With a tagline like "The Greatest Production Since The Birth Of Motion Pictures," you get a little something like the unmanageable monstrosity that Follies ultimately becomes. Structured as a series of unrelated vignettes, directed by different people (not to mention that screenwriting credit list), it's ultimately just a jumble of parts that add up to less than a whole movie.
Continue reading: Ziegfeld Follies Review
There would have been plenty of opportunity for some My Fair Lady-type hijinks in the early part of this remarkably-controlled film, with Brynner playing the stern taskmaster and Bergman the not-so-ugly duckling about to transform into a swan. But director Anatole Litvak keeps everything measured and reasonably serious, focusing more on Bergman's dementia than the perfunctory romance that supposedly blossoms between her and Brynner. Bergman's performance (which won her an Oscar) has its hammy "look at me!" moments, but they're shrewdly undercut by the surrounding characters' suspicion that she is inventing not just her past as Anastasia but her entire dementia as well.
Continue reading: Anastasia (1956) Review
Ford attributes his career success to films that pass 'from generation to generation'.
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