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Notebook
Author
Jeremy Carr
Feature
Close-Up on Leo McCarey’s "The Awful Truth": Love and Remarriage
Feature
The Double Bill Brilliance of Jack Hill: Close-Up on "Spider Baby" and "Pit Stop"
Feature
Miklós Jancsó and the Wages of War: Close-Up on "The Red and the White"
Feature
De Sica and His Dynamic Duo Do What They Do Best: Close-Up on "Yesterday, Today and Tomorrow"
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The Little Things: Marcel Pagnol's "Marseilles Trilogy"
Feature
I, Spy?: "The Tall Blond Man with One Black Shoe"
Feature
The Tragic Romance of Max Ophüls’ "Liebelei"
Feature
Close-Up on "General Della Rovere": Rossellini Returns to War
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"Mauvaise Graine": Billy Wilder's Swift and Satisfying Directorial Debut
Feature
Persistence of Vision: The Cinema of Theodoros Angelopoulos
Feature
Close-Up on "Farewell My Concubine": A Spectacular Ode to Life, Love, and Art
Feature
"A Touch of Zen": King Hu’s Masterful Concoction of Cinematic Flavors
Feature
Close-Up on William Wyler’s "The Little Foxes": Family Drama Down South
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Close-Up on "Ball of Fire": Screwball Classic Skewers Stuffiness with Snappy Slang
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Close-Up on "Black Sabbath" and "Bay of Blood": Double Bava Is Horror At Its Best
Feature
Close-Up on "Two Lovers": James Gray's Extraordinary Average Love Story
Feature
Close-Up on "To Be or Not To Be": Lubitsch Answers the Question of 'What's So Funny About the Nazis?'
Feature
"Hondo": Quintessential John Wayne, a Quintessential Western—in 3-D
Feature
Both Sides Now: The Duality of Sinatra, Small Towns, and "Some Came Running"
Feature
'Art and the theory of art': "The Man from Laramie" and the Anthony Mann Western