The onstage program is mostly music numbers, a beguiling mix of standards and old-style country. Set during the show's fictitious last broadcast-the host station has been bought-the film has plenty of elements from the real PHC radiocasts, including a live audience and the sensational Shoe band. Robert Altman Robert Altman and Garrison Keillor combine reality and fantasy in this smooth, ebullient take on the long-running Prairie Home Companion radio show.
Bresson's films are not for everybody, and this austere picture hardly carries the visceral punch of "The Great Escape", but it's a drama of profound power, with a gripping climax that's as absorbing and tense as any high-energy action film. The effect is a drama where the slightest gesture carries the weight of a confession. This is Bresson's first film to feature a completely nonprofessional cast drilled to master precise movements and deliver lines without dramatic inflection. Bresson magnifies every detail with insistent close-ups and detailed examinations of every step of Fontaine's plan, from constructing and hiding ropes and hooks to painstakingly carving out an exit in the heavy cell door, and provides a sort of Greek chorus of fellow prisoners. Kept in a tiny stone cell with a high window and a thick wooden door, the prisoner (renamed Fontaine in the film) makes himself intimate with his world-every surface of his room, every sound reverberating through the hall, and every detail of the prison's layout that he can absorb in brief sojourns from his cell. "I give it as it is, without embellishment." Based on the memoir by Andre Devigny, a member of the French Resistance imprisoned and sentenced to death by the Gestapo during the German occupation, Bresson (himself at one time a German POW) transforms Devigny's daring escape into an ascetic film of documentary detail. Robert Bresson This story is true, reads the opening statement of "A Man Escaped". With spectacular, painstakingly authentic special effects that have stood the test of time, Kubrick's film is nothing less than a cinematic milestone-puzzling, provocative, and perfect. Still, the film is timelessly provocative in its pioneering exploration of inner- and outer-space consciousness. (The director also leaves the meaning of the black, rectangular alien monoliths open for discussion.) This theme, in part, is what makes 2001 a film like no other, though dated now that its postmillennial space exploration has proven optimistic compared to reality. In keeping with the director's underlying theme of dehumanization by technology, the notorious, seemingly omniscient computer HAL 9000 has more warmth and personality than the human astronauts it supposedly is serving. From the dawn-of-man discovery of crude but deadly tools in the film's opening sequence to the journey of the spaceship Discovery and metaphysical birth of the "star child" at film's end, Kubrick's vision is meticulous and precise. A daring experiment in unconventional narrative inspired by Clarke's short story "The Sentinel," 2001 is a visual tone poem (barely 40 minutes of dialogue in a 139-minute film) that charts a phenomenal history of human evolution.
Clarke to collaborate on "the proverbial intelligent science fiction film," it's a safe bet neither the maverick auteur nor the great science fiction writer knew they would virtually redefine the parameters of the cinema experience.
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