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July-August 1993

Dylan Thomas’s screenplays, B-movies, Max Ophuls’s Madame de…, Josef von Sternberg’s Scarlett Empress, Julia Sweeney’s guilty pleasures, Philip Kaufman interviewed, Alfred Hitchcock during WWII, Gregory Markopoulos, Ousmane Sembene, Cannes 1993

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Woody & Saddam & Charlie & Adolf
By Richard Combs
On history, identity, and comic auteurs

Rebecca’s Daughters
By Peter Richards
Dylan Thomas’s screenwriting gigs

B Movies
By Gregory Solman
What they were, what they aren’t, and the disguises they wear in the Nineties

Madame de … and The Scarlet Empress
By Kathleen Murphy
One critic’s shock of recognition

Julia Sweeney’s Guilty Pleasures
Ms. Saturday Night (Live, that is) fesses up to how Hayley Mills warped her for life; plus a parallel-universe perspective . . . It’s Pat!

Philip Kaufman Interview
By Gavin Smith
Rising Sun may be a high-profile bestseller adaptation with a megastar in the lead, but the director of The Right Stuff, Unbearable Lightness of Being, and Henry and June can’t help stalking ambiguity

Seventies Film Noir
By Donald Lyons
20 years after, The Long Goodbye and Chinatown remain the lone masterworks of neo-noir

Hitchcock’s WWII
By Bret Wood
The rap on his two Free French propaganda pieces has always been “the director vanishes.” Not so

Gregory Markopoulos
By David Ehrenstein
Notes from Underground

Ousmane Sembene
By Michael Atkinson
30 years of African cinema, from Borom Sarret to Guelwaar: a career appreciation

Cannes ’93
By Mary Corliss and Harlan Kennedy
Campion, Wenders  Chen Kaige, et al.

Peter Ibbetson
By Michael Atkinson
No one is quite sure how Henry Hathaway, robust Hollywood all-rounder, came to make one of the classics of Surrealist cinema—but there it is