backtrack; The french connection (1971)

french

Disillusioned, gritty, and immoral – this remains a very competent and interesting cop movie even if you would delete the legendary car chase. But then again, why would you?

Fast and furious – in my book of highly dubious decisions.

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backtrack; Marnie (1964)

marnie

Heavy-handed symbolism, grisly special effects, dubious morals. This disturbed drama of sexuality and identity is a rather tough one to fancy, but it made an indelible impression on me when I first saw it decades ago.

In my most Freudian book.

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backtrack; Les parapluies de Cherbourg (1964)

parapluies

Not the colours, not the singing, not the actors. For me, this is mainly about the story – sentimental and bittersweet, innocent and mature, cute and tragic.

But I do admit that Catherine Deneuve is breathtaking. In my book of the complications of life and love.

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backtrack; Goldfinger (1964)

gold

Seminal Bond with legendary villains and gadgets. Still entertaining, though severely outdated.

Powerful Shirley Bassey title song. Maybe in my book of nostalgia.

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backtrack; The haunting (1963)

haunt1haunt2

To paraphrase tennis legend Lennart Bergelin: Do you have what we in Sweden call »mysrysare«? This neat and interesting exercise in gothic sceneries and mental deterioration is crammed with »cosy thrills«.

The female lead sways as the house almost becomes the main character. In my book of paranormality and psychology.

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backtrack; Nattvardsgästerna (1963)

A00

Reduction, clarity, consistency. Bergman’s relentless austerity, Sven Nykvist’s magic camera, and the quiet intensity of the actors elevates this contrived – even ridiculous – story from intellectual concept to high art.

In my most demanding book of restraint and absence.

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backtrack; Hud (1963)

hud

Another well-made western about dysfunctional masculine behaviour and relations, where a harsh family history and some fatal happenings breeds brutal recklessness.

In my book of ambivalence and antiheroics.

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