Although it's tempting to assume that a film devoted to the representation of an objective reality would suffer stylistically, French film critic Andre Bazin would say otherwise. Bazin craved a cinema of truth, one whose success depended on a director's finely tuned, disinterested observation.
Twenty minutes to collect 100,000 deutsche marks. Pulsating techno. Whip pans and fast edits. A fiery heroine with dyed-red hair frantically running to save her boyfriend's life. "The initial idea was an image," says 34-year-old director Tom Tykwer. "The image of a woman running."
This apparently or
"I believe that we respond most and best to work in any art form (and to other experience as well) if we are pluralistic, flexible, relative in our judgments, if we are eclectic," wrote Pauline Kael, the undisputed queen of journalistic film criticism.
Born in tiny Petaluma, California, Kael went
Manny Farber, though still much-revered as a film critic, eschewed film in favor of painting. Farber began writing film reviews for The New Republic in 1942. He continued his film career through the 1970s, writing most notably for publications such as Film Comment. As his book "Negative Space" (1970)