Works, By Title: G-L (64)

Total: 405 works

Il Fauno

Good news:

  1. All performers succeeded in their visual storytelling
  2. Sparks fly whenever the two competing nymphs share the screen
  3. Il Fauno's bod is worthy of the attention the camera gives it, despite being dickless
But otherwise, all the striving to make an obscure point went over this head that is shamelessly ignorant of mythology and symbolist poetry, and it could only endlessly repeat: “A horse is a horse, of course of course, and no one can talk to a horse of course...”...

In Love With The Bearded Woman (Amoureux de la Femme à Barbe)

This is not Max, the dapper and loveable upper-class twit, but appears to be the same schoolboy in His First Cigar (same uniform and still living with parents), who now has lovesick eyes for big bush.

In The Hands Of Impostors (Den hvide slavehandels sidste offer)

Oddly, the impostors' ruse starts with a primitive hit-or-miss con act repeatedly performed in full public view - yet we are to believe that this silly stunt fronts an elaborate well-tuned network. While the patsy is still in the clutches of the con woman, a masher also swoops down on her - and she again falls victim to yet another persistent motor-mouth. Not long after she steps into the hands of the impostors, the film breaks down in hopeless confusion. The impostors (who remain unnamed, just referred to as “the impostors”) phone the blackmailer (misnamed “Mr. Bright”), who quickly has his hands all over the patsy. Meanwhile, the persistent masher (aptly named “Engineer Faith”) catches on to the flimflam and leaps on his White Knight horse. But before he arrives, another blackmailer (mysteriously named “Lord X”) muscles in on Mr. Bright and nabs the patsy - which leads Mr. Bright to counter by paying to have her kidnapped from Lord X. Meanwhile, amidst this torrent of cock brawls, no one has turned a dime of profit off the patsy - nor has anyone revealed any plans to cash in. This seems to be merely a confusing tale of a town desperately in need of new nooky. Still, the patsy - and the movie - is saved by a delightfully daring cock-buster.

Let this serve as a lesson for solo travellers, showing how personal information shared with strangers can be used harmfully - i.e. as a plot for a time-wasting movie.

Most interesting was the train station exit scene, which shows passers-by gawking at the camera and performers - a quaint record of the days before mobile digital devices, when people actually paid attention to their surroundings.