Stanley Kauffmann on Films: Inheritances
December 06, 2012
The Other Son Dangerous Liaisons Barrymore THE MONTAGUE-CAPULET pattern has been used a lot lately, fitting easily the Middle East situation. The girl is Israeli, the boy Arab, or vice versa. Now, in The Other Son, it is altered. Two young men, seemingly Israeli and Arab, are discovered to be brothers, victims of a mistake in a hospital, a Jewish one. Once again racial difference roars. The French director, Lorraine Levy, aided by Nathalie Saugeon and Noam Fitoussi, does not use her variation on this basic split as a trick for funny or saccharine effects.
Will Shakespeare's Come And Gone: Does The Bard's Poetry Reach Us Like August Wilson's? Come On--really?
May 19, 2009
Reading the deserved critical huzzahs for the current production of August Wilson's Joe Turner's Come and Gone has me thinking about a bee always in my bonnet.
Stanley Kauffmann on Films: Unflinching
September 24, 2001
Comparisons and pigeonholes are first aids for critics. Examples: "Mr. A's film treats the same theme as Mr. B's, but it doesn't [or does] surpass it." And: "Mr. A's film is one more of the line that began with Mr.
TNR Film Classics: ‘Falstaff’ (1967)
June 24, 1967
What makes movies a great popular art form is that certain artists can, at moments in their lives, reach out and unify the audience—educated and uneducated—in a shared response. The tragedy in the history of movies is that those who have this capacity are usually prevented from doing so. The mass audience gets its big empty movies full of meaningless action; the arthouse audience gets its studies of small action and large inaction loaded with meaning. Almost everyone who cares about movies knows that Orson Welles is such an artist.