Hugh Griffith

Garrett 2022-03-13 08:01:01

1964 Oscar for Best Picture, Director, Adapted Screenplay and Score + Best Actor in Venice.

A typical postmodern nonsensical comedy, narrative: masked characters + exaggerated plot + sudden and forcible reversal of happy ending.

Formally: the character's various words and deeds breaking the fourth...

Tina 2022-03-13 08:01:01

British New Wave practitioner Tony Richardson's rumbustious Oscar BEST PICTURE champ has been degraded to something of a damp squib half an century later since its triumph is deemed as...

Itzel 2022-03-26 09:01:14

I have to admit that he is a little innovative. The problem is that he looks so spoofed, vulgar and disgusting from the first shot and even the poster. . Speaking of which, how come the British films that won the Oscar BP in the early days are so terrible?

Bobby 2022-03-24 09:03:48

The Great Brightness of the British Masters Exhibition. Wonderful, joyful, bright atmosphere like the last time I watched "Monty Python and the Holy Grail", the presence of the camera is really strong (it's hard to imagine that we broke the fourth wall when we were filming the Qing Palace drama), the hand-held (horseback?) photography of the hunting scene Vigorous, combined with the whole film, is also a symbol of turning prey into "sacrifice". The text is like a British custom version of Oedipus, but the tragic is replaced by a nonsensical and vulgar joke (such as the obviously clean and sanitized passage of the naked woman, which is likened to Orpheus with Eurydice), right Silent film-style parody (including stop-motion and fancy transitions) and documentary film style (where the exteriors appear to be full of natural light) create an interesting mix of creativity rarely seen in stylized commercial blockbusters these days.