ALWAYS
1989, Universal, 122 min, USA, Dir: Steven Spielberg

Based on the WWII drama A GUY NAMED JOE, this moving fantasy-romance is among director Steven Spielberg’s most underrated films. Warned by girlfriend Holly Hunter and colleague John Goodman that he takes too many risks, aerial firefighter Richard Dreyfuss resolves to take a safer job - but one last mission turns him from a pilot into a guardian angel. Audrey Hepburn costars in her final big-screen appearance.


RYAN’S DAUGHTER
1970, Warner Bros., 187 min, UK, Dir: David Lean

Initially planned as a return to the small-scale storytelling of David Lean’s BRIEF ENCOUNTER days, RYAN’S DAUGHTER instead became an epic contest between the director and the Irish landscape, as he attempted to tell the tragic story of a married Irish woman (played by Sarah Miles, wife of the film’s screenwriter, Robert Bolt) and her affair with a shell-shocked British soldier (Christopher Jones). A flawed gem, the film boasts some great performances (John Mills, who won a Best Supporting Actor Oscar, and Leo McKern) and some still-underrated ones (Robert Mitchum, as a meek schoolteacher). Freddie Young’s astonishing cinematography ranks with his best work on LAWRENCE OF ARABIA and DOCTOR ZHIVAGO.


MORE
1969, Janus Films, 116 min, West Germany/France/Luxembourg, Dir: Barbet Schroeder

Director Barbet Schroeder’s stunning portrait of the dark underbelly of the ’60s sex-and-drugs revolution is like a Velvet Underground song on film: Mimsey Farmer stars as the gorgeous, Edie Sedgwick-like junkie princess who draws German drifter Klaus Grunberg into her sunlit world of Euro beach parties, retired Nazis and heroin fixes. With a brilliant, sinister score by Pink Floyd that perfectly captures the dreamy paranoia of Schroeder’s early masterpiece.


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