If there were any justice in the movies, we still wouldn’t have to make the case for Louis Malle as a great filmmaker instead of one who was merely provocative. It’s ironic that perhaps the worldliest filmmaker since Max Ophuls was, during his lifetime, often judged by petty parochialisms.
In his early films, Malle, a Read More
If there were any justice in the movies, we still wouldn’t have to make the case for Louis Malle as a great filmmaker instead of one who was merely provocative. It’s ironic that perhaps the worldliest filmmaker since Max Ophuls was, during his lifetime, often judged by petty parochialisms.
In his early films, Malle, Read More
“Injustice rules,” cries the Random House flier. No, they’re not vexed by the spreading loom of terror, the unhappy history of Kashmir or even the legal process in California (all of which figure in Shalimar the Clown). The publisher’s alarm is more local: “The Swedes won’t dare to offend Islam by giving Rushdie the Nobel Read More
“Injustice rules,” cries the Random House flier. No, they’re not vexed by the spreading loom of terror, the unhappy history of Kashmir or even the legal process in California (all of which figure in Shalimar the Clown). The publisher’s alarm is more local: “The Swedes won’t dare to offend Islam by giving Rushdie the Nobel Read More
Fifty-six years after a Gestapo agent in a Nazi-occupied Galician-Polish-Ukrainian town put two bullets into the fertile brain of Bruno Schulz, the Theatre de Complicite brought to the Lincoln Center Festival in July a luminous production based on his quivering, surrealist short stories. “Based on” in this case does not mean that the show “dramatizes” Read More
