From the Sight and Sound archive
“Few films, in own experience, have bristled with so many problems”: Michael Balcon on Scott of the Antarctic
In our Winter 1948/49 issue, Michael Balcon, the legendary British producer and head of Ealing Studios, recalled the manifold challenges faced by the crew of the Robert Falcon Scott biopic.
From the Sight and Sound archive
Elaine May: laughing matters
Elaine May: laughing mattersFrom the Sight and Sound archive
“Ford is a director with whom things are either right or wrong”: Lindsay Anderson’s review of The Searchers
“Ford is a director with whom things are either right or wrong”: Lindsay Anderson’s review of The SearchersFrom the Sight and Sound archive
“Her charisma, her presence, was a lot to do with her eyes”: Asif Kapadia on Amy
“Her charisma, her presence, was a lot to do with her eyes”: Asif Kapadia on AmyFrom the Sight and Sound archive
My father the hero: Víctor Erice’s El sur
My father the hero: Víctor Erice’s El surFrom the Sight and Sound archive
“We will never see that Hollywood again”: Bette Davis, grande dame of cinema
“We will never see that Hollywood again”: Bette Davis, grande dame of cinemaFrom the Sight and Sound archive
“The conclusion we came to about equality is that nobody really wants it”: Krzysztof Kieślowski on the Three Colours trilogy
“The conclusion we came to about equality is that nobody really wants it”: Krzysztof Kieślowski on the Three Colours trilogyFrom the Sight and Sound archive
Godzilla mon amour
Godzilla mon amourFrom the Sight and Sound archive
Naked miracles: Lars von Trier on Breaking the Waves
Naked miracles: Lars von Trier on Breaking the WavesFrom the Sight and Sound archive
“Scorsese has become the threnodist of frustration”: After Hours reviewed in 1986
“Scorsese has become the threnodist of frustration”: After Hours reviewed in 1986From the Sight and Sound archive
Survival instincts: the cinema of Jaume Collet-Serra
Survival instincts: the cinema of Jaume Collet-SerraFrom the Sight and Sound archive
Only a dream: Gene Tierney
Only a dream: Gene TierneyFrom the Sight and Sound archive
“You can’t let the audience get ahead of you”: Raoul Walsh interviewed in 1972
“You can’t let the audience get ahead of you”: Raoul Walsh interviewed in 1972From the Sight and Sound archive
“It is about moments of connecting and not connecting”: Kelly Reichardt on Certain Women
“It is about moments of connecting and not connecting”: Kelly Reichardt on Certain WomenFrom the Sight and Sound archive
City of God: angels with dirty faces
City of God: angels with dirty facesFrom the Sight and Sound archive
“Dazzling entertainment that wants us to luxuriate in violence as we condemn it”: Fight Club reviewed in 1999
“Dazzling entertainment that wants us to luxuriate in violence as we condemn it”: Fight Club reviewed in 1999From the Sight and Sound archive
Out of oblivion: Alice Guy-Blaché
Out of oblivion: Alice Guy-BlachéFrom the Sight and Sound archive
Giddy adventures, gender skirmishes and aural seductions: Frank Capra’s It Happened One Night
Giddy adventures, gender skirmishes and aural seductions: Frank Capra’s It Happened One NightFrom the Sight and Sound archive
“Lynch’s talent is honourably confirmed as a portrayer of remarkable horrors”: Dune reviewed in 1985
“Lynch’s talent is honourably confirmed as a portrayer of remarkable horrors”: Dune reviewed in 1985From the Sight and Sound archive
“It is refreshing to find a screen vampire who relishes being a monster”: Interview with the Vampire reviewed in 1995
“It is refreshing to find a screen vampire who relishes being a monster”: Interview with the Vampire reviewed in 1995From the Sight and Sound archive
“Far from glorying in violence, Meirelles shows us its consequences”: City of God reviewed in 2003
“Far from glorying in violence, Meirelles shows us its consequences”: City of God reviewed in 2003From the Sight and Sound archive
The eyes of Texas: Terrence Malick’s Days of Heaven
The eyes of Texas: Terrence Malick’s Days of HeavenFrom the Sight and Sound archive
“The only film I've made that I would consider amoral”: Norman Jewison on The Thomas Crown Affair
“The only film I've made that I would consider amoral”: Norman Jewison on The Thomas Crown AffairFrom the Sight and Sound archive
Out of the shadows: Sergei Parajanov
Out of the shadows: Sergei ParajanovFrom the Sight and Sound archive
‘A succession of formulaic Mills & Boon gestures’: Love Actually reviewed in 2003
‘A succession of formulaic Mills & Boon gestures’: Love Actually reviewed in 2003From the Sight and Sound archive
‘A film studded with glowing moments of humanity’: The Enigma of Kaspar Hauser reviewed in 1975
‘A film studded with glowing moments of humanity’: The Enigma of Kaspar Hauser reviewed in 1975From the Sight and Sound archive
A man for all seasons: Fritz Lang interviewed in 1967
A man for all seasons: Fritz Lang interviewed in 1967From the Sight and Sound archive
‘Horrifyingly graphic’ Saving Private Ryan reviewed in 1998
‘Horrifyingly graphic’ Saving Private Ryan reviewed in 1998From the Sight and Sound archive
A monumental reckoning: how Abel Gance’s Napoleon was restored to full glory
A monumental reckoning: how Abel Gance’s Napoleon was restored to full glory