Images: My Life in Film

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Apocalypse Now is one of the great films. Photography, score, acting and direction are without flaw. Coppola never scaled such heights subsequently. It seems the sheer effort to produce such a work extinguished much of his creative spark. Stravinsky frightened himself with the awesome force of his Sacre Du Printemps, and changed directions after, never to match this achievement; Richard Strauss fled into Neo-romanticism after writing the disturbing Elektra and Salome, unable to equal their innovation and power. But these seminal works (Le Sacre, Salome, Elektra, Apocalypse Now) remain as peaks of Art. Like the great classics of literature, each viewing of this film reveals deeper levels of meaning. It's stupid to even apply an arbitrary rating to this work. It would be like writing, "Brothers Karamazov gets 5 out of 5." It cannot be rated.

The John Wayne/John Ford Film Collection boxes together eight films from a star-and-director team rivaled only by Akira Kurosawa and Toshiro Mifune, or Martin Scorsese and Robert De Niro, Maybe. Revisiting the set - which, even with its major omissions, gathers the lion's share of the Wayne/Ford collaborations - it's tough to consider any rivals. The liberal Ford and the conservative Wayne had nothing in common politically, but artistically, they're perfectly in sync. WHV now introduces a ten-disc set featuring eight of the team's finest collaborations: The Searchers: Ultimate Collector's Edition (1956), Stagecoach: Special Edition (1939), Fort Apache (1948), The Long Voyage Home (1940), Wings of Eagles (1957), She Wore a Yellow Ribbon (1948), They Were Expendable (1945), 3 Godfathers (1948).

Marie (Caroline Ducey), a grade-school teacher whose cold-fish male model boyfriend, Paul (Sagamore Stevenin), won’t have sex with her. She repeatedly tries to arouse and engage him, and the more she does, the more he pulls away. She’s a self-loathing glutton for emotional abuse, and he gets his greatest pleasure, seemingly, in denying her. He insists upon keeping her around and she insists on staying, which makes it a pretty sad arrangement all the way around. Ducey and SteveninEventually, because she isn’t getting quite enough degradation at Paul’s hands, she seeks sexual fulfillment elsewhere…

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The place is Anywhere City.
The time could be yesterday, today or tomorrow. It doesn’t matter. The society is much like that of any large city. It depends upon machines — for food, for work, for sex, for music — and for hate.

Rock stars are idolized. And crucified.

Stephen Dwoskin (born 1939) is an accomplished experimental filmmaker who contracted polio as a child in New York City. This progressively affected his mobility. He is now a wheelchair user. He studied at Parsons School of Design and at New York University, receiving a Fulbright Scholarship to move to London in 1964, where is he still based. He was a co-founder of the London Film-Makers' Co-op. In 1967-1968 he won the Solvey Prize at the Knokke Experimental Film Festival in Belgium for a series of short films which established his reputation. Screenings of his films have been worldwide including Cannes, Berlin, Rotterdam, Toronto, Lucarno, Pesaro, Mannheim, Oberhausen, Sydney, Melbourne, Hamburg, San Francisco, Turin, Riga, Madrid, Barcelona, and Benalmadena. He is also a maker of documentaries: 'Face of Our Fear', one of the films he made to address attitudes to disabilities, was broadcast on Channel Four, UK in 1992. Awards include L'Age d'or prize, Brussels Film Festival 1982.

Filmed with a strong sense of compassion for the impoverished and an underlying hatred for the injustice which forces them into the lives they must live, this is one of the first works from Brazil's Cinema Novo. A poor Brazilian family struggle to earn a living when they take a job overseeing the livestock of a wealthy rancher. They move into an abandoned house, and their fortunes begin to take an upward turn. The father is duped into a card game with a crooked local policeman. The ranch hand protests, and a fight ensues that results in his beating by the cop. Despite being the victim of injustice, the man believes there should be some semblance of law and order and makes no protest about the incident. A severe drought has the man moving on from the ranch with his family to earn their living elsewhere.

Sisif (Severin-Mars) is the kindly railroad engineer who adopts the orphan girl Norma (Ivy Close). He raises her as his own along with his son Elie (Pierre Magnier). When they are grown, Elie and Herson (Gabriele de Gravvone) are compelled to fight to the death on a mountain top over the love of Norma. Elie dies when he falls after losing his grip on a tree branch, and Norma is turned out by Sisif who blames her for the death of his only son. She marries Herson but is left a widow within the year. Sisif becomes a blind recluse and visits the sight of his son's death on the one-year anniversary. He arrives with the help of his guide dog. Norma returns to help Sisif but is again turned away by the bitter father. She secretly helps the old man until he dies in this sentimental melodrama.