Seconded—One of the most powerful uses of B&W Cinemascope in American cinema, and rather overtly transgressive in its views on fidelity and sexuality for its day.

Considering how squarely this falls into the themes of the Sirk canon, I'm surprised that this isn't as well known, or as widely available.  It's high on my list of movies to check out (as well as the other  Joan Bennett lost classic THE RECKLESS MOMENT) when it comes on TCM.

Considering how squarely this falls into the themes of the Sirk canon, I'm surprised that this isn't as well known, or as widely available.  It's high on my list of movies to check out (as well as the other  Joan Bennett lost classic THE RECKLESS MOMENT) when it comes on TCM.

Bradbury was the literry voice that defined my sensibilites in junior high school, while Vonnegut did the same for me in high school.  I re-read "Martian Chronicles" a few years ago after a thirty year absence and was even more blown away by it than when I originally read it.  One of the great epics of the settlement…

Bradbury was the literry voice that defined my sensibilites in junior high school, while Vonnegut did the same for me in high school.  I re-read "Martian Chronicles" a few years ago after a thirty year absence and was even more blown away by it than when I originally read it.  One of the great epics of the settlement…

There are 3 versions of NEW YORK, NEW YORK— Roadshow (152 minutes), wide release (137 minutes) and the roadshow with the  "Happy Endings" production number (164 minutes).  Only the latter was released on DVD.

There are 3 versions of NEW YORK, NEW YORK— Roadshow (152 minutes), wide release (137 minutes) and the roadshow with the  "Happy Endings" production number (164 minutes).  Only the latter was released on DVD.

Also TOM JONES which is about 7 minutes shorter.  Thanks for the list.

Also TOM JONES which is about 7 minutes shorter.  Thanks for the list.

Coppola actually shot it both ways, with the set redecorated so the sequence could come either before or after the bridge.  Production snafus primarily meant that the end of the sequence, involving the theft of military supplies by the French mercenaries from the boat, wasn't shot with the set decorated in its more…

Coppola actually shot it both ways, with the set redecorated so the sequence could come either before or after the bridge.  Production snafus primarily meant that the end of the sequence, involving the theft of military supplies by the French mercenaries from the boat, wasn't shot with the set decorated in its more…

Which rape are you referring to?  For me, the one committed during the robbery is more misogynistic because of the implication that Tuesday Weld's character enjoys the degradation of being violated, and the jocular sexual double entendre in the dialogue between Noodles and Max during the act is sort of callous.  The…

Which rape are you referring to?  For me, the one committed during the robbery is more misogynistic because of the implication that Tuesday Weld's character enjoys the degradation of being violated, and the jocular sexual double entendre in the dialogue between Noodles and Max during the act is sort of callous.  The…

I saw it on opening week in L.A. at the multiplex in Westwood with a muddy sound system and a weak bulb in the projector (Universal's revenge on Gilliam for forcing them to release his cut no doubt).  The movie in those circumstances felt exhausting.  The next week I saw it at UCLA in the Cinema/TV auditorium and it…

I saw it on opening week in L.A. at the multiplex in Westwood with a muddy sound system and a weak bulb in the projector (Universal's revenge on Gilliam for forcing them to release his cut no doubt).  The movie in those circumstances felt exhausting.  The next week I saw it at UCLA in the Cinema/TV auditorium and it…

From this review, it sounds like Lurie is rehashing the traditional view that Peckinpah saw violence as an inherent part of (male) humanity's psychological profile.  Part of this perception comes from interviews Peckinpah made himself, but the film is open to multiple interpretations.

From this review, it sounds like Lurie is rehashing the traditional view that Peckinpah saw violence as an inherent part of (male) humanity's psychological profile.  Part of this perception comes from interviews Peckinpah made himself, but the film is open to multiple interpretations.

It's probably not listed because the studio edit was never released due to a campaign waged by Guilliam and the L.A. Film Critics Association to preserve Guilliam's vision.  The U.S. released version is 11 minutes shorter than the international version, but those cuts were authorized by the filmmaker.

It's probably not listed because the studio edit was never released due to a campaign waged by Guilliam and the L.A. Film Critics Association to preserve Guilliam's vision.  The U.S. released version is 11 minutes shorter than the international version, but those cuts were authorized by the filmmaker.

To set the record straight, the 93 minute cut of TOUCH OF EVIL has some of the changes suggested by Welles, not the 108 minute preview cut.