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Any residual thrust that the sexual misadventures of a married couple might have had on a mere situational level gets cold-showered by Daniel White’s demonstratively delicate keyboard diddles.

A troubled man talks to his suicidal sister's psychiatrist about their family history and falls in love with her in the process. This comprises a radical shift in tone from the first act. The film’s painterly use of Eastman color nearly leaps from the screen in just about every frame, especially in wide shots where the richness of the colors and the extensive depth of field result in a dynamic vibrancy. It’s in such defiance of conventional spectacle that The investigation, headed by the burly Kommissar Beizmenne (Mario Adorf), cooks up an elaborate, paranoiac scenario that imputes that the outwardly naïve and innocent Katharina, nicknamed “the Nun” by her friends, has been living a second life as a violent terrorist and de facto prostitute—that her meeting Ludwig at the party was somehow arranged. Shades of black, most prominent in scenes like the nighttime phone conversation between Ludwig and Katharina but also perpetually present in the form of Angela Winkler’s distinctive dark bob, are stable and appropriately uniform. Katy Perry’s Wildest Video Looks, from “California Gurls” to “Smile”Listen: Dua Lipa Elevates “Levitating” with Help from Madonna and Missy ElliottReview: Billie Eilish’s “My Future” Is an Unexpectedly Upbeat Tribute to IsolationCriterion’s Blu-ray provides a comprehensive window into Streisand’s creative process.Opening with picture-perfect helicopter shots of the sunset over a South Carolina marsh set to the soupy strains of James Newton Howard’s score as Tom delivers a sentimental voiceover about his childhood, The script, by Conroy and Becky Johnston, radically alters the course of the novel, which is primarily told through Tom’s flashbacks to his childhood. Was this review helpful to you? Streisand made tweaks to the final cut even after the film’s test screening, removing her own song from the end credits because it didn’t feel right, despite the audience’s favorable opinion of it. But it works quite well to firmly establish our interest, if not exactly our identification, with these characters as they are exposed to the elements and face the Native Americans, as well as the depredations of duplicitous gunrunner Isaac Q. Cumber (Donald Pleasance).

Again, the music strikes an upbeat tone, suggesting that these children are getting on just fine.

Story of singer Fanny Brice's stormy relationship with showman Billy Rose. The Wingo family is from South Carolina, they growing up in a house on a tidal plain. Picture yours or someone else’s grandfather showing off at a Hammond on display at a Schmitt Music store, obsequiously pulling every stop, and leaning on and off the volume pedal for dramatic effect. The surrounding landscape consists of painted flats, and the backdrop is patently two-dimensional. Where the first half of To emphasize the unnaturalness of this situation, Uchida again shifts to the theatrical register: We first see Yasuna and Okon’s shared hovel as a curtain draws back to reveal the façade of the structure. Together they form a rich analysis of the psychological toll of domesticity, which can act as both a gravitational force and a suffocating echo chamber, and they do so through a visual language that’s closer to noir than to the flamboyant expressionism of the films for which Sirk is more frequently celebrated.Beyond their plot parallels, both films are further united by the grounding presence of Barbara Stanwyck. Unfortunately, the prevailing disorder extends to Yasunori’s own household, where the rivalry for favor between virtuous Yasuna (Hashizô Ôkawa) and devious Doman (Shinji Amano) leads to a series of betrayals, torture, murder, and Yasuna’s ultimate madness and exile.