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This 2018 release feels like it arrived fresh from 1974, and that is what makes it a delight.

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Ballad of Narayama

"The Ballad of Narayama" is a Japanese film of great beauty and elegant artifice, telling a story of startling cruelty. What a space it opens…

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Interview: Robert Altman, "Wedding" Photographer

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CANNES, France -- Yes, it was very pleasant. We sat on the stern of Robert Altman's rented yacht in the Cannes harbor, and looked across at the city and the flags and the hills. There was a scotch and soda with lots of ice, and an efficient young man dressed all in white who came on quiet shoes to fill the glasses when it was necessary.

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Dusty sells Billy a movie: Showdown at the American Bar

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Billy (Silver Dollar) Baxter traveled to the Cannes Film Festival every year with two old friends, Herb and Anna Steinman of New York City. He always introduced Mrs. Steinman as “Jack Nicholson’s shrink,” and Herb as “the retired millionaire and my old buddy-boy.” From time to time over the years, Baxter and Steinman had purchased the rights to films at Cannes, and released them in the United States. Their purchases included "The Umbrellas of Cherbourg" and Lina Wertmuller’s "Love and Anarchy," and in 1977 they were hot on the trail of a Canadian film titled "Outrageous!"

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Interview with Ralph Bakshi

Animated cartoons have traditionally been places of slap­stick and wonderment and only the occasional wicked step­mother. But not in the world of Ralph Bakshi: His first feature, “Fritz The Cat”, was an X-rated excursion into the urban underworld, and in “Heavy Traffic”, “Coonskin” and “Hey, Good Lookin’”, he examined gamblers, pimps, street gangs, dope pushers and 1950s juvenile delinquents.

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Liv Ullmann, Face to Face

It is a sunny day in Stockholm, two years ago in May. Ingmar Bergman is in residence at Film House, shooting “Face to Face.” Silence reigns, as it always does when Bergman works: “No other director in the world has such quiet sets,” Liv Ullmann writes in her notebook. She sits in her tiny dressing room, wearing an old white muslin shirt and a full cotton skirt. Her feet are tucked beneath her.

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Play Scoobie-Doobie-Doo for Me

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BIG SUR, CA -- The Dirty Harry style, Clint Eastwood was explaining, is simplicity itself: "You start with this ultimate fantasy character, this guy who's always fighting the establishment, who isn't interested in the intricacies of society, who tells his boss to go to hell. You equip him with a .44 magnum, pointing out that it's the most powerful handgun in the world. You make him a cop and send him out into the streets. And you whittle down his dialog." Eastwood, as unlike this description as possible, was sipping herb tea on a veranda overlooking the Pacific. The dry December sunlight spilled down and the hills of Big Sur rose behind him, and his dialog wasn't whittled down at all. Among other things, Eastwood talks a lot more than the characters he plays, perhaps because he has more to say.

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Hanging out with Wilder and Pryor

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"What happened was, I was reading about Buster Keaton," Gene Wilder said. "About how he did all his own stunts. Like the time he had to stand in exactly the right place for the two-ton building to fall on him and he was right where the window was. So then we were making 'Silver Streak' and there we were doing our own stunts."

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