Author Archive: Daniel Engelke
Daniel currently resides in New York City working as a freelance writer and director. He is a graduate of the Film and Video department of Columbia College, specializing in Italian Neo-realism and French & British New Wave cinema.
Life is always better when you’re winning. Less than a month ago I found myself watching Showgirls, Paul Verhoevan’s effusively sexual story about a young girl learning the ins & outs of pole dancing in Las Vegas. What was so troubling about the production of the film, released in 1995, was not so much the big budget irresponsibility [...]
There is always a story to tell from the Holocaust. Whether it be survival or sacrifice, viewers are always thankful such horrific times are over. Always a fan of French cinema, I was eager to review La Rafle or The Round Up. And with French greats Melanie Laurent and Jean Reno in lead roles, how could I [...]
The Tempest is my favorite Shakespeare play. The ambiguous plot allows it to be a range of different genres and one of Shakespeare’s best. Having only seen Richard Burton’s stage-to-screen Hamlet and Royal Shakespeare televised productions, I was curious to see an updated film transfer. My decision was even easier knowing Christopher Plummer was playing the part of [...]
After reading a great book, we can only hope for an equally pleasing movie adaptation. Ernest Hemingway’s For Whom the Bell Tolls, published in 1940, is surely one of the author’s best. The novel shows a Hemingway that has strayed from his obsession with bullfighting and drinking to concern himself with the politics of the [...]
After recently reviewing Pier Paolo Pasolini’s Ragazzi di Vita, the poet/writer/director’s first novel, on my blog, I decided to dust off (and polish) this essay I wrote on Pasolini some time ago. In “Io Racconto,” I examine the dense Trilogy of Life– ‘The Decameron’, ‘Canterbury Tales’, and ‘Arabian Nights’– as the literary vehicles Pasolini uses for his [...]
It’s bizarre to think that in 2012 we are without a wonderfully restored version of every film from Luchino Visconti. One of the giants of Italian cinema, the director’s early to middle work oscillates between exploring the country’s lower class through Neo-Realism and criticizing the aristocracy with Romanticism. The best example of this is seen when we [...]