NinadeL

In Hitchcock's Rebecca, the similarity of Du Maurier's novel to Brontë's seminal work "Jane Eyre" stands out. It's no coincidence that Joan Fontaine plays the lead roles in both of these Hollywood gothic novels shortly after each other. Unfortunately, neither she nor Olivier in Rebecca transcended the mannerisms of the time. The 90's series was also weak, but in some aspects, its dramatization was much more interesting than the script of the Hollywood all-star team. However, I'll try to give it another chance, for a change on Netflix.

Labyrinth formally follows the older puppet fantasy The Dark Crystal and it shows. However, thanks to its straightforward plot and the presence of David Bowie, Labyrinth's popularity has endured. To this day, there are various plans for sequels in different formats. To today's audiences, the original film has aged a lot, but as an example of the evolution of the genre in the 80s, it's certainly not a bad experience.

It is very clear that Mádl did not underestimate the situation. He studied the subject and the form, and he chose the most universal story in world cinema for his project On the Roof. A meeting of two generations, a meeting of two nationalities, and a search for the meaning of life in a hopeless situation. Alois Švehlík and Lukáš Duy Anh Tran quite naturally became ideal representatives of two different worlds. There is therefore no need to mourn for Tříska, because with him it would have been quite a different experience. Together with Miss Hanoi, On the Roof is another bright spot in Czech cinema.

The finale is coming up and in the best TLW tradition, emotions need to be properly heightened, and relationships between the girls, in the workplace and in politics need to be recombined. Alice had a wonderful book launch, Finn/Soph are in some real trouble, Shane is well on his way to heaven, and Bette is becoming more and more herself... It's gonna be a blast. Because in the end, the only one that needs saving is GG.

A pleasant Maupassant miniature that is better known as Visconti's short story "Il lavoro" from Boccaccio 70 (starring Romy Schneider). However, an adaptation that preserves the Maupassant period has its own distinctive charm without exaggeration or shifting meanings.

Romy Schneider seemingly gave up working in German cinema in the early 1960s, but many of her later roles were nonetheless made in typical Western European co-productions in France, Italy and (West) Germany. The historical fresco Group Portrait with a Lady was a (West) German and French co-production. It was based on a novel by the then very popular Nobel Prize-winner Heinrich Böll. The theme was (once again) about coming to terms with the times of National Socialism. The protagonists were ordinary people experiencing inhuman hardships. The message was clear, and the return of the famous actress was a major event. Still, the film fails to adequately illustrate the entire complex saga with its many complicated relationships between characters that have been inexorably changed beyond recognition by the war.

This film has only a few positives, which are Jennifer Beals, Pittsburgh, and the period burning machines, but it's surprisingly enough. There’s no need to wonder about the script, but a reproduction is required whenever Jennifer Beals makes a new series of The L Word.

William Riley Burnett may be the author of the foundation of the gangster genre, Little Caesar, but two decades later he made only a plain raw heist noir. Huston made The Asphalt Jungle as a routine dead movie full of sterile shots and lost existences. All the characters are black-and-white genre templates and their performances are completely devoid of emotion, which is why it is such a joy to watch the few scenes with MM, whose authenticity can wake the dead.

The culmination of the Marx Brothers' career, their last film together after 20 years. I expected nothing and got everything. An incredibly fresh, energetic spectacle from the laugh-out-loud genre. Great backstage evil deeds alternates with one another, with a necklace from the Romanov estate as a side plot. Of the actresses, Ilona Massey, Vera-Ellen and Marion Hutton originally dazzled, but in retrospect they were overshadowed in a single scene by the dazzling newcomer Marilyn Monroe (and as such she dominates the new posters). This is the last film produced by Mary Pickford.

A well-arranged documentary explaining the circumstances of the making of MM's last unfinished film. An unusually large amount of material from the film has survived, and some people believe that they can comment on the film itself, but mostly it is just an assessment of the appearance of the thirty-five-year-old star.