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(09/28/00 10:24am)
____simple_html_dom__voku__html_wrapper____>This Katharine Hepburn and Cary Grant film is not only the pinnacle of Howard Hawks's directing career (which includes "His Girl Friday" and "The Big Sleep") but also the finest piece of screwball comedy, and maybe even comedy overall, ever produced in film. Grant and Hepburn are in top form, as a paleontologist and an heiress respectively, who never seem to be able to stop bumping into one another.
(09/28/00 4:00am)
____simple_html_dom__voku__html_wrapper____>This Katharine Hepburn and Cary Grant film is not only the pinnacle of Howard Hawks's directing career (which includes "His Girl Friday" and "The Big Sleep") but also the finest piece of screwball comedy, and maybe even comedy overall, ever produced in film. Grant and Hepburn are in top form, as a paleontologist and an heiress respectively, who never seem to be able to stop bumping into one another.
(09/28/00 4:00am)
Movie studios have yet to fully figure out the possibilities of DVD, but they are getting there. \nThe best studio overall is probably Twentieth Century Fox, which consistently takes the time to produce extensive DVDs of films ranging from the box-office smash "Independence Day" to the underrated "Fight Club" to the barely-seen "Titus." Like many other companies, though, they have yet to take all of their discs to the ultimate sound levels of DTS and produce all of their films with anamorphic widescreen. New Line is another studio that is big on extras for all films, with its Platinum Series stretching from the greatness of "Magnolia" to the blunder that is "The Corrupter." Columbia Tri-Star is also testing the DVD format a lot, producing the memorable "Ghostbusters" and, most recently, "Men In Black." And Artisan should not be forgotten, with their loaded DVDs of "The Blair Witch Project" and especially "Terminator 2," which with its extensive extras is proving to be one of the best DVDs yet produced. \nThere are a lot of companies that are in the mid-range of DVD quality. MGM releases films with phenomenal prints, including "Blue Velvet," but rarely do they include more than a trailer and a supposedly "collectible" booklet of liner notes. Warner Brothers has gone to great lengths on some discs, especially the jam-packed "The Matrix," while faltering horribly on works like "Heat." Universal is also all over the boards, with high-quality looking to be on their side with the upcoming deluxe releases of "Jurassic Park" and "The Lost World," while most of the rest of their films have no extras whatsoever. Paramount has gotten better lately, though, with all of their recent releases featuring anamorphic widescreen and some, including "Braveheart" and "Nashville," going the extra mile to include director's commentary.\nThe worst of the worst, though, is Disney. Even with its lucrative animation empire and ownership of Miramax, Dimension, Touchstone and Hollywood Pictures, Disney has barely even tapped into the realm of DVD possibilities, with only a handful of films including more than one measly trailer and anything better than a lackluster print. This is even true for most of its animated work, including "Pinnochio," and some of its most important recent films, like "Pulp Fiction," which actually has a better DVD version in Canada, "The English Patient" and "The Straight Story."\nThe best DVDs being produced are actually made by independent, non-studio based companies. Criterion leads the pack, with each of its discs, which include acclaimed foreign works like "Seven Samurai" and recent domestic releases like "Rushmore," including the best possible print of the film and assorted extras ranging from commentaries by film critics to restoration demonstrations. Anchor Bay is proving to be the leader of oddball discs by devoting extensive time to the likes of the cult classic "Evil Dead" trilogy, Hammer horror films, the works of Werner Herzog and even "The Santa Clause." The best example of Anchor Bay's eccentricities is its recently released "Supergirl" two-disc set, which features two versions of the film, commentaries and even THX mastering. Another independent company worth mentioning is Image, which released probably the most important DVD yet -- Krzysztof Kieslowski's 10-hour acclaimed work "Decalogue."\nOne can only hope that DVD companies will wise up soon and take more time on their discs so that the best possible version of every great film can exist far into the future.
(09/28/00 4:00am)
Take the red pill or the blue pill? Buy the videocassette or the DVD version of "The Matrix"? It's a tough choice, but for everyone who is still surfing the Internet trying to find Morpheus, DVD is the only way to go. The DVD version, which was released before the videocassette version, is jam-packed with extra little goodies.\n"The Matrix" was by far the most groundbreaking movie of 1999. For all those looking to see how it was done, this DVD provides plenty of behind-the-scenes footage and documentaries on the brains behind the movie. Those who think they know everything there is to know about "The Matrix" can play "The One" trivia game. Winners are rewarded with a visit to an exclusive Web site.\n"The Matrix" also provides a plethora of written material that is only found on the DVD version. It chronicles the entire creative process with scripts and storyboards. Also on the DVD is Web access to seven special essays and articles that analyze and elaborate on the themes in "The Matrix."\nThe biggest drawback to the DVD version is that it is offered only in wide screen. While this does preserve quality, it prevents viewers from taking advantage of the full screen size.
(09/28/00 4:00am)
This 1997 Atom Egoyan masterpiece on the slow destruction of the workings of a small town stands as one of the great films of the 1990s. New Line fully recognized this and gave it the best DVD treatment it could.\nThe DVD features a transfer of the film that even shines in the film's often-used stark whites and blacks. Extras include a commentary track with Egoyan and with Russell Banks, the author of the book the film is based on, the complete Charlie Rose interview of Egoyan, an isolated audio track of the film's haunting score by Mychael Danna and a video discussion with Egoyan and Banks entitled "Before and After 'The Sweet Hereafter.'"\nHere's hoping other studios would follow suit with New Line and give all of their important films the same treatment that "The Sweet Hereafter" receives.
(09/28/00 4:00am)
Jim Henson will forever be remembered for Kermit the Frog, but it is his 1982 work "The Dark Crystal" that might very well be the defining moment of his career.\nThis mythic tale that treks through a world inhabited by the grotesque beauty of the Skekses and their peaceful counterparts, the Mystics, has been remembered by many as a grainy video of magic. This was finally changed with this DVD release, which features such a cleaned-up print that the many colors in the film's vast imaginary countryside shine through for the first time since the film's original release. \nThe DVD's extras include the deleted funeral sequence of the Skekses emperor that is borderline Satanic and features snippets of the Skekses language that was originally going to be featured in the film, Frank Oz's original voicing of Aughra and the 50-minute "The World of Dark Crystal" documentary. The most important extra of all, though, is the isolated score by Trevor Jones, which is one of the greatest fantasy soundtracks of all time and is impossible to find in any other format.
(09/28/00 4:00am)
This 1985 Terry Gilliam masterpiece stands as one of the great examples of studio-prevented censorship. Universal originally wanted to chop more than 30 minutes out of the film and give the film a happy ending. But critics came to the rescue after a special screening of Gilliam's original cut.\nThe DVD release captures the essence of the insanity surrounding the proposed original cut and the film's production and preserves the beauty of the futuristic film. The first disc features Gilliam's ultimate director's version of the film along with an insightful commentary track by Gilliam himself. Disc two is jam-packed with material, including a documentary on the making of the movie, a featurette on the script's development through three treatments and a video essay on the battle to get "Brazil" released in its full form. Disc three contains the original 94-minute studio cut of the film, showing the world just how stupid producers can be.\nOverall, this is the most exhaustive DVD ever produced on one single film and shows how far the DVD format can go.
(09/28/00 4:00am)
This David Fincher masterwork could go down as the most misunderstood film of the \'90s, with critics claiming it has fascist leanings and audiences not caring to go the extra mile to comprehend the reality of Tyler Durden. And even though the film basically flopped, Twentieth Century Fox pulled out all the stops on the DVD, making it a definite must-have.\nThe two-disc set can best be described as pure all-around fun. It all starts with the DVD\'s booklet, which features tons of quotes from movie reviews that trounce the film. The first disc presents a clean print of the film and four commentary tracks, including one of the best ever to appear on a DVD -- Fincher, Brad Pitt, Edward Norton and Helena Bonham-Carter. The second disc includes alternate versions of scenes, including the infamous \"I want to have your abortion\" line, behind-the-scenes vignettes, a load of trailers for the film and a video copy of the movie\'s uproarious press kit.
(09/28/00 2:27am)
This 1985 Terry Gilliam masterpiece stands as one of the great examples of studio-prevented censorship. Universal originally wanted to chop more than 30 minutes out of the film and give the film a happy ending. But critics came to the rescue after a special screening of Gilliam's original cut.\nThe DVD release captures the essence of the insanity surrounding the proposed original cut and the film's production and preserves the beauty of the futuristic film. The first disc features Gilliam's ultimate director's version of the film along with an insightful commentary track by Gilliam himself. Disc two is jam-packed with material, including a documentary on the making of the movie, a featurette on the script's development through three treatments and a video essay on the battle to get "Brazil" released in its full form. Disc three contains the original 94-minute studio cut of the film, showing the world just how stupid producers can be.\nOverall, this is the most exhaustive DVD ever produced on one single film and shows how far the DVD format can go.
(09/28/00 2:26am)
Jim Henson will forever be remembered for Kermit the Frog, but it is his 1982 work "The Dark Crystal" that might very well be the defining moment of his career.\nThis mythic tale that treks through a world inhabited by the grotesque beauty of the Skekses and their peaceful counterparts, the Mystics, has been remembered by many as a grainy video of magic. This was finally changed with this DVD release, which features such a cleaned-up print that the many colors in the film's vast imaginary countryside shine through for the first time since the film's original release. \nThe DVD's extras include the deleted funeral sequence of the Skekses emperor that is borderline Satanic and features snippets of the Skekses language that was originally going to be featured in the film, Frank Oz's original voicing of Aughra and the 50-minute "The World of Dark Crystal" documentary. The most important extra of all, though, is the isolated score by Trevor Jones, which is one of the greatest fantasy soundtracks of all time and is impossible to find in any other format.
(09/28/00 2:25am)
This 1997 Atom Egoyan masterpiece on the slow destruction of the workings of a small town stands as one of the great films of the 1990s. New Line fully recognized this and gave it the best DVD treatment it could.\nThe DVD features a transfer of the film that even shines in the film's often-used stark whites and blacks. Extras include a commentary track with Egoyan and with Russell Banks, the author of the book the film is based on, the complete Charlie Rose interview of Egoyan, an isolated audio track of the film's haunting score by Mychael Danna and a video discussion with Egoyan and Banks entitled "Before and After 'The Sweet Hereafter.'"\nHere's hoping other studios would follow suit with New Line and give all of their important films the same treatment that "The Sweet Hereafter" receives.
(09/28/00 2:16am)
Movie studios have yet to fully figure out the possibilities of DVD, but they are getting there. \nThe best studio overall is probably Twentieth Century Fox, which consistently takes the time to produce extensive DVDs of films ranging from the box-office smash "Independence Day" to the underrated "Fight Club" to the barely-seen "Titus." Like many other companies, though, they have yet to take all of their discs to the ultimate sound levels of DTS and produce all of their films with anamorphic widescreen. New Line is another studio that is big on extras for all films, with its Platinum Series stretching from the greatness of "Magnolia" to the blunder that is "The Corrupter." Columbia Tri-Star is also testing the DVD format a lot, producing the memorable "Ghostbusters" and, most recently, "Men In Black." And Artisan should not be forgotten, with their loaded DVDs of "The Blair Witch Project" and especially "Terminator 2," which with its extensive extras is proving to be one of the best DVDs yet produced. \nThere are a lot of companies that are in the mid-range of DVD quality. MGM releases films with phenomenal prints, including "Blue Velvet," but rarely do they include more than a trailer and a supposedly "collectible" booklet of liner notes. Warner Brothers has gone to great lengths on some discs, especially the jam-packed "The Matrix," while faltering horribly on works like "Heat." Universal is also all over the boards, with high-quality looking to be on their side with the upcoming deluxe releases of "Jurassic Park" and "The Lost World," while most of the rest of their films have no extras whatsoever. Paramount has gotten better lately, though, with all of their recent releases featuring anamorphic widescreen and some, including "Braveheart" and "Nashville," going the extra mile to include director's commentary.\nThe worst of the worst, though, is Disney. Even with its lucrative animation empire and ownership of Miramax, Dimension, Touchstone and Hollywood Pictures, Disney has barely even tapped into the realm of DVD possibilities, with only a handful of films including more than one measly trailer and anything better than a lackluster print. This is even true for most of its animated work, including "Pinnochio," and some of its most important recent films, like "Pulp Fiction," which actually has a better DVD version in Canada, "The English Patient" and "The Straight Story."\nThe best DVDs being produced are actually made by independent, non-studio based companies. Criterion leads the pack, with each of its discs, which include acclaimed foreign works like "Seven Samurai" and recent domestic releases like "Rushmore," including the best possible print of the film and assorted extras ranging from commentaries by film critics to restoration demonstrations. Anchor Bay is proving to be the leader of oddball discs by devoting extensive time to the likes of the cult classic "Evil Dead" trilogy, Hammer horror films, the works of Werner Herzog and even "The Santa Clause." The best example of Anchor Bay's eccentricities is its recently released "Supergirl" two-disc set, which features two versions of the film, commentaries and even THX mastering. Another independent company worth mentioning is Image, which released probably the most important DVD yet -- Krzysztof Kieslowski's 10-hour acclaimed work "Decalogue."\nOne can only hope that DVD companies will wise up soon and take more time on their discs so that the best possible version of every great film can exist far into the future.
(09/26/00 1:13pm)
"After all, I'm no good," broods Michel Poiccard (Jean-Paul Belmondo) in the opening moment of Jean-Luc Godard's brilliant 1960 work "Breathless." \nA fedora droops down over Michel's intense eyes after he utters this, while smoke wafts out of his cigarette in giant, fluid chunks. Then he does his trademark lip-wiping with his right thumb. He has a virtue after all -- he is passionate, passionate about the cool of America's cinematic gangster. And as much as Godard's first and still greatest work pays homage to Hollywood cinema, it also mocks and reinvents every movie convention, thus making "Breathless" one of the most important films in the French new wave's and in film history. \nThe story, originally conceived by one of Godard's new wave pals Francois Truffaut and adapted by Godard, fits into the basic gangster love-on-the-run genre, but has a twist: It is fully aware that the movie is a movie. Michel emulates the Hollywood gangster recklessness by stealing cars, shooting a police officer and chasing after and falling in love with the wrong woman, Patricia (Jean Seberg). But he is sloppy in the process. He often looks like a fool -- his lip-wiping is achingly self-conscious, he does a horrible job of disguising himself when his picture is featured in every newspaper, and he is not smooth enough to keep his feelings to himself.\nJean-Paul Belmondo is utter perfection, with his Michel melding Bogart, Cagney and Dean all into one. Yet Seberg somehow acts his equal, giving Patricia unforgettable femme fatale spunk. But the acting is seemingly secondary to Godard's script, which integrates lines verbatim from B-grade potboilers and calls attention to the cinematic medium. One moment features Belmondo's Michel speaking directly to the camera while during the movie's most famous sequence in Patricia's apartment, Seberg stands right next to a poster of herself. \nIn this sequence and throughout "Breathless," dialogue flows out in a stream-of-consciousness manner, with most comments like "I smoke Luckies now" having nothing to do with previous ones and the furthering of the overall plot. This breaks the mold of conventional celluloid film narrative forever, paving the way for cinema worldwide to further explore the possibilities of the art form.\nBeyond breaking narrative standards, "Breathless" is the ultimate example of phenomenal independent filmmaking. The movie is far detached from studio sets. Working with a small budget, Godard and cinematographer Raoul Coutard, who later frequently worked with Truffaut, shot the film entirely on location in Paris and surrounding areas. Godard also tosses the standards of camera work out the window. Rather than resorting to stagnant cinematography, countless handheld camera scenes complement "Breathless's" genuine scenery, with some sequences actually shot in a wheelchair that was pushed around Paris. A striking highway scene from the perspective of the hood of one of Michel's stolen cars and a gorgeous long shot of Michel dashing across an open field also fuel the visual breadth.\nThe annals of cinema history will most remember "Breathless" for its most vital sight-based attributes: its editing. Jump cuts are featured throughout, including one scene in which Patricia is talking with a man where Godard makes two edits per line of dialogue. Pure editing bravado also occurs when Michel kills a police officer, with the film cutting from a shot of Michel to his gun to the officer falling into shrubbery after being wounded. The great irony of the film's often rhythmic editing is that much of it was done not for purely artistic purposes but out of necessity to cut the movie down from its original three-plus hour running time to 90 minutes. No matter what the case though, "Breathless" represents one of cinema's finest examples of editing technique.\nThen there is the sound of "Breathless." Many of the movie's aural ingredients were directly captured on film. Some occurred at unexpected instances, such as the sound of two police cars that squeal past\nA scene in Patricia's apartment commits the ultimate Hollywood no-no: overlapping of dialogue. The rest of the soundtrack salutes gangster pictures in a tongue-in-cheek manner. Gunshot sound effects pop about when Michel playfully points the gun at the sun. And Martial Solal's score is the ultimate send-up of the run-of-the-mill melodramatic mobster music, with gruff, hard-edged melodies mixed in with absurdly over-the-top romantic themes.\nGodard, along with fellow New Wave directors Truffaut, Claude Chabrol and Eric Rohmer, first got started in the film world by writing critiques for the French magazine Cahiers du Cinema. His colleagues and he espoused the auteur theory throughout their critical days that were spent raving about the hidden meanings imbedded in the works of Sam Fuller, Nicolas Ray and other obscure and underrated American filmmakers. Godard learned a great deal from his own preachings, authoring a work in "Breathless" that knows no limitations but those of the film stock itself.\nUnfortunately, "Breathless" fulfills its own prophecy. One character states that his ambition is "to become immortal and then die." Like Michel, whose crime put him in the ultimate record of the time period the newspaper, "Breathless" itself became immortal once it was released by being recognized the world over for challenging the rules of film. And just as Michel dies in the end, the new wave and all the promise it brought with it died off and has left a small imprint in the medium overall. But like Patricia, who is left "breathless" at the film's end, the modern viewer still gasps for air when "FIN" fills the screen.
(09/21/00 4:16am)
____simple_html_dom__voku__html_wrapper____>As Michelangelo Antonioni approaches his 88th birthday, it could not be a better time to view the film that put him on the cinematic map 40 years ago -- "L'Avventura." The movie concerns itself with a group of wealthy hedonists whose yachting trip to a deserted Mediterranean isle goes awry when one character suddenly disappears.
(09/21/00 4:00am)
ANNOUNCER: Greetings ladies and gents to yet another fine column of "The Continuing Misadventures of the Calamitous Critics at Large." Today our special guests are William Butler Whitman, an upper-class bourgeois expatriate from the Solomon Islands, and Andy Sidares, a video store clerk from Peoria, Illinois. The fine specimen of celluloid sewage to be examined is "Big Momma's House," starring Sir Martin Lawrence and a ton o' make up.\nAndy Sidares: Waz' up?!?\nWilliam Butler Whitman: My hearing aid must be on the fritz. Did you just utter a comprehensible English syllable, my good man?\nAS: Aren't you familiar with Martin Lawrence, man?\nWBW: You are familiar with my butler from my summer cottage in Darby?\nAS: Woah dude, I am talking about my boy Martin Lawrence from "Big Momma's House." You know, that movie that we just watched that so totally rocked?\nWBW: Oh yes, that treatise on deception in modern urban culture. Unfortunately, I do not concur with your upbeat appraisal. I found it to be quite a piece of hogwash.\nAS: Hogwash, man? Come on, get with the times you old coot! Remember when the real Big Momma went to the bathroom and had to do a nasty number two? That was so cool!\nWBW: Ughhh! Bodily emissions! That scene's puerile sense of humor was a disgrace to me and all of my ancestry.\nAS: Well if you didn't like the potty, grandpa, then you certainly must've loved the bootay! That Sherry was one fine mama!\nWBW: 'Twill be a cold day with Dante when I shall refer to something with such troglodytic undertones. 'Tis a shame that veteran thespian Nia Long cooperated with such a maniacal plot to degrade the female vessel. Which brings me to my next point: the degradation of society....\nANNOUNCER: At this point, Andy Sidares falls asleep, dreaming of beer bongs and potato chips, while William Butler Whitman lectures on the pros and cons of reading J.D. Salinger books to pregnant monkeys to be utilized in the name of science. "Big Momma's House" progresses as Lawrence goes undercover as Big Momma in an attempt to learn the whereabouts of Long's former lover. The usual confusion found in "Tootsie" and "Mrs. Doubtfire" is abound, and the plot drags on as needlessly as Mr. Whitman's ramblings, which we now return you to for a short moment.\nWBW: ....And the effects of insulin therapy on dolphins caught in tuna nets will soon put the entire human race in a diabetic epidemic.\nAS: What are you talking about? The people have spoken! "Big Momma's House" made a motherload of box-office moola. $116 million worth, you Metamucil-chugging, diaper wearing relic! \nWBW: I mourn your ignorance, young chap. I spent that exact amount on my last yacht.\nAS: No matter what, Martin is my boyyee and I can't wait to kick some ass while personally wearing 600 pounds of latex!\nWBW: Yes, and I must retire to more pressing matters, like overseeing the pack of twelve-year-olds who churn my tea.
(09/21/00 4:00am)
____simple_html_dom__voku__html_wrapper____>As Michelangelo Antonioni approaches his 88th birthday, it could not be a better time to view the film that put him on the cinematic map 40 years ago -- "L'Avventura." The movie concerns itself with a group of wealthy hedonists whose yachting trip to a deserted Mediterranean isle goes awry when one character suddenly disappears.
(09/21/00 12:31am)
ANNOUNCER: Greetings ladies and gents to yet another fine column of "The Continuing Misadventures of the Calamitous Critics at Large." Today our special guests are William Butler Whitman, an upper-class bourgeois expatriate from the Solomon Islands, and Andy Sidares, a video store clerk from Peoria, Illinois. The fine specimen of celluloid sewage to be examined is "Big Momma's House," starring Sir Martin Lawrence and a ton o' make up.\nAndy Sidares: Waz' up?!?\nWilliam Butler Whitman: My hearing aid must be on the fritz. Did you just utter a comprehensible English syllable, my good man?\nAS: Aren't you familiar with Martin Lawrence, man?\nWBW: You are familiar with my butler from my summer cottage in Darby?\nAS: Woah dude, I am talking about my boy Martin Lawrence from "Big Momma's House." You know, that movie that we just watched that so totally rocked?\nWBW: Oh yes, that treatise on deception in modern urban culture. Unfortunately, I do not concur with your upbeat appraisal. I found it to be quite a piece of hogwash.\nAS: Hogwash, man? Come on, get with the times you old coot! Remember when the real Big Momma went to the bathroom and had to do a nasty number two? That was so cool!\nWBW: Ughhh! Bodily emissions! That scene's puerile sense of humor was a disgrace to me and all of my ancestry.\nAS: Well if you didn't like the potty, grandpa, then you certainly must've loved the bootay! That Sherry was one fine mama!\nWBW: 'Twill be a cold day with Dante when I shall refer to something with such troglodytic undertones. 'Tis a shame that veteran thespian Nia Long cooperated with such a maniacal plot to degrade the female vessel. Which brings me to my next point: the degradation of society....\nANNOUNCER: At this point, Andy Sidares falls asleep, dreaming of beer bongs and potato chips, while William Butler Whitman lectures on the pros and cons of reading J.D. Salinger books to pregnant monkeys to be utilized in the name of science. "Big Momma's House" progresses as Lawrence goes undercover as Big Momma in an attempt to learn the whereabouts of Long's former lover. The usual confusion found in "Tootsie" and "Mrs. Doubtfire" is abound, and the plot drags on as needlessly as Mr. Whitman's ramblings, which we now return you to for a short moment.\nWBW: ....And the effects of insulin therapy on dolphins caught in tuna nets will soon put the entire human race in a diabetic epidemic.\nAS: What are you talking about? The people have spoken! "Big Momma's House" made a motherload of box-office moola. $116 million worth, you Metamucil-chugging, diaper wearing relic! \nWBW: I mourn your ignorance, young chap. I spent that exact amount on my last yacht.\nAS: No matter what, Martin is my boyyee and I can't wait to kick some ass while personally wearing 600 pounds of latex!\nWBW: Yes, and I must retire to more pressing matters, like overseeing the pack of twelve-year-olds who churn my tea.
(09/14/00 11:35am)
____simple_html_dom__voku__html_wrapper____>Rarely has a director achieved what Francis Ford Coppola did in 1974 - the direction of two powerful, acclaimed pictures in one year. His "The Godfather: Part II" received the Best Picture Oscar, while "The Conversation," which might just be a better film, won the coveted Palme d'Or at Cannes and showed the film world that Coppola knew about more than just mafiosos.
(09/14/00 4:00am)
____simple_html_dom__voku__html_wrapper____>Rarely has a director achieved what Francis Ford Coppola did in 1974 - the direction of two powerful, acclaimed pictures in one year. His "The Godfather: Part II" received the Best Picture Oscar, while "The Conversation," which might just be a better film, won the coveted Palme d'Or at Cannes and showed the film world that Coppola knew about more than just mafiosos.