Foreign Classics

This 1962 Biblical epic was adapted by Christopher Fry from the novel by Pär Lagerkvist. Anthony Quinn stars as Barabbas, the thief who was pardoned in place of Jesus. For the rest of his life, the guilt-ridden criminal tries to justify his existence and to determine his place in the scheme of things. Along the way he encounters the self-righteous pomposity of Pontius Pilate (Arthur Kennedy), the stoning of Sara (Katy Jurado), the gladiatorial sadism of Torvald (Jack Palance), and the burning of Rome. The film's unbilled Christ is played by Roy Magnano, the brother of Quinn's second-billed costar Silvia Mangano. Watch for the genuine solar eclipse during the Crucifixion sequence, an effect that director Richard Fleischer spent several days preparing for. ~ Hal Erickson, All Movie Guide

À Nous la Liberté is an early talkie from French filmmaker René Clair. Louis (Raymond Cordy) and Emile (Henri Marchand) are a pair of convicts whose lives take decidely different paths after prison. Emile works his way up the ladder of capitalism, becoming a phonograph factory boss, a job that finds him overseeing a bleak outfit of automatous drones. Louis, on the other hand, lives the life of a poverty-stricken vagabond. Despite their contrasting lots, the pair meet up again later in life. À Nous la Liberté is perhaps best remembered for being the main inspiration for Charlie Chaplin's 1936 classic Modern Times. ~ Matthew Tobey, All Movie Guide

Africa, Blood and Guts is an edited-down version of the 1966 documentary Africa, Addio, a follow up to the directors' Mondo Cane. Whereas the original 138-minute version of Addio sought to criticize practices and customs in 1960s Africa and demonstrated a fair amount of substance (drawing extreme controversy for its political and social observations about Africa), this reduced version exists only for the sake of exploitation - exclusively emphasizing homicides, genocides, mutilations, the butchering of animals and all manner of other grotesquerie.
~ Hal Erickson, All Movie Guide

Something of a Fantasia for adults, Allegro Non Troppo intercuts slapstick live-action sequences -- which relay the story of a beleaguered animator's (Maurizio Nichetti) ongoing battle with an Oliver Hardy-like orchestra conductor -- and animated sequences, set to classical music, which visually interpret selected works of Debussy, Dvorak, Ravel, Sibelius, Vivaldi, and Stravinsky. The liveliest piece, set to Ravel's Bolero, delineates a series of "spontaneous generations" from an abandoned Coke bottle. The most haunting piece, set to Sibelius' Valse Triste, depicts a forlorn cat wandering the ruins of a condemned building and constantly hallucinating that he is back in the lap of luxury. Allegro Non Troppo is the brainchild of gifted Italian animator Bruno Bozzetto. ~ Hal Erickson, All Movie Guide

Widely recognized as a masterpiece, Andrei Tarkovsky's 205-minute medieval epic, based on the life of the Russian monk and icon painter, was not seen as the director intended it until its re-release over twenty years after its completion. The film was not screened publicly in its own country (and then only in an abridged form) until 1972, three years after winning the International Critics Prize at the Cannes Film Festival. Calling the film frightening, obscure, and unhistorical, Soviet authorities edited the picture on several occasions, removing as much as an entire hour from the original. Presented as a tableaux of seven sections in black and white, with a final montage of Rublev's painted icons in color, the film takes an unflinching gaze at medieval Russia during the first quarter of the 15th century, a period of Mongol-Tartar invasion and growing Christian influence. Commissioned to paint the interior of the Vladimir cathedral, Andrei Rublev (Anatoli Solonitsyn) leaves the Andronnikov monastery with an entourage of monks and assistants, witnessing in his travels the degradations befalling his fellow Russians, including pillage, oppression from tyrants and Mongols, torture, rape, and plague. Faced with the brutalities of the world outside the religious enclave, Rublev's faith is shaken, prompting him to question the uses or even possibility of art in a degraded world. After Mongols sack the city of Vladimir, burning the very cathedral that he has been commissioned to paint, Rublev takes a vow of silence and withdraws completely, removing himself to the hermetic confines of the monastery. Rising quickly out of this mire, the film's final section (a short story in its own right) concerns a boy named Boriska (Nikolai Burlyayev) who convinces a group of travelling bell-makers that his father passed on to him the secret of bell-making. The men take Boriska along, mostly because they pity and are amused by him, but they are quickly enthralled by the boy's ambition, determination, and confidence that he alone knows how to build the perfect bell. Boriska is soon commanding an army of assistants and peasant workers, and, indeed, his fierce temperament and refusal to accept anything but the best possible work and materials from the men fools the viewer -- possibly Boriska himself is fooled -- into thinking that he does in fact possess the secret, and that on the appointed day when the silver bell is lifted from the ground and its mallet set in place, it will ring. Amid this maelstrom of activity and confusion, Rublev appears; at first standoffish and mistrustful of the boy, he finds himself drawn to Boriska's courage and unselfconscious desire to create. Moved to put aside his vow of silence, Rublev serves finally as the boy's confessor, and he finds that, through Boriska, his faith, and art, have been renewed. ~ Anthony Reed, All Movie Guide

Yiorgos Tzavellas wrote and directed this award-winning attempt at reimagining the classic tragedy by Sophocles as an actual motion picture rather than simply filming the play, as was common in Greek adaptations of theatrical productions since the late '20s. Manos Katrakis received widespread acclaim for his performance as Creon, who becomes King of Thebes after both of Oedipus' sons kill each other in a duel to determine ascension to the throne following his death. Creon orders the body of one son, Polynices, be left above ground, but the dead man's sister, Antigone (Irene Papas in an award-winning star turn), disobeys the new king and gives her brother a semi-proper burial by sprinkling him with dust. As punishment, Antigone is buried alive in a tomb despite her engagement to Creon's son Haemon (Nikos Kazis). Creon's mind is changed by Teiresias (Tzavalas Karoussos), a prophet who explains that leaving Polynices unburied sullies the realm of the gods. Unfortunately, by the time Creon gets around to burying Polynices and freeing Antigone, the poor girl has hanged herself in her tomb. This leads Creon's son to commit suicide as well, followed by the suicide of his own wife. Plagued with misery and guilt, the broken Creon abdicates the throne, crushed by the tragic chain of events that he had unwittingly set in motion. One of the best Greek productions of the 1960s, and highly recommended for students of classical Greek tragedy on film, Antigoni co-stars Maro Kondou, Ilya Livikou, Yiannis Argiris, and Theodoros Moridis. ~ Robert Firsching, All Movie Guide

Burt Lancaster stars as Lou, an aging mob flunkey, barely making a living in Atlantic City. Susan Sarandon plays Sally, a casino croupier whose husband Dave (Robert Joy) steals a large supply of drugs from the mob. When he is killed, the narcotics pass to the unwilling Sally. Lou, in the midst of longtime affair with middle-aged gangster's widow Grace (Kate Reid), falls for the much younger Sally, becoming her savior by killing the mob thugs sent to shut her up. The killings serve a therapeutic value for Lou, proving that he hasn't lost his old panache. ~ Hal Erickson, All Movie Guide

The Danish/French Babette's Feast is based on a story by Isak Dinesen, also the source of the very different Out of Africa (1985). Stephane Audran plays Babette, a 19th century Parisian political refugee who seeks shelter in a rough Danish coastal town. Philippa (Bodil Kjer) and Martina (Birgitte Federspiel), the elderly daughters of the town's long-dead minister, take Babette in. As revealed in flashback, Philippa and Martina were once beautiful young women (played by Hanne Stensgaard and Vibeke Hastrup), who'd forsaken their chances at romance and fame, taking hollow refuge in religion. Babette holds a secret that may very well allow the older ladies to have a second chance at life. This is one of the great movies about food, but there are way too many surprises in Babette's Feast to allow us to reveal anything else at this point (except that Ingmar Bergman "regulars" Bibi Andersson and Jarl Kulle have significant cameo roles).. ~ Hal Erickson, All Movie Guide

One of pioneering director Jean-Luc Godard's most accessible films is this French spin on Dolores Hitchens' novel Fool's Gold. It tells the tale of three disaffected youths who plan a burglary, leading to deadly results. The alienated young trio is marvelous, particularly Anna Karina, and the early scenes of their clearly overdeveloped fantasy lives are splendidly handled. Something of a companion piece to Godard's classic À Bout de Souffle, its young characters have the same odd mixture of fatalism and starry-eyed naïveté that is, by turns, appealing and tragic. Trivia buffs should note that the film gave its name to Quentin Tarantino's production company (A Band Apart), and several of its scenes are echoed in his Pulp Fiction. ~ Robert Firsching, All Movie Guide

This highly political film about the Algerian struggle for independence from France took "Best Film" honors at the 1966 Venice Film Festival. The bulk of the film is shot in flashback, presented as the memories of Ali (Brahim Haggiag), a leading member of the Algerian Front de Liberation Nationale (FLN), when finally captured by the French in 1957. Three years earlier, Ali was a petty thief who joined the secretive organization in order to help rid the Casbah of vice associated with the colonial government. The film traces the rebels' struggle and the increasingly extreme measures taken by the French government to quell what soon becomes a nationwide revolt. After the flashback, Ali and the last of the FLN leaders are killed, and the film takes on a more general focus, leading to the declaration of Algerian independence in 1962. Director Gillo Pontecorvo's careful re-creation of a complicated guerrilla struggle presents a rather partisan view of some complex social and political issues, which got the film banned in France for many years. That should not come as a surprise, for La Battaglia di Algeri was subsidized by the Algerian government and -- with the exception of Jean Martin and Tommaso Neri as French officers -- the cast was entirely Algerian as well. At least three versions exist, running 135, 125, and 120 minutes. ~ Robert Firsching, All Movie Guide

Humphrey Bogart stars as one of five disreputable adventurers who are trying to get uranium out of East Africa. Bogart's associates include pompous fraud Robert Morley, and Peter Lorre as the German-accented "O'Hara", whose wartime record is forever a source of speculation and suspicion. Becoming involved in Bogart's machinations are a prim British married couple (Edward Underdown and blonde-wigged Jennifer Jones). As a climax to their many misadventures and double-crosses, the uranium seekers end up facing extermination by an Arab firing squad. The satirical nature of Beat the Devil eluded many moviegoers in 1953, and the film was a failure. The fact that the picture attained cult status in lesser years failed to impress its star Humphrey Bogart, who could only remember that he lost a considerable chunk of his own money when he became involved in the project. Peter Viernick worked on the script on an uncredited basis. Beat the Devil eventually fell into public domain, leading to numerous inferior editions by second and third-tiered labels. ~ Hal Erickson, All Movie Guide

Falling somewhere between the Beyond the Fringe school and the Monty Python league, Bedazzled is an irreverent Faust take-off, written by and starring Peter Cook and Dudley Moore (Moore also composed the music). Moore plays a short-order cook at a London Wimpyburger restaurant, who falls hopelessly in love with waitress Eleanor Bron. About to commit suicide, the broken-hearted Moore is approached by Satan (Peter Cook). The Fallen Angel offers to purchase Moore's soul in exchange for seven wishes--the first of which is squandered when Satan buys Moore an ice cream bar (something over which the two stars quarrel throughout the film). Enticed by living personifications of the Deadly Sins--Raquel Welch, wearing next to nothing, is "Lillian Lust"--Moore allows Satan to grant him his heart's desire, utilizing the magic words, "Julie Andrews!" But with each wish, Satan, being Satan, can't help but gum up the works with a double-cross. The desperate Moore ultimately wishes to be allowed to spend the rest of his life with Eleanor in an environment with no other men--whereupon Satan transforms both Eleanor and Moore into nuns! Finally Satan has a change of heart, allowing Moore and Eleanor to fall in love in more orthodox surroundings and permitting Moore to regain his soul. Satan hopes that God will appreciate this good deed and allow him to re-enter Heaven. But God doesn't buy this; He's satisfied with Satan remaining mankind's "necessary evil". ~ Hal Erickson, All Movie Guide

This effective occult horror film was the final feature directed by the legendary Mario Bava. Daria Nicolodi gives her most convincing performance as Dora, who moves back into her old house with a new husband, Bruno (John Steiner), after spending time in a mental hospital. Strange things start happening, mostly involving her young son Marco (David Colin, Jr.), who seems to be possessed by the ghost of Dora's first husband Carlo, a heroin addict who committed suicide. Dora suffers from vivid hallucinations, and it soon becomes obvious that she is going completely mad, and that Bruno knows more about Carlo's death than he lets on. Bava stages the hallucination scenes with his trademark visual flair, and his son Lamberto Bava's script, co-written with Francesco Barbieri, Paola Brigenti and Dardano Sacchetti, handles Dora's shifting sense of reality with great skill and a subtlety rare for Italian horror films of the period. ~ Robert Firsching, All Movie Guide