The cinema saved Francois Truffaut’s life, he said again and again. It took a delinquent student and gave him something to love, and with the encouragement of Bazin he became a critic and then made this film by his 27th birthday. If the New Wave marks the dividing point between classic and modern cinema (and many think it does), then Truffaut is likely the most beloved of modern directors — the one whose films resonated with the deepest, richest love of moviemaking. -Roger Ebert
Pop-upView Separately

The cinema saved Francois Truffaut’s life, he said again and again. It took a delinquent student and gave him something to love, and with the encouragement of Bazin he became a critic and then made this film by his 27th birthday. If the New Wave marks the dividing point between classic and modern cinema (and many think it does), then Truffaut is likely the most beloved of modern directors — the one whose films resonated with the deepest, richest love of moviemaking.
-Roger Ebert

In “Walkabout,” the crucial detail is that the two teenagers can never find a way to communicate, not even by using sign language. Partly this is because the girl feels no need to do so: Throughout the film she remains implacably middle-class and conventional, and she regards the aborigine as more of a curiosity and convenience than a fellow spirit. Because not enough information is given, we cannot attribute her attitude to racism or cultural bias, but certainly it reveals a vast lack of curiosity. And the aborigine, for his part, lacks the imagination to press his case—his sexual desires—in any terms other than the rituals of his people. When that fails, he is finished, and in despair  The movie is not the heartwarming story of how the girl and her brother are lost in the outback and survive because of the knowledge of the resourceful aborigine. It is about how all three are still lost at the end of the film—more lost than before, because now they are lost inside themselves instead of merely adrift in the world.  via: Roger Ebert
Pop-upView Separately

In “Walkabout,” the crucial detail is that the two teenagers can never find a way to communicate, not even by using sign language. Partly this is because the girl feels no need to do so: Throughout the film she remains implacably middle-class and conventional, and she regards the aborigine as more of a curiosity and convenience than a fellow spirit. Because not enough information is given, we cannot attribute her attitude to racism or cultural bias, but certainly it reveals a vast lack of curiosity. And the aborigine, for his part, lacks the imagination to press his case—his sexual desires—in any terms other than the rituals of his people. When that fails, he is finished, and in despair

 The movie is not the heartwarming story of how the girl and her brother are lost in the outback and survive because of the knowledge of the resourceful aborigine. It is about how all three are still lost at the end of the film—more lost than before, because now they are lost inside themselves instead of merely adrift in the world.

 via: Roger Ebert

This is the kind of movie you’ll relate to if you love film itself, rather than its surface aspects such as story and stars.- Roger Ebert
Pop-upView Separately

This is the kind of movie you’ll relate to if you love film itself, rather than its surface aspects such as story and stars.- Roger Ebert

Roger Ebert on Satoshi Kon’s Tokyo Godfathers: “The movie’s story is melodrama crossed with pathos, sometimes startling hard-boiled action, and enormous coincidence. The streets of Tokyo seem empty and grim as the three godparents protect the child and eventually begin a search for its true parents. And the story involving those parents is more complicated than we imagine. There are scenes in an abandoned house, in an alley of homeless dwellings, in a drugstore, that seem forlorn and hopeless, and then other scenes of surprising warmth, leading up to a sensational ending and a quite remarkable development in which two lives are saved in a way possible only in animation.”
Pop-upView Separately

Roger Ebert on Satoshi Kon’s Tokyo Godfathers:

“The movie’s story is melodrama crossed with pathos, sometimes startling hard-boiled action, and enormous coincidence. The streets of Tokyo seem empty and grim as the three godparents protect the child and eventually begin a search for its true parents. And the story involving those parents is more complicated than we imagine. There are scenes in an abandoned house, in an alley of homeless dwellings, in a drugstore, that seem forlorn and hopeless, and then other scenes of surprising warmth, leading up to a sensational ending and a quite remarkable development in which two lives are saved in a way possible only in animation.”

Be a good parent: Children who won’t watch a black and white movie should be sadly chastised and sent to bed without supper.

Roger Ebert (via dayofthedreamweavers)

The man speaks the truth.

Source: dayofthedreamweavers