May/June 1993

Arnaud Desplechin’s La Sentinelle, sentimentality on film, Terence Davies’s The Long Day Closes, director’s cuts, John Sayles, Oscar redux, Martin & Osa Johnson, David Lynch, Vincent Ward, William Powell, Alan Rudolph interviewed, Akira Kurosawa, Alan Clarke

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Issue Details

BERLIN FILM FESTIVAL
By Harlan Kennedy
Wittgenstein meets King Kong on the K-damm

LA SENTINELLE
By Michael Atkinson
Forensic notes on Arnaud Desplechin’s un-thriller

SENTIMENTALITY
By William Johnson
From the Lumières to the happy ending of The Player, a short history of the crying game

THE LONG DAY CLOSES
By Armond White
Terence Davies invents the Proustian musical

THE DIRECTOR’S CUT
By Greg Solman
The reconstitution of Blade Runner, Lawrence of Arabia, et al., represents the triumph of art over commerce—or is it more a matter of shake hands with the devil?

JOHN SAYLES
By Andrew Sarris
An untimely masterpiece upsets our favorite critic’s applecart

OSCAR REDUX

MARTIN & OSA JOHNSON
By Robert Horton
There is an African Safari Museum in Kansas—the last, unlikeliest location for two of the movies’ most peripatetic filmmakers

DAVID LYNCH
By Howard Hampton
Ronald Reagan’s America—the parallax view
Plus: Fire Walk With Me by Greg Olson

VINCENT WARD
By Michael Wilmington
New Zealand cinema’s odd man out

WILLIAM POWELL
By Dennis Drabelle
The Thin Man on Parnassus

ALAN RUDOLPH
Interview by Gavin Smith
For some, one of the most beguiling of the moderns; to others, an exasperating case of trouble in mind

AKIRA KUROSAWA
By Alex Seltzer
Audience and accessibility

ALAN CLARKE
By David Thomson
San Francisco Film Festival showcases a great modern director

STEPHEN HARVEY
By Carrie Rickey
The long day closes

THE POLITICS OF DENIAL
By Vanessa Place
And the poetics of evasion