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“... Not surprisingly, the Americans do the job most lavishly, having the larger grants. Edited by Michael Palma, The Man I Pretend to Be presents I colloqui and selected poems by Guido Gozzano in parallel text, the English translations being by Mr Palma, who also translated the introductory essay by Montale. Gozzano ...”

“... it isn’t interrupted once in a while, and this is one of the interesting effects of the film De Palma, a feature-length account of the director’s work. It opens with screaming orchestral music over the title, followed by a clip from the beginning of Hitchcock’s Vertigo – James Stewart climbing onto the roof from which his colleague is about to fall to ...”

“... Michael Pye has now written two books (the first with Lynda Myles) trying to explain how American show business feels to those who make their lives inside it. The first, The Movie Brats, succeeds because it keeps close to the work of the young film-makers with whose careers it’s concerned, but also because they demonstrably exist as a group ...”

“... of them. There is the beginning of a case for such a view in the first film, directed by Brian de Palma. Voight explains to Cruise why a long-time good guy has become a villain. He is ostensibly talking about someone else, a CIA colleague, but actually he is confessing. ‘No more Cold War,’ he says. ‘No more secrets to keep from everyone but yourself ...”

“... reached Guernica just after the German planes had gone, and Georges Bernanos, who witnessed the Palma Crusade in which hundreds of Mallorcan peasants were taken for midnight rides to the cemetery, both write with controlled, polemical fury. Sitting in a Barcelona café, Antoine de Saint-Exupéry watches a diner suddenly hijacked by four armed men while ...”

“... their echoes and consequences in the so-called real world. In this he would be unlike Brian De Palma, or the Coen brothers, who understand and exploit the shock value of violence; and even more unlike Oliver Stone, who has thought about violence and then forgotten what he thought. Tarantino in an interview (the same interview is excerpted in the published ...”

“... confronts the beholder far more boldly. Charles Hope, in his remarkable monograph on Titian, like Michael Jacobs in a brisk and entertaining polemic on the nude in painting, rejects the idea that this is a painting of Venus.1 It represents simply ‘a mortal female lying on a bed’, as Hope puts it, ‘gazing at us with a startlingly direct and unambiguous ...”

“... to have informed the big grab that came away with some ingratiating Correggios, some bombastic Palma Giovanes and a sublimely mysterious little Bruegel panel, among so much else. Titian is the grandest of optimists – and, famously, of princes’ go-to men – because whatever he chooses to paint, he suffuses with engaged, warmhearted attention. But this ...”