Before Bertrand Bonello transformed The Beast in the Jungle into a time-hopping, existentialist sci-fi melodrama, the most radical cinematic treatment of the work of Henry James was Peter Bogdanovich’s 1974 film maudit Daisy Miller. The adaptation is certainly faithful, with dialogue lifted directly from the text and the core narrative and themes understood and preserved by Bogdanovich and writer Frederic Raphael. But the film also filters James’s tale of a scandalously flirtatious 19th-century American woman in Europe through a screwball prism.
Here, the novella’s cool-tempered Frederick Winterbourne (Barry Brown) is left completely befuddled by the rapid-fire, monopolizing chatter of Daisy Miller (Cybill Shepherd). It’s an oddly compelling approach, but it only intermittently succeeds. When the film premiered, critics and even many of Bogdanovich’s friends and colleagues derided the entire project as a vain folly devoted to the star, the director’s then-girlfriend. The blatant sexism of the reaction aside,...
Here, the novella’s cool-tempered Frederick Winterbourne (Barry Brown) is left completely befuddled by the rapid-fire, monopolizing chatter of Daisy Miller (Cybill Shepherd). It’s an oddly compelling approach, but it only intermittently succeeds. When the film premiered, critics and even many of Bogdanovich’s friends and colleagues derided the entire project as a vain folly devoted to the star, the director’s then-girlfriend. The blatant sexism of the reaction aside,...
- 5/30/2024
- by Jake Cole
- Slant Magazine
Mario, Mario, wherefore art thou, sweet Mario? I imagine he’s dust by now, having passed away in 1980. His films, however, live forever. One that is rarely mentioned is his swan song, Shock (1977); a shame too, because it is much stronger (and more effective) than critics have labeled it through the years, offering up a melee of evil kids, possession, telekinesis, and other assorted sub-genres in a compelling way.
Released on his home turf in August, Shock didn’t receive an American release until March of ’79 under the title Beyond the Door II, cashing in on the hit from a couple of years earlier while nothing to do with said film. No matter what it was called, critics were unkind and the film floated into the ephemera of the occasional mom and pop video store. But time has been pretty gentle with a film unfairly compared to Bava’s earlier...
Released on his home turf in August, Shock didn’t receive an American release until March of ’79 under the title Beyond the Door II, cashing in on the hit from a couple of years earlier while nothing to do with said film. No matter what it was called, critics were unkind and the film floated into the ephemera of the occasional mom and pop video store. But time has been pretty gentle with a film unfairly compared to Bava’s earlier...
- 11/28/2020
- by Scott Drebit
- DailyDead
By Tim Greaves
Two early 1970s Italian Gothic chillers from director Emilio Miraglia have been released in the UK in a dual Blu-ray/DVD box set. Bearing the tantalising umbrella title "Killer Dames", it could equally be looked upon as a Marina Malfatti set, since the actress occupies a prominent role in both of the films contained therein.
A prolific assistant director throughout the first half of the 60s, Emilio Miraglia's fourth spin in the director's chair following a trio of crime thrillers was also his first foray into terror terrain. 1971's The Night Evelyn Came Out of Her Grave (o.t. La Notte Che Evelyn Usci Della Tomba) concerns English aristocrat Lord Cunningham (Anthony Steffan), a man devastated by the passing of his titian-haired wife Evelyn, who he suspected was being unfaithful. Struggling to overcome his grief over her death and rage at her perceived infidelity, Cunningham lures...
Two early 1970s Italian Gothic chillers from director Emilio Miraglia have been released in the UK in a dual Blu-ray/DVD box set. Bearing the tantalising umbrella title "Killer Dames", it could equally be looked upon as a Marina Malfatti set, since the actress occupies a prominent role in both of the films contained therein.
A prolific assistant director throughout the first half of the 60s, Emilio Miraglia's fourth spin in the director's chair following a trio of crime thrillers was also his first foray into terror terrain. 1971's The Night Evelyn Came Out of Her Grave (o.t. La Notte Che Evelyn Usci Della Tomba) concerns English aristocrat Lord Cunningham (Anthony Steffan), a man devastated by the passing of his titian-haired wife Evelyn, who he suspected was being unfaithful. Struggling to overcome his grief over her death and rage at her perceived infidelity, Cunningham lures...
- 5/28/2016
- by nospam@example.com (Cinema Retro)
- Cinemaretro.com
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