Made in 1964, this Satyajit Ray period piece is set in a Calcutta about to enter the last decade of the 19th century. Madhabi Muherjee, who also had the leading role in Ray's The Big City (1963), portrays a bored and neglected housewife whose husband, Bhupati (Sailen Mukherjee), is spurred by his passion for his political newspaper, The Sentinel, and not by his passion for her. Bhupati is not a bad man, just a distracted one, and in an effort to appease his guilt, he asks his young and very handsome cousin, Amal (Soumitra Chatterjee) to encourage Charulata in her writing. After all, she is an intelligent woman and such an undertaking will keep her occupied. But he tells Amal not to let Charulata know of his mission. Over the course of time the inevitable happens and the two fall in love, never revealing their feelings to each other. Bhupati finds out accidentally how his wife feels and is crushed. This isn't his only problem. Another relative, the bookkeeper at Bhupati's paper, embezzles money and compromises The Sentinel's chances for success. Ray manages to create a highly charged atmosphere of restrained yet innocent lust. [+]

Here's the triumphant, true-life story of an Olympic hero. and just how far he came in order to become the fastest Olympic long-distance runner the world has ever seen! Raised under oppressive conditions in one of the world's poorest countries, the Ethiopian boy named Haile Gebrselassie was born to run! When he wasn't laboring in his father's fields, young Haile would be running: the six miles to school and back, while doing chores, or simply for pleasure at the end of a long, hard day! In an inspirational and artfully crafted motion picture from heralded filmmaker Leslie Woodhead, the climactic moment comes as the unstoppable Haile chases down his lifelong dream in a stirring Gold Medal performance at the 1996 Atlanta Olympic Games! This film about Ethiopian distance runner Haile Gebrsellasie, who won gold at the 1996 Atlanta Olympics and is considered one of the greatest runners of all time, is a dramatization that often appears to be a documentary. Beautifully photographed, the footage shot in Haile's native land is often spectacular enough to make you think you're watching a National Geographic special. Haile's young life, such as a scene when his family is listening to a news report about warfare in Ethiopia and a report comes on about the 1980 Olympics, is portrayed with apparent accuracy, but not without a great deal of drama. There are many scenes of Haile running, past wildlife in the countryside or through crowded city slums, and while this gives what must be an accurate idea of him developing his athletic regimen, this is also not terribly dramatic on camera. Eventually, Haile is shown racing in Atlanta, valiantly overtaking all competition; his family back in Ethiopia is shown gathered around a television set, jubilantly watching his triumph. And while there's no denying that this is a touching and inspiring human story, the slow pace of the presentation tends to work against the inherent drama. -Robert J. [+]

Beautiful young French people romp on an idyllic country estate in Tender Cousins. The story, set in 1939, centers around Julien, a young adolescent boy in love with his cousin Julia, who is in love with the foppish Charles, who is engaged to be married to Julien's older sister Claire, who. you get the idea. Julien and Julia's little sister Poune, who seems to know what everyone is up to, engage in pranks; a visiting actress puts on a theatrical revue; everyone pursues the new maid; a scientist believes he has isolated the soul, which he captures in balloons; and, when war against Germany is declared, the adult men must go off to war, giving the otherwise lyrical story a sad undercurrent. Flashes of wit, bits of silliness, and a good dose of nudity make Tender Cousins pretty much the definition of its brand of French sex comedy. -Bret Fetzer.

Diary of a Country Priest is the first masterpiece by the great Robert Bresson, a towering and slow-working figure in French cinema. Starkly adapted from a successful novel by Georges Bernanos, the film locks in to the mind of a sickly, ineffective young priest trapped in an unfriendly rural area. Bresson charts the priest's collapse with a series of brief scenes, a minimalist style that makes the slightest touch of a hand or far-off sound of a dog barking seem magnified in importance. (This is a movie that must be watched and listened to-it is not a casual experience. ) Bresson's luminous portrait of faith and worldly humiliations takes on the intensity of a saint's notebook. In the central role is Claude Laydu, one of Bresson's early experiments with non-actors; his sad, open face is often in close-up, lighting our way into a world of private salvation. -Robert Horton.

This engaging biopic is a fact-based story of three students from poor backgrounds who grew up as "martial brothers" at a draconian Peking Opera Academy in Hong Kong in the 1960s and early '70s. (Kids get their education free in exchange for a period of indentured servitude as novelty performers. ) For 12 years the lads stoically endure the harsh training, feeling as painfully out of step at the height of the swinging '60s as military school cadets. In the meantime the staunchly traditional Peking Opera style has fallen out of favor with the public; only old men show up for the boys' flamboyant shows. The youths finally graduate with prodigious skills that the society no longer has any use for. In real life the story had a happy ending: the three pals applied their hard-earned training to stunt work in martial arts movies, eventually evolving into the HK movie superstars Jackie Chan, Sammo Hung, and Yuen Biao, who often appeared together in movies like Chan's exhilarating Project A. The young actors who play the future stars are amazing simulacra for their adult counterparts, and Hung himself turns in a textured, complex portrayal of the school's harsh taskmaster, Sifu Yu. Cheng Pei-pei, the high-flying swordswoman in '60s King Hu flicks like Come Drink with Me, is Sammo's love interest, a teacher at a nearby girl's school. Painted Faces isn't gracefully constructed (it shifts focus from the students to their teacher halfway through), but it's neat to see where some of the defining characteristics of HK cinema came from: the showmanship and the risk-anything physicality. -David Chute.

1 copy each of: The 400 Blows, The Last Metro, Confidentially Yours, Love on the Run, Shoot the Piano Player, Two English Girls

An extraordinary and deeply moving film that retains much of its power since its original release in 1959, Alain Resnais's Hiroshima, Mon Amour is the story of a French woman (Emmanuelle Riva) and a Japanese man (Eiji Okada) who become lovers in the city of Hiroshima, where the U. S. dropped a nuclear bomb to end World War II in the Pacific. Written by Marguerite Duras and juggled, as if by wandering thoughts, in chronology and setting by Resnais, the film reveals the miserable and mortifying experiences of each character during the war and suggests the obvious healing properties of their relationship in the present. An emotional allusion or two can certainly be made with the more recent The English Patient, but nothing can quite prepare one for Resnais's extreme yet intuitively accessible experiments in fusing the past, present, and future into great sweeps of subjectively experienced memory. Yet audiences have never had trouble relating to this bold milestone of the French New Wave, largely because at its heart is a genuinely affecting, soulful love story. -Tom Keogh.

In this classic documentary, one of the world's finest directors captures the colorful pageantry and emotional intensity of the 1964 Olympics. Kon Ichikawa's Tokyo Olympiad is both a celebration of Japan's postwar recovery and an artistic statement about athletic competition. To produce this epic work, Ichikawa (The Burmese Harp, Fires on the Plain) brings together an impressive team, including his wife and collaborator Natto Wada, renowned cinematographer Kazuo Miyagawa (Rashomon), and 164 ubiquitous cameramen. Using his talents as a novelist, Ichikawa searches out the human side of the Olympics in such dramatic moments as Vera Caslavska's virtual sweep of the gymnastics medals and Billy Mills' astonishing, come-from-behind victory in the 10,000-meter race. The 1964 Olympics in Tokyo were a milestone as much for the intense athletic competition as the joyous commemoration of Japan's recovery following its defeat in World War II. Director Kon Ichikawa (The Burmese Harp, Fires on the Plain) created an epic film of the event, a documentary that covered the entire athletic competition while also capturing the surrounding atmosphere. Early in the film is a stunning aerial shot of Hiroshima, which first shows the devastated area, where destruction from the atom bomb has been preserved, before focusing on a beautiful park where an Olympic ceremony was being held. The scenes of athletic competition, some of which were shot by cinematographer Kazuo Miyagawa (Rashomon), work beautifully on two levels. The camera frames the extreme effort expended by such athletes as the great American runner Bob Hayes, and thus the film functions as a credible sports documentary, yet the camera also goes in for close-ups, lingering on the athlete's muscled forms to provide images that would look perfectly at home on the wall of a photography gallery. The narration in Japanese is accompanied with English subtitles, and this edition retains the widescreen look of the original theatrical release (in a letterboxed format) as well as the complete 170-minute running time. [+]

This was the first movie made after World War II; it is a story of songs sung by all of Warsaw during the German occupation. A stirring tale of the heroic underground fighters, their lives and deaths, and those things which sustained them in their epic struggle for freedom. Cast: Danuta Szaflarska, Jerzy Duszynski. 1947. 100 mins. English Subtitles.