We’re a bit light this month in the Criterion department, but one of my Paste Magazine compadres and I managed to squeak out blurbs about Antonio Pietrangeli’s I Knew Her Well and Charlie Chaplin’s The Kid. (This leaves a big The Graduate shaped hole in our coverage, but c’est la vie, c’est la vie.) For my own part, The Kid is a Chaplin classic, but Criterion’s most essential February release is perhaps the Pietrangeli film; it’s an alternative to La Dolce Vita (and by extension The Great Beauty, Paolo Sorrentino’s 2013 update on La Dolce Vita), where the male perspective is flipped on its head through the use of a female protagonist. You might not expect a change that’s that simple on the page to make that big of a difference, but trust me – it does. Check out the movie for yourself, though, and most of all, make the trip over to Paste to dig the piece.
A Constant Visual Feast 