Film Persona

  Alain Resnais's "Muriel" After an explosive beginning to his career in narrative fiction with " Hiroshima mon Amour " and " Last Year at Marienbad ," Alain Resnais's follow-ups, " Muriel " and " The War is Over " were a little bit of a let-down for me. With 1963's " Muriel ," especially. The film certainly is understandable in both theme and plot. And yet, somehow, it leaves much to be desired. The film follows Helene, a middle-aged widow, living with her stepson Bernard in Boulogne-sur-Mer. When an old a past lover of Helene's, Alphonse, visits her, the two of them share memories of wartime. Everyone is the story is pained by memory. They obsess over what has happened and the lost moments they will never get back. Although the thematic point of the story makes for a promising experience, I don't feel as though it contained enough internal or external drama to allow for any attachment with the audience. P...

  Chris Marker's "La Jetee" Although it is a 'short' film (with only 28 minutes in length), Chris Marker's " La Jetee " has the same effect and influence as anything considered "feature length." And unlike other films, La Jetee " is composed completely of stills and uses a voiceover to narrate the story. Does that even qualify this as a 'film?' I would argue yes.  In fact, the exclusive use of stills only aids in the film's concept. It centers on a prisoner in a post-apocalyptic Paris who is used as a lab rat for the experiments of scientists attempting to travel in time. Because our prisoner has such a deep connection to his past, this makes him the perfect subject. While 'visiting' the past, he is able to reach out and connect to a woman he once saw when he was a child. As the experiment continues day-by-day, his time spent with her is his only solace. The use of stills is thematically valuable in two ways. Firstl...

  Joseph L. Mankiewicz's "Cleopatra" There is perhaps not a drier nor neverending historical epic than Joseph L. Mankiewicz's 1963 film " Cleopatra ." Not even Elizabeth Taylor's beauty can inject any semblance of flavor into the film. The biggest concern I have with it is that it is far too stiff and lacks any emotional or dramatic engagement. A tower achievement in mediocrity.  

  Tony Richardson's "Tom Jones" Based on the 1749 novel " The History of Tom Jones, a Foundling ," Tony Richardson's 1963 adaptation " Tom Jones " is full of irreverent debauchery. Lauded in its time, the film is visual spectacle of Eastman color, bringing forth the picturesque qualities of its original novel into a literal picturesque film. The film had both critical and commercial success. Not only did it win Best Picture at the 36th Academy Awards, it was third in British box office receipts and fourth in the U.S. The film centers on Tom Jones, growing up as the illegitimate son of a wealthy landowner. Because he does not hold the same position as his highly father figure, he is treated widely with disdain. He does, however, make his way through an assortment of willing and eager women who find him completely charming. Despite this, jealous mean threaten his safety and contrive plans to have him arrested and hanged.  The story is thematically si...

  Robert Bresson's "The Devil, Probably" As Robert Bresson grew in age, he only got more and more 'Bressionian.' His characters became far less emotive and his films felt more and more clinical and cold. It became necessary as he continued his complex themes regarding the malaise of our modern world. His 1977 film " The Devil, Probably " most directly taps into that notion. The film centers on Charles, a disillusioned student living in Paris. He is detached from society and struggles with a growing sense of alienation. The friend group around him does not understand his turmoil and try various methods to get him out of it. His depressive and detached manner extends from his growing hopelessness in the modern world.  Although I do not particularly think it is one of Bresson's best works, there is something quietly shattering about " The Devil, Probably ." It seems as timely now in 2026 as it most likely felt in 1977. The state of the world c...

  Dino Risi's "Il Sorpasso" By 1962, the Italian-style comedies had become the mainstream in Italy. Films like 1958's " Big Deal on Madonna Street " and 1961's " Divorce Italian Style " had swept the public into a new era of Italian cinema. Although they are an evolution of the neo-realist style, Italian-style comedies depart from neo-realism's strict adherence to reality. With the economic rise the country was going through at the time, the stark and unflinching observations of economic destitution that neo-realism typically thrives on had to make way for much farcical and satirical styles (hence the Italian-style comedy).  One of the most famous and commercially successful Italian-style comedies is Dino Risi's 1962 film " Il Sorpasso ." The film stars Jean-Louis Trintignant as a timid college student, Roberto, who gets swept away by a charismatic and impulsive Bruno. The two spend the entire day together and Roberto begins e...