At one point in the film, Harry is described by his boss, Major Dalby (Nigel Green), as “insubordinate, insolent, and a trickster, perhaps with criminal tendencies.” But Caine’s performance is so muted, his face rarely changing from a placid expression, that he comes across more as aloof and unflappable than the cad that Dalby describes. And this contrast—between what we hear and what we see of Ringo—is intensified immeasurably by Peck’s performance. He states "I shall save them all.

( Log Out /  Loosely based on Old West outlaw Johnny Ringo, Gregory Peck’s Jimmy Ringo is a legendary killer with a gun that’s said to be as fast as Wyatt Earp’s, yet he’s beyond taking pleasure in such stature.

( Log Out /  Kino’s transfer of a 2K restoration boasts a sharp, richly detailed image with color balancing that stays true to the film’s mostly drab color scheme, while still presenting a fairly high dynamic range of colors and strong black levels that help to emphasize cinematographer Otto Heller’s moody lighting.

The next shot is then of a building blowing up and depressed faces reflected in the shards of glass among the rubble. There is no story about his past which can justify his behaviour or offer insight into his person, but daily events hint facts. Karl dreams of his glorious future in the New Order, where he will reign over an empire of death. Copyright © var now = new Date(); document.write(now.getFullYear()) MH Sub I, LLC dba Internet Brands. The only label that begins to fit the show is Psychological Horror, but that doesn't take into account author Ladislav Fuks' insightful analysis of the insidious spread of Nazi influence in his country just prior to WW2. The Snake Pit [1948] – A Fairly Nuanced Exploratio... Hail, Caesar! In Sartre's book, two characters talk to one another though only later do you find out they are miles apart in different countries. But Furie and cinematographer Otto Heller had other ideas, making a highly stylized, moody, and deliberately paced spy thriller that strives for an artful deconstruction of the Bond-iverse. Gone is the high-contrast monochrome, traded in for full-color film stock that brings out the blues and grays of the modern and more prominently featured Tokyo cityscape. The Cremator is a dark, very surreal black comedy, a disturbingly morbid revisit of The Loved One mixed with the historical dread of the well known Czech film The Shop On Main Street. Filming took place during July and August in the middle of the summer heat and the bodies were starting to smell. This is a handsomely shot film, and it’s a clever touch on the part of the filmmakers to make it seem as if the camera is often hidden from view, as if the audience were spying on the action. That very notion of “justice for all” figures prominently in Joe Kidd’s climax. First up is a short documentary from 2011 that shows director Juraj Herz revisiting two different crematoria that were used during the filming of The Cremator, discussing different elements of the production along the way. [17] He liked genre films because he saw them as easier opportunities to include macabre imagery and eroticism which he liked. The cremator is ready to sacrifice anything to stay powerful, strong and liked by the mass. The vision reappears and tells him that he is the reincarnated Buddha. J uraj Herz’s The Cremator is something of an outlier among the films of the Czech New Wave. The inference of possible escape during the moments that segue into these scenes becomes the film’s most diabolical trick. Set in the late 1930s, the party in question happens to be the Nazis. The interaction is strange but unthreatening, and Jennifer’s casual and hopeful demeanor is expressed when she immediately disrobes for a swim upon reaching her cabin in the woods. Even as the film’s script identifies this fixation with a past trauma as a handicap on Matt’s heart, Hathaway betrays a deep compassion for the gravity of his situation in a number of scenes in which the boy visits his mother’s gravestone, located on one Moaning Meadow, a plot of land the family refuses to sell lest it cease to be the symbolic site of their accumulated grief. The emphasis on the beauty of decay, not to mention the backdrop of a post-industrial heavy metal wasteland, could’ve been lifted straight from Lynch’s Eraserhead, while the progressive fusion of flesh and metal that Tetsuo’s nameless salaryman (Tomorô Taguchi) undergoes can be traced back to the biomechanical gun that James Woods pulls out of his gut in Cronenberg’s Videodrome. “You know, premature death can be a great blessing… It frees one from suffering”. Even the exteriors of the impressive crematorium are disturbing.

His reactions to her are always negative. Next to High Plains Drifter, Eastwood’s midcareer masterpiece Unforgiven is sentimental, and hell, this film might even make Akira Kurosawa’s merciless Yojimbo, the wellspring for the modern American western, blush. This editing style is used to very humorous effect in one morbid scene, in which Kopfrkingl asks Mr. Dvorak his opinion about suicide (the character commits the act later in the film). The abruptness of this scene is chilling, and, yes, Eastwood maintains a certain macho ambiguity as to whether or not Callie “enjoyed” it as a reprise from coupling with the local beta males, though the action itself is terse, brutal, and unglamorized. With the film already available on 4K, the appeal of this Blu-ray release comes down to its extras, and on that front it certainly delivers. The fate of his feistier daughter is left troublingly up in the air as the film moves into its final moments, an apotheosis of utter insanity to which Karel almost joyously succumbs. Specifically his children, who are hanging from the metal cage like monkeys. The Cremator has several kinds of Weird going on at once, creating a truly creepy, disturbed mood. It’s an unfortunately retrograde finale to a series that really deserved better. When Karl's not narrating a demented version of reality, he's lecturing people.

Dark Sky's DVD of Juraj Herz's The Cremator is a sharp enhanced B&W transfer of this expertly filmed show.

Telaroli portrays King as a humble man and astute collaborator who was fascinated with the internal functioning of specific communities, such as a fair in State Fair, the military in 12 O’Clock High, and the western town of this film.

The speech gradually descends into mania with many of his wife's friends and relatives leaving while Kopfrkingl states the importance of death in "the Fuhrer's happy new Europe". correspondent from Prague that I would be better off just leaving words plain.

Karl's various manias are immediately apparent.

By this I mean they are food to the leopard. Directed by Juraj Herz. Instead of cutting from a picturesque location to an obvious set, Clint Eastwood and cinematographer Bruce Surtees frequently capture interiors and exteriors simultaneously, tightening claustrophobia as well as our impression of “knowing” this town.


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