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From the imaginative point of view, the Fellini is a masterpiece of its kind. I hasten to add that it is a very dreadful kind. I should not like to s… - C. A. Lejeune
" "From the imaginative point of view, the Fellini is a masterpiece of its kind. I hasten to add that it is a very dreadful kind.
I should not like to send anyone to see the picture unprepared. [In] La Dolce Vita ... [s]ome of the scenes are the most sickening exhibitions of human degradation and depravity ever shown on a public screen. They are intended to he so, for Fellini is a rebel who feels bitterly about the spurious sweetness of the dolce vita.
The leading character is a gossip-writer on a scandal sheet ... smelling out sensation. Wherever the scent is rankest, there he goes, with a pack, of other velping photographers at his heels. The wildest of wild orgies, a fake miracle, suicide following a father's murder of his sleeping children, the public striptease of a middle-aged woman to celebrate the annulment of her marriage, all these find our hero in attendance.
Why should anybody choose see it? Because it is a work of deep imagination, signed with an artist's individual hand. The black-and-white photography is masterly. Everything Fellini's camera touches springs to urgent life. He can pour life suddenly Into an empty street, illumine some hitherto unnoticed figure and make it live and breathe. No comer of the huge screen is ever wasted. Space left blank is as deliberately significant as space filled.
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About C. A. Lejeune
Caroline Alice Lejeune (27 March 1897 – 31 March 1973) was a British writer remembered as The Observers film critic from 1928 to 1960. She was among the earliest newspaper film critics in Britain, and one of the first British women in the profession. She formed a friendship early in her career with Alfred Hitchcock, "when he was writing and ornamenting sub-titles for silent pictures," as she later wrote.
Also Known As
Alternative Names:
Caroline Alice Lejeune
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C.A. L.
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Mrs. Edward Roffe Thompson
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Caroline Lejeune
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C.A. Lejeune
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C(aroline) A(nne) Lejeune
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Additional quotes by C. A. Lejeune
But the main attraction of the kinema for women rises out of a common factor in their natures. Woman is desperately personal, and the kinema the most personal of all the arts. Through it a woman can get into close touch with the shadows she has longed to meet, can seem to know them, can follow them through the whole gamut of their moods and share with them the most intense experiences. For women and because of women the "star" system has grown up in the kinema. It is nothing more or less than a commercial means of giving women the most of what they want—personality.
Sabotage, the new film at the Tivoli, is the cleverest picture Alfred Hitchcock has made since the arrival of talkies. It is also, to me, the least likeable of them all.
Every shot in it, every sound, every conjunction of images, is the result of close and consummate care. It is a cold, calculated, and quite masterly piece of film technics, designed to raise suspense and horror to the highest frequency. There is no department of the industry, script-writing, direction, cutting, sound, and camera, that could not learn something from this picture. I am prepared to give it every honour in the academy so long as I am never asked to sit through it again.
The keynote of Sabotage is complete destruction. Not only is the main plot concerned with a conspiracy to blow up Piccadilly Circus and terrorise London, but everything that is human and innocent and ordinary in the picture seems consecrated to the needs of ruthlessness. The young schoolboy brother of the heroine, the only really sympathetic character in the piece, is smashed to pieces with a time bomb in a London omnibus. With him go a puppy, an amiable old lady, a friendly conductor, and all the most cheerful group of sentimental commonplaces that Hitchcock can gather together into one locale. Following this event, the heroine sticks her husband in the stomach with a carving knife, and a kindly old anarchist blows the corpse and himself to glory with another hand grenade, leaving the murderess free to marry the Scotland Yard detective.
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A new film by Alfred Hitchcock is usually a keen enjoyment. Psycho turns out to be an exception. There follows one of the most disgusting murders in all screen history. It takes place in a bathroom and involves a great deal of swabbing of the tiles and flushings of the lavatory. It might be described with fairness as plug ugly.
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