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Hace 4 días · The New York Times critic Bosley Crowther saw in it “the universal influence of the culture of the American western films.” But “Seven Samurai” did not mimic the western so much as ...
Hace 4 días · Production of “Seven Samurai” coincided with an equally elemental movie, allegorizing Japan’s nuclear martyrdom, “Godzilla” — both at the same studio, Toho. In “Seven Samurai,” a village regularly plundered by brigands seeks protection, hiring a group of masterless samurai, who are professional killers willing to work for a ...
6 de jun. de 2024 · Here's a sentence from the contemporaneous NYT review by Bosley Crowther: Inspired by a Gwen Davis story, which has not swum into my ken, so I cannot tell you how fairly or fouly it has been used, the team of musical-comedy writers is making kookie jokes about a girl whose sad fate it is to marry a succession of burgeoning millionaires.
28 de jun. de 2024 · In his review for The New York Times, Bosley Crowther concluded he was "Mr. Deeds out of his element". Cooper returned to his element in Delmer Daves ' war drama Task Force (1949), about a retiring rear admiral , who reminisces about his long career as a naval aviator and his role in the development of aircraft carriers. [240]
Hace 3 días · Bosley Crowther for The New York Times was among those who lauded DeMille's work, acknowledging that "in its remarkable settings and décor, including an overwhelming facade of the Egyptian city from which the Exodus begins, and in the glowing Technicolor in which the picture is filmed—Mr. DeMille has worked photographic wonders".
Hace 2 días · The New York Times’ Bosley Crowther called it “one of the finest color films ever seen.” Regardless of whether one agrees with Crowther (I don’t), such dramatic praise from one of the English language’s most prestigious 20th-century publications (and a film critic with a 27-year career at the paper) should at minimum prime us to approach Lang’s film with an open-minded generosity ...
14 de jun. de 2024 · Reviewing 1958’s Hidden Fortress in a truncated 90-minute cut for The New York Times, Bosley Crowther referred to Kurosawa “stooping to Hollywoodisms.” In Japan, the film seemed to confirm the opinion of critics suspicious of Kurosawa’s unabashed embrace of Western filmmaking styles.
