“Men, and the occasional group of women, are consistently on the move in The Red and the White, and are just as frequently prevented a full and complete escape. Such a teasing freedom is part of the film’s caustically cruel wargame, and it is indicative of Jancsó’s stance on the futility and specious systematization of wartime methodology.” Jeremy Carr runs the gambit in his two articles for Mubi, praising the high-art antiwar formalism of Jancsó’s The Red and the White on the one hand, and the genre stylings of Jack Hill’s Spider Baby and Pit Stop on the other. (“On the surface, Spider Baby and Pit Stop appear to situate themselves comfortably within their rudimentary genre zones, primarily through keynote visuals. Spider Baby has its house of horrors infested with cobwebs, creepy critters, skeletons, shadow play, and the always menacing proliferation of taxidermy, while Pit Stop is a gearhead’s delight, with motor part close-ups and dynamic images of spinning tires, tightly-gripped steering wheels, and junkyard montages. But then, these films become something else. The people begin to matter, the eccentric stories become engaging, and the situations, though alien to the average audience, become so fully realized they achieve widespread application.”)
“This is the greatest yarn in journalism since Livingstone discovered Stanley.” “It’s the other way around.” “Oh, well, don’t get technical at a time like this.” David Bordwell gets highly, and entertainingly, technical on His Girl Friday, breaking down the behind-the-scenes matter of where the title comes from and the onscreen brilliance of Hawks’s deep focus and selective editing continuity.