Foreign-Language New York Film Critics Winners

want to see this because it won best foreign film with the NBR and best foreign-language film with the NYFC

want to see this because it won best foreign-language film with the NYFC and was nominated for best foreign film by NBR

want to see this because it was nominated for best picture at the oscars, won best foreign film with the NBR, and won best foreign-language film with the NYFC

want to see this because it won best foreign-language film with the NYFC and was nominated best foreign film by NBR

want to see this because it won best foreign film with the NBR and best foreign-language film with the NYFC

want to see this because it won best foreign film with the NBR and best foreign-language film with the NYFC

want to see this because it won best foreign-language film with the NYFC and was nominated for best picture by NBR

want to see this because it won best picture with the NBR and won best foreign-language film with the NYFC

Hard times after a major war- De Sica and the neo-realists had great motivation and material. Everyone is on edge and hates to be accused of being a thief. Some have given everything they can and made sacrifices to improve their family's life. Most people probably cannot imagine what they would do if a tragedy occurred and desperation set in within this environment. The church and fortune tellers cannot really help with the practical matters of life, and police may try to help keep the peace but they can only do so much. So you can only count on yourself and still you may fail. Yes, that's lonely and isolating, but you are the one who has to search and put one foot in front of the other on the journey. Hopefully there will be someone (like Bruno) by your side when you need them.

want to see this because it won best foreign-language film with the NYFC

want to see this because it won best foreign-language film with the NYFC and was nominated for best foreign film by NBR

The opening sequence is very good. A little girl from the city is thrown into tragic circumstances. She befriends a boy a few years older than she is and is temporarily adopted by his farming family. There are funny moments dealing with the family's rivalry with the neighboring family, and with relationships within the Dolle family household. It is interesting how the children try to cope with the tragedy of war, but I was not overly impressed by the five year old actress. Her acting method did not seem particularly natural. What I mean is, you can tell the director was coaching her to bring the tears on at certain moments, instead of her being able to react naturally to the situations.

want to see this because it won best foreign-language film with the NYFC

This movie has a little sword play, but is primarily a drama. A group of rebels try to take over the government. A loyal samurai saves a woman who was sent out as a decoy disguised as the princess. He is awed by her beauty, and when they see each other later after the rebels' attempt was stopped, she thanks him for his valiant efforts. To our eyes, it doesn't look like she was too forward, but just by speaking to this man she does not know she may have said too much. It turns out she is married to a city official. The samurai falls in love and becomes obsessed. Not aware that she is taken he asks for her hand as his reward for fighting loyally. He becomes embarrassed and further obsessed when he finds out she is not available. The samurai pleads with the woman to leave her husband, but when she insists on remaining faithful, he decides he must remove the husband from the picture. This does not work out as planned though when the woman takes responsibility for having started the trouble. Though the culture is of a different place and time, there is nothing particularly foreign about the themes, relationships, or emotions portrayed here.

want to see this because it won best foreign-language film with the NYFC and was nominated for best foreign film by NBR

want to see this because it won best foreign-language film with the NYFC

The performances are wonderful from the three main characters, so the humor and tragedy is believable. Fellini is beginning to move away from his early influence by the Italian neo-realism movement. Parts still owe something to neo-realism, but other parts are a bit more fantastical. With these Italian pictures of the 40's and 50's audio tracks were not recorded simultaneously with the film, so whether the audio is changed to English dialog or is heard in the original Italian, it is all dubbed. I noticed more with this movie than some other Italian films I've seen from around this time that the dialog and trumpet and violin audio and video don't quite line up. I expect a little more from listening to the original audio on the collector's edition I viewed, but I suppose that was just the technology of the times and it contributes to the fantasy aspects of the story.

want to see this because it won best foreign-language film with the NYFC, best picture with the BAFTA, was nominated for best foreign film at the oscars, and was nominated for best foreign film by NBR

want to see this because it won best foreign-language film with the NYFC, was nominated for best foreign film by NBR, and was nominated for best foreign film at the oscars

want to see this because it won best foreign-language film with the NYFC

want to see this because it won best foreign-language film with the NYFC and was nominated for best foreign film by NBR

want to see this because it won best foreign-language film with the NYFC and was nominated for best foreign film by NBR

The Beautiful Confusion was a working title. I totally understand the confusion part. The beautiful part I'm not absolutely sure about. My wife and I had to watch it in three different sittings and we had to renew it to the max from the library. Part of this was because we have been very busy, but mostly it was because we kept falling asleep. That's unusual for me. When I watch a movie I focus and stay with it very well I think. There are very few films that I have struggled to give my attention to. I think, especially in this film, that the Italian language has a lullaby effect. Then there is the fact that certain parts of this movie are extremely talky and self-referential while the remaining parts are flights of fancy that leave you reeling with confusion. Reeling at least during initial viewing. It did seem well put together and since this is known as such a classic, I trust that on repeated viewings little details would appear clearer and make more sense. I did appreciate the autobiographical references as well as the film's way of dealing with the struggle of making an artistic, truthful, and meaningful film. It is trying to be a film about a film with scenes that don't make sense and lack meaning and answers to questions, but it is impossible for it to be meaningless itself. It's just a little harder to discover what else is hidden under the surface.

want to see this because it won best foreign-language film with the NYFC

want to see this because it won best foreign film with the NBR, best foreign-language film with the NYFC, and best foreign-language film at the golden globes

The funny and tragic performances, the camera work, the story, the dream sequences; all great reasons to see this film. Another foreign picture that doesn't really have anyone involved who became very famous outside of Czechoslovakia. No famous autuers, and yet I thought it was brilliant. It leaves a mark!

Jozef Kroner as Tony Brtko holds the movie together. He's drunk much of the time and finds a boisterous voice in this condition. When he's sober, he's a pushover, too scared, too kind to do what is expected of him as an Aryan. He hates his brother-in-law who lives a wealthy life as a Nazi officer. He is annoyed by his nagging wife. The Nazis are just beginning their plan to clear all the Jews out of this small Czech town. Tony's brother-in-law gives him the advice that a Jew-lover is the only thing worse than a Jew, and tells him to stay away from one known acquaintance named Mr. Kuchar who is a friend to Jews. Tony needs Mr. Kuchar's help too much to give up his friendship though. Tony gets assigned to take over a shop, which carries sewing supplies, from an elderly Jewish woman. Ida Kaminska plays the widow Mrs. Lautmann. She is set in her ways and hard of hearing, but serves her few customers well. She continually claims not to understand that Tony as an Aryan is supposed to take her shop away from her because she is a Jew. While this is sometimes genuine, she's such a cheerful old lady that I got the definite impression that she was playing dumb, that she was just playing with Tony at times. The "I don't understand, I don't understand." is more existential, more metaphysical. The Nazis have a wooden pyramid monument built in the square that many of the Czechs call the Tower of Babel. It also reminded me a bit of the obelisk in 2001: A Space Odyssey. This pyramid doesn't look very dangerous, but it conveys a sense of impending doom. Pictures of the young Mr. and Mrs. Lautmann from a happier time begin to haunt Tony. The dream sequences are bright, washed out, pure images of a symbolic main street where Tony becomes Mr. Lautmann and all the current political problems are gone. The Shop on Main Street realistically portrays daily life in this place and time and slowly builds some powerful suspense in the final scenes.

want to see this because it won best foreign-language film with the NYFC

Tolstoy philosophy, epic panoramas of the landscape, and upper class human drama from early 1800's Russia combine in this nearly 7 hour four part film.

Film 1 Andrei Bolkonsky

This part is itself split into two parts as well, but both focus on Prince Andrei Bolkonsky. He has lived a privileged existence with his sister under his father's harsh and disciplined hand. Prince Bolkonsky finds out that his wife is pregnant just as he is preparing to leave for war. His father does care and wishes that Andrei would stay safe at home, but Andrei wishes to make a name for himself through his own work leading men into battle. Pierre Bezukhov is also introduced as played by the director of the picture, Sergei Bondarchuk. Pierre is friends with Prince Andrei and they often go for walks talking about the meaning of life and the purpose of war. Pierre serves as our narrator for much of Tolstoy's philosophical observations, but we also hear the interior monologue of several characters as they ponder things and make decisions. Pierre openly describes himself as the illegitimate son of a wealthy Count or some such nobility. He doesn't see the point of going off to fight Napoleon. He feels he doesn't quite fit in to the rest of the upper crust society. Bondarchuk plays him appropriately as an awkward melancholy fellow who is the main connecting thread through the length of the film. Pierre is related to the Rostova family, the other main players in the story. We briefly meet Natasha Rostova in this part as an energetic, playful young girl. We jump back and forth from the festivities and grandly decorated homes of the well-to-do to the dirt and smoke and death of the battlefields. Andrei and Pierre both lose their wives, but in different ways. They end up by expressing philosophies about the purpose of life that are at odds with each other until Prince Andrei sees what the oak tree has to teach us. This movie has amazing period detail. This is a great piece of Russian literature adapted into an epic movie by Russian filmmakers, and so a lot of effort has been put into all the performances to bring this time in history to life. This movie has absolutely awe inspiring panning and tracking shots. The scenes that take place in locations of a grand scale are shot with seemingly never ending fluid camera movement!

Film 2 Natasha Rostova

As you would guess, this part is focused on Natasha. She has grown up a little bit, but is still quite giggly and childish. She is a debutante at her first ball where she worries that no one will ask her to dance. Finally Pierre suggests that Prince Andrei dances with her. They share a magical dance and fall madly in love. But it takes months for Andrei to come to call at the Rostova house. When Natasha is at her wits end and the Prince finally shows up, he is concerned because she is so much younger than he is and has hardly experienced life, so he determines to wait a YEAR before marrying her. This only drives the girl more crazy. When Natasha is confiding to her mother she acts so young. I would call it something more annoying than charming, which is how she describes herself. I can kind of see why Andrei's romantic passion has cooled a bit and his reasons for wanting to wait. When Natasha goes to see a ballet, the picture gets a little surreal and I had trouble following exactly what was going on. Well, eventually Natasha shows how easily love can change by falling for another dashing young man in a uniform. This part ends with a little poetry about a comet as the war of 1812 starts to get under way. Again we are treated to sweeping camera work and plenty of artistic flourishes.

Film 3 1812

Prince Bolkonsky's father begins to go demented because Napoleon and the French keep advancing through Russia. The senior Bolkonsky feels his soul and the mother country Russian die as one. Pierre and Natasha share a moment where it is obvious something more could develop between them if circumstances were different. But then it is off to war with Kutuzov taking a larger role in the story. Prince Bolkonsky has taken a more active role leading a battalion of soldiers instead of being an aid to the general. Pierre finally becomes curious about war and shows up on the battlefield in a gentleman's dress white suit. The horrors of war are stunningly captured in yet more epic panoramas of fire, smoke, horses, and men. Pierre and Prince Andrei do have one final conversation before the big battle, in which I found Andrei's dialogue to be movingly poetic. "War is not a polite recreation, but the vilest thing in life. And we ought to understand that and not play at war. We ought to accept it solemnly as a fearful necessity. Enough lying: if it's war, then it's war and not a game. They meet together to murder one another, as we shall do tomorrow; they slaughter and mutilate tens of thousands of men, and then offer up thanksgiving services for the number of men they have killed, and even add to it in the telling, and glorify the victory, supposing that the more men killed the greater the achievement. One who succeeds in killing the most people, gets the greatest rewards. How God can look down from above and hear them?" Though the Russians had great losses, Tolstoy writes that they won metaphorically. Our narrator believes that through the men's love of their country and their fighting at Borodino, which led to the turn around in Napoleon's success, that they were victorious. This is the shortest part with the least amount of one on one relationship drama.

Film 4 Pierre Bezukhov

So, God and Country! Though Tolstoy's words try to suggest that this story is about all of humanity, about life, in the previous parts, I didn't really see it as anything other than a polemic against Napoleon and a defense of faith and nationalism. That is until this conclusion constructed by the filmmakers. Kutuzov struggles with thoughts of failure. Prince Andrei faces death and he and Natasha rediscover their love for each other. The French invade Moscow and plunder everything. As the ash is whipped around by the wind and flames when Moscow burns down, you can feel your eyes watering as you see it all through Pierre. Pierre finally fights for something and nearly faces death, but comes to appreciate life in more than an intellectual way. Winter brings the end of the war because the French aren't accustomed to the extreme weather and the Russian soldiers are compassionate to the French survivors. A sense of brotherhood between soldiers from the opposing countries is shown. There are a few more beautifully surreal dream-like sequences. Triumphant symbolism of waters, clouds, fields of grass, forests of rustling trees, and general nature are used to portray a celebration of life! Tolstoy's words conclude with, "My idea, in its entirety, is that if vile people unite and constitute a force, then decent people are obliged to do likewise; just that."

The three leads are excellent. The supporting characters and bit parts are all believable. The music is grand. Sure it is long. It takes quite a commitment of time and energy to get through all the melodrama and deliberate pacing, but it is a rewarding story. My favorite special features on the 5 DVD set are the interview with cinematographer Anatoly Petritsky and the Making the Film documentary. There are many many special features from set design illustrations to text giving some important historical context. Well worth it, if you have the time and patience.

want to see this because it won best foreign-language film with the NYFC and was nominated for best foreign film by NBR

want to see this because it won best foreign-language film with the NYFC and was nominated for best foreign film by NBR

want to see this because it won best foreign-language film with the NYFC

want to see this because it won best foreign-language film with the NYFC

want to see this because it won best foreign film with the NBR, at the oscars, with the NYFC, at the golden globes, and with the LAFC

want to see this because it won best foreign film with the NBR and best foreign-language film with the NYFC, and was nominated for best foreign film at the golden globes

want to see this because it won best foreign film with the NBR, best foreign-language film with the NYFC, best picture with the NSFC, best foreign-language film with the LAFC, and best Foreign film from BAFTA, and was nominated for best foreign film at the golden globes

want to see this because it won best foreign-language film with the NYFC, and was nominated for best foreign film at the oscars

want to see this because it won best foreign-language film with the NYFC and at the golden globes, and it was nominated for best foreign film by NBR

want to see this because it won best foreign film with the NBR and best foreign-language film with the NYFC, and was nominated for best foreign film at the golden globes and the oscars

want to see this because it won best foreign film with the NBR, NYFC, and LAFC, and was nominated for best foreign film at the golden globes

want to see this because it won best foreign-language film with the NYFC and best foreign film from BAFTA, and was nominated for best foreign film by NBR, at the golden globes, and oscars

want to see this because it won best foreign film with the NBR, best foreign-language film with the NYFC, and best foreign-language film at the golden globes

want to see this because it won best foreign-language film with the NYFC, best foreign film from BAFTA, and was nominated for best foreign film at the oscars

want to see this because it won best foreign film with the NBR, with the NYFC, at the golden globes, with the LAFC, and from BAFTA

want to see this because it won best foreign-language film with the NYFC and with the LAFC

want to see this because it won best foreign-language film with the NYFC and with the LAFC

want to see this because it won best foreign-language film with the NYFC

want to see this because it won best foreign-language film with the NYFC

want to see this because it won best foreign-language film with the NYFC and with the LAFC

want to see this because it won best foreign film with the NBR, at the oscars, with the NYFC, at the golden globes, with the LAFC, and from BAFTA

want to see this because it won best foreign-language film with the NYFC, best picture with the NSFC, and best foreign-language film with the LAFC

want to see this because it won best foreign-language film with the NYFC

want to see this because it won best foreign-language film with the NYFC and with the LAFC

want to see this because it won best foreign-language film with the NYFC

want to see this because it won best foreign-language film with the NYFC

want to see this because it won best foreign-language film with the NYFC

want to see this because it won best foreign-language film with the NYFC

want to see this because it won best foreign-language film at the oscars, with the NYFC, with the LAFC, and from BAFTA

want to see this because it won best foreign-language film with the LAFC