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- <text>
- <title>
- (1982) Cinema
- </title>
- <history>
- TIME--The Weekly Newsmagazine--1982 Highlights
- </history>
- <article>
- <source>Time Magazine</source>
- <hdr>
- January 3, 1983
- CINEMA
- BEST OF '82
- </hdr>
- <body>
- <p>Bob le Flambeur. Trench coats, neon lights, rain-washed
- streets. And a man of honor in a world of thieves. French
- Writer-Director Jean-Pierre Melville's drama of a gambler down
- on his luck took 27 years to arrive in the U.S.; it is a classic
- example of the dark, doom-dripping genre known as film noir.
- </p>
- <p>Diner. The not quite coming of age of five guys in Baltimore
- back in the 1950s. Nothing much happens--except the dawning
- realization that, in these lives, nothing much will ever happen.
- Writer-Director Barry Levinson found saving good humor in this
- landscape of deferred dreams and encouraged Oscar-worthy
- performances from Mickey Rourke, Kevin Bacon and Daniel Stern.
- </p>
- <p>E.T. The Extra-Terrestrial. The most successful movie ever is
- also the best film of the year--an effortless display of
- cinematic ingenuity that buoys the spirit. Bravos to Steven
- Spielberg, Screenwriter Melissa Mathison and a remarkably mature
- young actor, Henry Thomas, as E.T.'s best friend. Peter Pan is
- alive and well and commuting to Southern California.
- </p>
- <p>Gandhi. Richard Attenborough's 3-hr. 20-min. film is a
- historical epic on the grand scale, but one that touches the
- heart with its moral earnestness and the marvelous humanity of
- Ben Kingsley's performance in the title role.
- </p>
- <p>Mephisto. An actor in search of a role sells his soul to the
- Nazis in order to obtain it. In Istvan Szabo's unbalancing and
- brilliant study of a theatrical mind at the end of its tether.
- Klaus Marie Brandauer gives a great performance as a man too
- innocent about his own ambition.
- </p>
- <p>Moonlighting. Four Polish laborers spend an edgy month in
- London--December 1981, when Poland fell under martial law.
- Writer-Director Jerzy Skolimowski has devised a bitterly funny
- metaphor for the dilemma of the liberal tyrant. As the foreman,
- isolated from his workers and his own best instincts, Jeremy
- Irons is quietly spectacular.
- </p>
- <p>My Favorite Year. A has-been movie star, played with flopsy
- charm by Peter O'Toole, redeems his career and character by
- doing a guest shot on a '50s TV variety show. It's a great comic
- turn, and the film, written by Norman Steinberg and Dennis
- Palumbo and directed by Richard Benjamin, is the year's sweetest
- trip down memory lane.
- </p>
- <p>Poltergeist. The hell-mouth side of Spielberg's suburban
- diptych: vengeful spirits drive a middle-class family beyond
- bananas. The film delivers honest special-effects shocks without
- forfeiting its good nature. Under Tobe Hooper's direction Jobeth
- Williams and Craig T. Nelson shine as the dogged mom and the
- heroic-in-spite-of-himself dad.
- </p>
- <p>The Road Warrior. An apocalypse for the car culture: the good
- guys have the gasoline, the bad guys own the autos. The violence
- is glancing, but stings; the vision is dark and hot-rod fast.
- Australian Director George Miller's socko comic strip is also
- a textbook of sophisticated film making.
- </p>
- <p>Tootsie. A screwball comedy for our times, with Dustin Hoffman
- splendid as an actor who dons a dress to win a role and becomes
- a better man as a result. The supporting cast is extraordinary,
- the writing and direction on pitch.</p>
-
- </body>
- </article>
- </text>
-