“Stahl had a style of impressive gravity that could make a melodrama serious even for those disinclined to the genre (this shows especially in the great first version of Back Street, 1932), but the full effect of melodrama as Sirk conceives it derives from a constant contrast of tones: strong effects, vivid and sometimes audacious, alternating with subtler passages that do as much to carry the flow of movie. Though much critical writing on Sirk concentrates on what might be called signature moments, where visual strategies for heightening are most evident and it is easy to readily identify his hand, what really elevates the director is the sophistication with which he conceives of the organic whole.” Concluding his two-part essay on Sirk at Universal-International, Blake Lucas highlights the many collaborators whose other work for the studio clearly showed the same talents they’d bring to Sirk’s films, and the masterly way the director orchestrated their contributions to his vision.
“Landing somewhere near the intersection of Spielberg and National Geographic, Terrence Malick and Sesame Street, Ballard’s work is hugely entertaining but exceedingly probing, sincerely engaged with reaching out to touch the world. These are films of excitement, but also of questions, of family, of environment. They are films of gentleness and intelligence. In fact, Ballard is arguably, along with Malick, one of the handful of cinematic transcendentalists currently roaming our planet, and if there’s ever been a time that needed transcendence, it’s now.” Stephen Cone sings the praises of Carroll Ballard’s films, which despite their constant pairing of man and animal are among the most humane ever made.