(Source: oldfilmsflicker)
always
Orson Welles, unlike Eisenstein and Dreyer, has never considered film as a plastic object but rather as a duration, something which unwinds like a ribbon; he has defined film, in fact, as “a ribbon of dreams.” - François Truffaut
(Source: oldfilmsflicker)
Italian poster for The Lady From Shanghai
Touch of Evil.
The Lady From Shanghai
As Jacques Doniol-Valcroze has rightly observed, the average American moviegoer couldn’t forgive Welles for killing off Rita. Even worse, he let her die like a bitch on the floor of a hellish chamber while he walked out indifferently, eager to have things over and done with, without even obeying the elementary rule that the heroine should be paid the courtesy of dying in the arms of the rugged sailor. For some years, the misogyny of the American cinema has become a commonplace of intellectual criticism. Rita Hayworth was undoubtedly one of its first victims, and remains, through Welles’ genius, its most glorious martyr. - André Bazin, “Orson Welles: A Critical View”
(Source: oldfilmsflicker)
Orson Welles, unlike Eisenstein and Dreyer, has never considered film as a plastic object but rather as a duration, something which unwinds like a ribbon; he has defined film, in fact, as “a ribbon of dreams.” - François Truffaut
(Source: oldfilmsflicker)
Tanya: Isn’t somebody gonna come and take him away?
Schwartz: Yeah, in just a few minutes. You really liked him didn’t you?
Tanya: The cop did…the one who killed him…he loved him.
Schwartz: Well, Hank was a great detective all right.
Tanya: And a lousy cop.
Schwartz: Is that all you have to say for him?
Tanya: He was some kind of a man… What does it matter what you say about people?
