Read issue Subscribe to access more than 300 print issues of Film Comment in our comprehensively indexed, searchable archive. September-October 1972 Column Journals: Cannes by Richard Roud Journals: Los Angeles by Stephen Farber Journals: Paris by Jonathan Rosenbaum Film Favorites: Bigger Than Life by Robin Wood Film Favorites: River of No Return by Richard McGuinness Film Favorites: The Group by Elliott Sirkin Critics: Robert E. Sherwood A critical presage with an instinctive and almost unerring ability to perceive films of enduring importance by John Schultheiss Midsection The Second Coming by Charles Silver The Chaplin Revue by Gilberto Perez Guillermo The Kid (1921) by Gary Carey A Woman Of Paris (1923) by William K. Everson The Gold Rush (1925) by William Paul City Lights (1931) by Stanley Kauffmann Modern Times (1936) by David Denby The Great Dictator (1940) by Stephen Harvey Monsieur Verdoux (1947) by Foster Hirsch Limelight (1952) by Emily Sieger A King In New York (1957) by David Robinson A Countess From Hong Kong (1967) by Michael Kerbel Interview Chronicler of Power: An Interview with Franklin Schaffner by Kenneth Geist John Wayne Talks Tough The actor and producer responds to questions, but not theories by Joe McInerney Feature Ingmar Bergman The more independent Bergman became, the more his films became open-ended by John Simon Aspects of Cinematic Consciousness "Suspense" and Presence/Dis-Illusion/Unified Perceptual Response by Donald Skoller Book Review Cinema Borealis: Ingmar Bergman and the Swedish Ethos A roundup of recent publications on the world of moving images by Stuart Liebman Department Letters A few corrections from contributors by Film Comment
Read issue Subscribe to access more than 300 print issues of Film Comment in our comprehensively indexed, searchable archive. September-October 1972
Read issue Subscribe to access more than 300 print issues of Film Comment in our comprehensively indexed, searchable archive.
Critics: Robert E. Sherwood A critical presage with an instinctive and almost unerring ability to perceive films of enduring importance by John Schultheiss
John Wayne Talks Tough The actor and producer responds to questions, but not theories by Joe McInerney
Ingmar Bergman The more independent Bergman became, the more his films became open-ended by John Simon
Aspects of Cinematic Consciousness "Suspense" and Presence/Dis-Illusion/Unified Perceptual Response by Donald Skoller
Cinema Borealis: Ingmar Bergman and the Swedish Ethos A roundup of recent publications on the world of moving images by Stuart Liebman
