Foreign Film winner of 1972, is easy to write about. Up to interpretation, as they say. What isn’t easy is writing about the feelings the movie evokes. In short, I might be explaining jokes, which slightly offends me as a fan of comedy. But I’m going to do it anyway, since the humor is the first thing that comes to mind in writing about what is arguably Buñuel’s most personal movie. 

The film is about six white bourgeois people who just want to eat but someone or something keeps interrupting them. (I have the same dream... but it's not about food.)

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The Honoraries: Jean-Claude Carrière, Part 1

Our 2014 Honorary Oscar tribute series continues with a two-part look at the long fascinating career of Jean-Claude Carrière. Here's Amir with Part One.

Here at The Film Experience, we are normally opposed to the idea of past winners receiving honorary Oscars. This, after all, is an honor bestowed on a recipient whose career not only merits the attention, but also lacks it. When there are so many giants of the medium that the Academy hasn't recognized, why double dip with already rewarded names? But there is something incredibly satisfying about seeing three time nominee and one time winner, Jean-Claude Carrière, receive an honorary Oscar this year. His is one of the most fascinating careers in film history, and one that has lasted six decades and spanned several countries and languages. 

Carrière started as a novelist, his first work published in 1957, five years prior to winning an Oscar in the best short film category for Heaureux Anniversaire. In the intervening fifty-three years between his two golden statues, he's worked with filmmakers as varied as Jean-Luc Godard, Andrzej Wajda, Louis Malle, Jonathan Glazer and, most recently, Abbas Kiarostami who penned him a short but memorable role in Certified Copy.

His most fruitful collaboration, one that still arguably defines his career still today, was cultivated in the 1960s. [More...]

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