January/February 1991

Jonathan Demme’s The Silence of the Lambs, E. Elias Merhige’s Begotten, a career appreciation of Robert Altman, James Naremore on the FBI vs. Orson Welles, Jodie Foster’s Little Man Tate, Mark Robson’s My Foolish Heart, the New York Film Festival

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FUTURE PRIMEVAL
By Robert DiMatteo
Bewitched, bothered, and Begotten

ALTMAN ’91
By Beverly Walker
What’s all this “comeback” hookah? The American cinema’s great maverick has never slowed down

“THE PAST” REWRITTEN
By Jeff Schwager
Credits don’t always tell the story. A close look at who did what on a classic film noir screenplay

CURSE OF THE CULT PEOPLE
By J. Hoberman and Jonathan Rosenbaum
Two leading “alternative” critics ponder the gentrification of the fringe

THE TRIAL
By James Naremore
The FBI vs. Orson Welles

IDENTITY CHECK
Jonathan Demme interviewed by Gavin Smith
A session with Jonathan Demme, who just might have that long-deserved breakthrough hit on line at last

COMMUNION
By Kathleen Murphy
On The Silence of the Lambs

THE HEART IS A LONELY HUNTER
By Andrew Sarris
My Foolish Heart is one worthy movie, the more so for not being “Uncle Wiggily in Connecticut”

THE YEAR OF LOOKING DANGEROUSLY
1990: New Faces, Ten Bests, and Moments out of Time

KINGS OF NEW YORK
By Robert Horton, Lisa Katzman, and Frank Thompson
Three takes on the 28th NYFF

THE LAKE, THE TREES
By Robert Stam
If Godard has lost it, how come Nouvelle Vague is so thrilling to see and hear?

THE COLOMBIAN CONNECTION
By Jamie Manrique
Andean views

THE SPLITTING IMAGE
By William Johnson
The contrary canon of Heinosuke Gosho

TALES FROM THE CRYPT
By Jim Beckerman
The perils of rediscovery