Hatfield deputizes all the men in town and tells them to go home and come back with their guns. Now doing duty as a shaven-headed monk, El Topo enters a desert town, hoping to be of some service, only to find the place entirely given over to exploitation, cruelty, and corruption. An archival interview with Cronenberg from 1998 contains some interesting information, particularly when it comes to the casting of the film, effects work, and locations. He is rescued by some hill people but not before he recognizes Lively as the infiltrator.

Criterion has outfitted this seminal but somewhat outdated crime film with a beautiful transfer. Greg Dunning, son of Cinépix co-founder John Dunning, reminisces about the company’s working relationship with Cronenberg on both Shivers and Rabid, and his father’s preference for putting women in lead roles.

At night, the armed strikebreakers fire shots into the camp, injuring some strikers. Utilizing an entire stable of visual tricks, from split-screens to slow- and fast-motion to rhythmically repeated inserts, these early moments are an exciting and purely cinematic experience. Cronenberg has repeatedly said in interviews that Shivers actually has a happy ending, if seen from the point of view of the parasites. When Matewan’s miners go on strike, organizer Joe Kenehan (Chris Cooper, in his film debut) arrives to help them, uniting workers white and black, Appalachia-born and immigrant, while urging patience in the face of the coal company’s violent provocations.

Not only featuring Sayles himself, his longtime producing partner Maggie Renzi, and the main actors, Criterion’s four interview-heavy supplements also provide insights from production designer Nora Chavooshian, Wexler and members of his crew, and composer Mason Daring. "[6], Jonathan Rosenbaum called Matewan a "simpleminded yet stirring" film which "offers a bracing alternative to complacent right-wing as well as liberal claptrap. Med Hondo’s Soleil Ô opts for a logic-oriented critique of seemingly immovable systemic corruption. You get the feeling of dirt, sweat and – despite the story's mythic intentions – the grim grey struggle of it all. Clem is something of a more youthful, slightly less corrupted version of Dave, as underlined in a scene where Clem reveals that he used loaded dice to swindle locals out of a few bucks. John Sayles isn’t often touted for his visual style, but with the help of Haskell Wexler, his Matewan is one of the more picturesque American movies of the 1980s. The hothouse expressionism of Brute Force perfectly suited its attitude and subject, while The Naked City is torn between a radical aesthetic and a tidy theme.

The film is effectively a daisy chain of individual interventions that seem to vary in format only slightly from case to case. Still, even these rougher patches look gorgeous, boasting an impressive contrast ratio, with strong black levels and an abundance of grain that retains the soft, textured look of celluloid. What transpires wouldn’t be out of place in a film like Sergio Corbucci’s Django. But it also serves as a potent metaphor for the volatile state of post-war Germany. In one of his most resonant works of political filmmaking, John Sayles painstakingly brings to life an important and volatile chapter in American labor history. It’s a narrative conceit that has been done before and since, but rarely does it pack both the symbolic logic and narrative punch that closes The Holy Mountain. (This pattern is an early sign of Lynch’s strange classist streak; the people unable to transcend their biases about Merrick are, with rare exception, blue collar.)

Written and directed by John Sayles, this wrenching historical drama recounts the true story of a West Virginia coal town where the local miners’ struggle to form a union rose to the … That Matewan’s moral landscape eventually settles into a binary good-versus-evil scenario is symptomatic of the film’s use of the classical western as a structural blueprint. Yet, The Naked City’s glorious compositions tell their own truth, offering a portrait of a city that’s teeming with honor and evil and decay and beauty, as well as irreconcilable mixtures of all of the above. The film’s freak show ringleader, Mr. Bytes (Freddie Jones), is a drunken tyrant out of a fairy tale, while Merrick (John Hurt) is a holy innocent who coaxes the best out of mostly the upper class. Cast: Víctor Urruchúa, Carlos Villatoro, A.N. Backing up that belief in the many over the few, Sayles partitions the film’s narrative across a substantial ensemble. Cast: Jean-Paul Belmondo, Anna Karina, Graziella Galvani, Dirk Sanders, Raymond Devos, Roger Dutoit, Hans Meyer Director: Jean-Luc Godard Screenwriter: Jean-Luc Godard Distributor: The Criterion Collection Running Time: 110 min Rating: NR Year: 1965 Release Date: October 6, 2020 Buy: Video. Whether the film is in the midst of depicting murder, tragedy, or revolution—and Lucía abounds in depictions of all three—Solas directs with a focused fury seldom seen in the annals of cinema; he constructs indelible images of beauty and rage with an intensity that’s wild-eyed but simultaneously grounded in the specificity of each era.

Claudine is a strong, loving mother, but the film doesn’t paint her as an angel. When Matewan’s miners go on strike, organizer Joe Kenehan (Chris Cooper, in his film debut) arrives to help them, uniting workers white and black, Appalachia-born and immigrant, while urging patience in … He recommends a course of treatment, a sort of symbolic activity that seems pitched somewhere between ritual and performance art. Möller also details the controversy surrounding the film based on charges of anti-Semitism that led to one scene being cut for distribution.

(And a modern transfer does nothing to dispel the power of the film’s make-up effects.)



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