David Shariatmadari continues our writers' favourite film series with Milos Forman's opulent tale of Mozart and his rival
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There are films that take your breath away before they've even begun. The first four minutes of Milos Forman's Amadeus – the credits, in fact – contain more drama and pathos than many directors manage in 120. The scene is Vienna, a winter's night in the 1820s. From somewhere inside a grand apartment a man screams "Mozart!" as the snow billows outside. "Forgive your assassin!" He is answered, first by a great dismal chord from the last act of Don Giovanni, then by two servants, who are bringing the cream cakes they hope will shut him up, but end up breaking the down the door. Inside they find their master has slit his throat,...
Did this review hit the right note? Write your own review here or get composing in the comments below
There are films that take your breath away before they've even begun. The first four minutes of Milos Forman's Amadeus – the credits, in fact – contain more drama and pathos than many directors manage in 120. The scene is Vienna, a winter's night in the 1820s. From somewhere inside a grand apartment a man screams "Mozart!" as the snow billows outside. "Forgive your assassin!" He is answered, first by a great dismal chord from the last act of Don Giovanni, then by two servants, who are bringing the cream cakes they hope will shut him up, but end up breaking the down the door. Inside they find their master has slit his throat,...
- 12/20/2011
- by David Shariatmadari
- The Guardian - Film News
Cinema huckster William Castle
I was at the 10th Motovun Film Festival, in Croatia two summers ago, mainly to see their ‘interactive cinema programme’. Motovun is renowned as a Woodstock of film festivals and often includes an interesting side programme. This year’s Motovun Film Festival began yesterday (26 July), with a side programme of Slovenian film, socially-committed topics tackling issues like human trafficking and rape, quirky “of people, cats and dogs”, and several homages to renowned directors.
When I attended the festival there were three screenings that handed over the director’s role to the audience; we were to decide the outcomes of these movies. The films screened were Czech ‘Kinoautomat’ “Man and His Home” (1966), Danish “Switching” (2003) and Canadian “Late Fragment” (2007).
Kinoautomat, the first interactive cinema and brain child of Czech director Radúz Činčera was invented in 1966. Alongside the movie projection, two moderators sitting at the stage were part of the spectacle.
I was at the 10th Motovun Film Festival, in Croatia two summers ago, mainly to see their ‘interactive cinema programme’. Motovun is renowned as a Woodstock of film festivals and often includes an interesting side programme. This year’s Motovun Film Festival began yesterday (26 July), with a side programme of Slovenian film, socially-committed topics tackling issues like human trafficking and rape, quirky “of people, cats and dogs”, and several homages to renowned directors.
When I attended the festival there were three screenings that handed over the director’s role to the audience; we were to decide the outcomes of these movies. The films screened were Czech ‘Kinoautomat’ “Man and His Home” (1966), Danish “Switching” (2003) and Canadian “Late Fragment” (2007).
Kinoautomat, the first interactive cinema and brain child of Czech director Radúz Činčera was invented in 1966. Alongside the movie projection, two moderators sitting at the stage were part of the spectacle.
- 7/28/2010
- by Mico Tatalovic
- The Moving Arts Journal
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