Paris, 1942. Robert Klein cannot find any fault with the state of affairs in German-occupied France. He has a well-furnished flat, a mistress, and business is booming. Jews facing ... See full summary »
What is real and what is fiction? Faced with writer's block with his novel, Lewis Fielding turns to a film script about a woman finding herself after his wife Elizabeth returns from Baden ... See full summary »
Frederique (Huppert) leaves her family's small-town trout farm to embark on an journey taking her to Japan and into the arms of a man. Irritations concerning her actions and present state ... See full summary »
The Oxford professor of philosophy Stephen has two favorite pupils, the athletic aristocrat William and the Austrian Anna von Graz. Stephen is a frustrated man, with a negligent wife, Rosalind, who is pregnant of their third child, and is envious of the Oxford professor Charley that has a television show. Stephen feels attracted to Anna, but William woos her and she becomes his girlfriend. Charley has a love affair with Anna but when things go wrong, Anna must leave town. Written by
Claudio Carvalho, Rio de Janeiro, Brazil
[reading from learned journal]
A statistical analysis of sexual intercourse at Colenso University, Milwaukee showed... that 70% did it in the evening, 29.9% between 2 and 4 in the afternoon and 0.1% during a lecture on Aristotle.
I'm surprised to hear that Aristotle is on the syllabus in the State of Wisconsin.
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Following their work on "The Servant" (1963) and before the more well-known, "The Go-Between" (1971), "Accident" can be seen as the best - certainly the most understated - of the collaborations between the English playwright, Harold Pinter, and the expatriate American director, Joseph Losey, who had lived and worked in London for some years.
As Pinter said in a 1966 interview: "So in this film everything is buried, it is implicit. There is really very little dialogue, and that is mostly trivial, meaningless. The drama goes on inside the characters." In the published screenplay his directions for one scene indicate that "the words are fragments of realistic conversation. They are not thoughts..." and what comes across is the brilliant contrast between the nondescript, mundane, day-to-day attempts at communication between the characters combined with a hard look at the underlying reality of the characters' situations. Nothing is like it seems to be.
If you like the work of Harold Pinter, this rarely-available film, is a brilliant addition. See it in combination with the other two to get a full picture of what Losey and Pinter achieved. I've seen the films at least 10 times each and they formed the basis of my 1974 MA thesis on the Pinter-Losey collaboration.
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