Le Plaisir (1952)

☆ ☆ ☆ ☆

Le Plaisir (1952) – M. Ophuls

Ophuls tackles three Maupassant stories with his usual gliding camera, fantabulous costumes and sets, and wry wit. All very Gay Nineties, focused on the pros and cons of seeking pleasure.

Army in the Shadows (1969)

☆ ☆ ☆ ☆

Army in the Shadows (1969) – J.-P. Melville

Another blue-hued film from Melville about the mechanics of plotting. However, this time the team is not plotting a heist but instead are leaders of the French Resistance during WWII, engaged in numerous heroic and tragic escapades (told in sequential anecdotes). Lino Ventura's efficient bureaucrat is a sympathetic standout among the charismatic cast.

Strike (1925)

☆ ☆ ☆ ☆

Strike (1925) – S. Eisenstein

Eisenstein's first film is a dynamic story of a failed workers' strike told with panache and, yes, some crazy montage action (not to mention superimposition and other camera tricks of the time). The Kuleshov effect shots (you see someone's face, then you see what they are looking at, then back to the person) can be somewhat jarring. Too bad the fat cat capitalists win (this time).

The Corporation (2004)

☆ ☆ ☆ ☆

The Corporation (2004) – M. Achbar & J. Abbott

This history of the multinational corporation (or, alternatively, this expose of corporate crime) is by turns, eye-opening, thought-provoking, and profoundly depressing. Six years later, the inspirational bit at the end still (sadly) rings hollow. But if this is seen by those who don't already know about the wicked things that greed (and institutionalized greed) can lead to, it could shake them up (if not shake things up).

City Lights (1931)

☆ ☆ ☆ ☆

City Lights (1931) – C. Chaplin

I waited until my 40s to watch Chaplin, perhaps because I'm afraid of too much sentimentality. But I liked City Lights in spite of myself -- there are some truly funny moments. Perhaps too the perverse lens granted by virtue of having seen Monsieur Verdoux first casts the tramp (and his infatuation with the blind girl) in an entirely different light. I must admit however that Chaplin displays a gift for emotional nuance, even while engaged in the broadest slapstick, that must be the secret to his star-power.

The Leopard (1963)

☆ ☆ ☆ ☆

The Leopard (1963) – L. Visconti

Epic, in its depiction of the political changes in Italy in the 1860s, but personal, in its characterization of the Prince of Salina (Burt Lancaster), a man who sees his place in the world fading away. Sumptuous in design, with lots of deep focus and traveling shots, and opulent sets and costumes.

Annie Hall (1977)

☆ ☆ ☆ ☆

Annie Hall (1977) – W. Allen

No, I hadn't really watched Annie Hall before. Yes, it's Woody Allen and maybe that's all you need to know to know what the movie is about (OK, it's his take on relationships). It is exactly what you expect, but funnier and more human than anything Woody's done lately. Diane Keaton is a revelation.