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For a perfect bad-dream double-bill, rent it with Bunuel's The Exterminating Angel, where the dinner guests never get to leave the dining room. Director Fritz Lang has never had an equal for inventing and framing lethal situations. La Dolce Vita (1960), aka The Sweet Life, France/Italy, directed by Federico Fellini Brilliant and caustic for nearly all of its three hours of glamorous moral rot and cynicism, Federico Fellini's seminal epic is never more inspired than when a helicopter flies over Rome dangling a statue of Christ, or when Amazonian Anita Ekberg, dancing through the night streets with a white kitten in her arms, hoists up her gown to wade through the Trevi Fountain. The Double Life of Veronique is the real thing, a deeply mysterious essay on self, fate and Irene Jacob squared. One wonders why succeeding generations have bothered to try to match this glory. Earth (1930), aka Soil or Zemlya, Ukraine/USSR, directed by Alexander Dovzhenko The soil, the ground, its growth, the sunlight--and the human society from the grassy plains of the Ukraine. L'Eclisse (1962), aka The Eclipse, France/Italy, directed by Michelangelo Antonioni The third part of Antonioni's extraordinary trilogy on the chance for feeling in modern times (the first two parts are L'Avventura and La Notte).
Among the first amazed audiences were Hitler and Goebbels. Alexander Dovzhenko was less a communist or a Soviet than a poet of the seasons and human renewal. This one concerns the struggle between idealism and materialism. He's a dealer on the exchange, and there are astonishing scenes of financial activity.
It is decadently beautiful, humorously corrupt, claustrophobically intimate, and so acidic it can bring tears to your eyes. The Blue Angel (1930), aka Der Blaue Engel, Germany, directed by Josef von Sternberg Josef von Sternberg went to Berlin to do a story of a pompous teacher who is seduced and humiliated by a cabaret singer.
You can go to other great Vittorio De Sica movies (Miracle in Milan, Shoeshine) for soaring, ragged lyricism and poetry.Things grow richer and stranger when the murderer becomes involved with, and transformed by, a sexually repressed village schoolteacher.A two-hander brilliantly played by Jean Yanne and the essential Stephane Audran. Boudu Saved From Drowning (1932), aka Boudu Sauve des Eaux, France, directed by Jean Renoir Jean Renoir's acidly humane comedy about an ungrateful bum taken up as a charity case by a bourgeois family is enough to make you sucker punch the next panhandler who bums change from you.Heart-piercing performances by Jean-Louis Barrault and Arletty, playing mismatched lovers. Ger., directed by Bernardo Bertolucci A tale that identifies ordinary guilt and sexual shame as the roots of fascism. Levine, but it could just as well have been Joel Silver and company making Hudson Hawk. (1975), aka Cria Cuervos or Raise Ravens, Spain, directed by Carlos Saura Geraldine Chaplin and young Anna Torrent play the same woman, at different ages, barraged and self-imprisoned in a miserable, shadowy past.The best work of director Bernardo Bertolucci, cameraman Vittorio Storaro, designer Ferdinando Scarfiotti and actor Jean-Louis Trintignant. As, respectively, the producer and bubble-headed star, Jack Palance and Brigitte Bardot turn in perfect accounts of themselves. Chaplin's performance is overwhelming; director Carlos Saura's movie is magnificent.