NinadeL

This has a very strange way of working with information. I'd really like to see what kind of feedback an Art viewer can have for this, let's say stylized, documentary. Czech silent film will always be a victim of random attempts to face it in the future, yet only the present is somehow still missing.

Do you love Prohibition? Okay, then. Are you ready for some real bloody carnage? Okay, then. Are you interested in something more than just a bloody slaughter? Then you're in the wrong place. Of course, for those interested in a more comprehensive look at Prohibition, I recommend the series Boardwalk Empire.

Fancy a classic romcom starring Jennifer Aniston? You do? Then pick something else. Although she does play her role as she does in a number of her romantic comedies, she has a polished style, she's sweet, endearing, and snappy, and her micro-world works. But the story of her counterpart is a different movie altogether, about the great pains of grief and repressed feelings. The power with which Aaron Eckhart plays his widower could boldly rival in another film, for example, Birth with Nicole Kidman. And together, unfortunately, it doesn't work at all.

Is this film trying to break the classic structure of a linearly narrated biopic? It wasn't necessary. The story of Linda Lovelace is not such a fundamental story that it needs to be told twice in one film. It's up to the viewer which version they choose, of course, but if we were to experiment with viewer interactivity, the Deep Throat story really isn't the best material. Why, you ask? Because it's too simple.

A very nicely processed substance. Wallis and Edward is a classic 20th-century romance, ever so influential on politics and the course of history. Jane Seymour is fresh and charming. The perceptive viewer may not appreciate the cheap mask she has acquired as a widow, but for those few minutes, we need not spoil this wonderful experience.

A sweetly intimate look at Marie Antoinette's last days in Versailles. In Farewell, My Queen, the emotions are even more intimate, if only for the shortened time. A wonderful private glimpse into the mosaic of the Great French Revolution.

I never wanted to go into The Apartment. The late Wilder stars like Lemmon or MacLaine (here representing a new type of beauty - after all, she is a star in the Audrey Hepburn era, right?) are never attractive on their own, but they need proper guidance, more than anyone else. The story has a certain charm, but its essence is brash and cruel at the same time, so the finale is highly questionable. But all this, managed by Wilder with considerable experience, has a certain level and now and then it is good to accept such experiences. Not to rest on our laurels, right?

Sunset Blvd. is one of those films that I have to constantly re-evaluate within myself because too many people try to reinterpret it and rape its premise. I'd recommend more study of Gloria Swanson's career, as without her you have no chance to grasp this Wilder pun, even if you may struggle to endlessly analyze the narrative to your own taste.

Hercule Poirot's series of films with Ustinov has always been interesting. In the beginning, there was this magnificent affair set on the Nile. The original 1937 novel offered an ideal combination of interesting characters and exotic settings, making it great material for a cohort of wonderful actors in a captivating setting that was heightened by the colorful wide angle shots. Of the younger generation, Jane Birkin and Lois Chiles shine, and best of all was the bickering duo of Bette Davis and Maggie Smith. Angela Lansbury played perfect comic etudes and Mia Farrow was, as always, particularly ethereal. The original strength of this version is probably the ending, in which each of the hypotheses is played out in a separate scene. However, all three transcripts are worthy of note.

In particular, the episode from The Agatha Christie Hour, The Red Signal (based on a 1924 short story), is one of the weaker ones the series has to offer. There’s no spice, no Pyne, and no Lemon. "The Hound of Death" collection is full of such supernatural phenomena, but for regular Agatha readers, it was never what they enjoyed most. But of course, it's useful to know these to get an idea of the breadth of Agatha's full works. But it is not a pleasure.