elvircorhodzic

LE SAMOURAI is a mysterious crime drama film that is made in the pattern of Hollywood gangster films in the noir genre. Mr. Mellville has added several popular details from Japanese culture into a fictitious gangster story. The protagonists, costumes, nightclubs, streets and murders have all the characteristics of the noir genre.

Jef Costello lives in a single-room Paris apartment whose spartan furnishings include a little bird in a cage. He is a professional Parisian assassin-for-hire who, by nature of his work's solitary demands, has no friends. Although he is loved by Jane, Costello knows that she already has a lover. After he successfully wipes out a nightclub owner at the behest of his boss, he is seen leaving the scene by several witnesses, including piano player Valérie. Although he survives a police lineup thanks to a lie offered up by the fearless Valerie, Costello's alibi disintegrates rapidly and his shadowy employer takes out a contract on him. He seeks revenge...

This is a sort of moral value test in rough circumstances. Namely, the main protagonist is in conflict with the law, his boss and himself. He does not make the difference between human shades. He does what he is paid for, and that, of course, will lead him to his seppuku.

This film contains very little dialogue, characterization could have been better, but, the atmosphere is great.

Alain Delon as Jef Costello is an attractive man and a cold-blooded killer at the same time. His selfish nature makes him incompetent to life, but unswerving when it comes to his work. Mr. Delon has offered a very good performance.

His support are François Périer as a persistent investigating officer, Nathalie Delon (Jane) as a devoted "fiancé", who provides almost perfect alibi, and Cathy Rosier (Valérie) as a brave and enigmatic piano player.

The direction is certainly impeccable, however, the plot is a frozen and the romance is improperly superficial.

THE PRODUCERS is a music comedy film that mocks at a satiric, but a vulgar way, a very tricky theme.

Theatrical producer Max Bialystock was once the toast of Broadway. Now he lives in his seedy office, cadging cash contributions from wealthy old ladies in exchange for sexual favors. His new accountant, Leo Bloom, the soul of honesty, suggests that Max produce a hit to try to recoup his losses, but Max knows that it's too late for that. Leo discovers a $2,000 discrepancy in the accounts of Max's last play. Max persuades Leo to hide the relatively minor fraud, and while shuffling numbers, however Leo has a revelation...

The story is very fun, though the plot is a little confusing. The theme is a matter of taste, but I think that Mr. Brooks did not taken into account the sensitivity of a certain part of the audience. The conclusion is nonconforming with the rest of the story, although a certain amount of sentimentality rescues the situation. However, the relationship between the two major protagonists is remarkable. Their conversations are hilariously fun, but their product has made the greatest damage to this movie.

"The Hitler you loved, the Hitler you knew, the Hitler with a song in his heart." It is so grotesque and vulgar, yet it has caused a positive response with a fictional audience.

Zero Mostel as Max Bialystock is a cunning fox, who catches the last straw of salvation in his life. His performance is very funny, however, his brutal fraud reminds us of a some daily routine. Gene Wilder as Leopold "Leo" Bloom is a nervous, hysterical and shy accountant. He is Mostel's support, but his character changes, so that he becomes aware of the consequences of their scams, but still he is more satisfied with himself than he was before. Kenneth Mars as Franz Liebkind has offered a good performance as a Nazi fanatic.

This is very funny, but it could be packed much better.

IN THE HEAT OF THE NIGHT is a mysterious crime drama film that, through a detective story, brings a critical view of a racial hatred and prejudices. The story is presented as a sort of dilemma between an unresolved murder and an illness of a society. Every interrelationship is described as a kind of incident in this film. It is based on John Ball's 1965 novel of the same name.

Mr. Colbert, a wealthy industrialist from Chicago, is constructing a factory in Sparta, Mississippi. One night in September 1966, when driving back into town after a meeting at the plantation home of one of Sparta's leading citizens, Mr. Endicott, he is murdered. Police Officer Wood has found his lifeless body on the street. Police Chief Mr. Gillespie arrives on the scene where the body has been discovered and takes direct charge of the investigation. He speculated that the crime was committed by a random passer-by. At the town train depot, Wood finds a black man, Virgil Tibbs, sitting quietly with his luggage in a business suit. Officer Wood immediately arrests him, cursorily searches him, and finds more than $200 in cash in his wallet. However, Mr. Tibbs is not an ordinary passer-by...

Credible characters, melodramatic plot and honest look at one of the biggest social problems are the main aces of this movie. Well, Mr. Jewison did not take into account the coincidences, so some sequences are pretty confusing, but its do not make a great deal of damage to this movie. A clash between an arrogant and incompetent white police chief and a capable and detailed black detective is the most interesting segment of this movie.

The characterization is very good and it corresponds to the tense atmosphere and the hostile environment.

Sidney Poitier (Detective Virgil Tibbs) and Rod Steiger (Police Chief Bill Gillespie) are two characters with the same problems but with a very different approach. In fact, it does not matter who is the better cop of these two, but who is the better man. Both actors have offered very good performances. A chemistry and tension between them is very impressive.

The other actors were not bad, but some of them are quite unconvincing and irritating.

Every problem, any suspicion and prejudice can be overcome by communion.