2. Cela s'appelle l'aurore AKA That Is the Dawn (1956, Luis Bunuel) 8/10
3. Sadko (1953, Aleksandr Ptushko) 5/10
4. Ilya Muromets (1956, Aleksandr Ptushko) 5/10
5. Calabuch (1956 ,Luis García Berlanga) 7.5-8/10
6. La vida por delante / Life Ahead (1958, Fernando Fernán Gómez) 6/10
7. Hotarubi / Firefly Light (1958, Heinosuke Gosho) 6/10
8. Shinel / The Overcoat (1959, Aleksey Batalov) 6.5/10
9. Il Cristo proibito / The Forbidden Christ (1951, Curzio Malaparte) 7/10
10. Tsuma / Wife (1953, Mikio Naruse) 6/10
11. Istoria mias kalpikis liras / The Counterfeit Coin (1955, Yorgos Javellas) 7/10
12. Otello (1956, Sergei Yutkevich) 8/10
13. Ôkami / Wolf (1955, Kaneto Shindô) 7.5/10
14. Kyriakatiko xypnima / Windfall in Athens (1954, Mihalis Kakogiannis) 6.5-7/10
15. Marcelino pan y vino / The Miracle of Marcelino (1955, Ladislao Vajda) 6/10
16. L'uomo di paglia / Man of Straw (1958, Pietro Germi) 7.5
18. Kome / Rice (1957, Tadashi Imai) 7(10
19. El expreso de Andalucía (1956, Francisco Rovira Beleta) 7.5/10
A new collection of really good, but not quite great films.
The White Angel is bigger than life melodrama with so much sentimentality and extravagant plot development that it actually becomes a genuinly rewarding experience. The writing may be ludicrously thin at times, but the plotting is out of left-field, and there is a great deal of magic here. Shockingly, I did not realize it was a sequel until it was too late - will watch the first film too.
The one thing that is so striking about Kome is that you can feel the heat in almost every screen, the vivacious cinematography genuinely drips of sweat, and the tragedy and poverty was well felt. The only thing holding Kome back is slight meandering and a not too strong character gallery.
El expreso de Andalucía is a tight and simple heist in wonderful noir fashion, I'd be tempted to in some ways call it excellent, it is perfectly efficient, with strong visuals and all the essential details are in place. With a few small tweaks this would have been a great film.