In Wednesday’s roundup, ABC announces the premiere date for “Schooled,” and “Fleabag” releases a first look image ahead of the second season.
First Looks
“Fleabag” has released a first look image from Season 2, which will debut on BBC Three and Amazon Prime Video in 2019. Created by and starring Phoebe Waller-Bridge, the comedy series centers on a young woman navigating her life in London and coping with a recent tragedy. Returning to the principal cast are Olivia Colman, Sian Clifford, Bill Paterson, Brett Gelman, Jenny Rainsford, and Hugh Skinner. Andrew Scott joins the cast for the new season.
Dates
ABC has announced that “Schooled,” the spinoff of the comedy series “The Goldbergs,” will premiere Jan. 9. “Schooled” will air Wednesdays at 8:30 p.m. Et/Pt, following “The Goldbergs.” “American Housewife” will move to Tuesdays at 8:00 p.m., beginning Tuesday, Feb. 5. “Schooled,” set in the 1990s, follows the eccentric faculty of William Penn Academy,...
First Looks
“Fleabag” has released a first look image from Season 2, which will debut on BBC Three and Amazon Prime Video in 2019. Created by and starring Phoebe Waller-Bridge, the comedy series centers on a young woman navigating her life in London and coping with a recent tragedy. Returning to the principal cast are Olivia Colman, Sian Clifford, Bill Paterson, Brett Gelman, Jenny Rainsford, and Hugh Skinner. Andrew Scott joins the cast for the new season.
Dates
ABC has announced that “Schooled,” the spinoff of the comedy series “The Goldbergs,” will premiere Jan. 9. “Schooled” will air Wednesdays at 8:30 p.m. Et/Pt, following “The Goldbergs.” “American Housewife” will move to Tuesdays at 8:00 p.m., beginning Tuesday, Feb. 5. “Schooled,” set in the 1990s, follows the eccentric faculty of William Penn Academy,...
- 11/28/2018
- by Rachel Yang
- Variety Film + TV
Acclaimed Indian filmmaker Vishal Bhardwaj (Haider) has been tapped as showrunner and executive producer on Midnight’s Children, Netflix’s upcoming series based on Salman Rushdie’s seminal novel.
Midnight’s Children follows the life of Saleem Sinai, born on the stroke of midnight on August 15, 1947, the time of India’s independence. His every act is mirrored and magnified in events that sway the course of India’s national affairs; his health and well-being are inextricably bound to those of his nation; his life is inseparable, at times indistinguishable, from the history of his country. Perhaps most remarkable are the telepathic powers linking him with India’s 1,000 other “midnight’s children,” all born in that initial hour and endowed with magical gifts.
The book, published by Random House in 1981, is a literary tour de force that has won multiple accolades, including the 1981 Booker Prize, the Best of the Booker twice...
Midnight’s Children follows the life of Saleem Sinai, born on the stroke of midnight on August 15, 1947, the time of India’s independence. His every act is mirrored and magnified in events that sway the course of India’s national affairs; his health and well-being are inextricably bound to those of his nation; his life is inseparable, at times indistinguishable, from the history of his country. Perhaps most remarkable are the telepathic powers linking him with India’s 1,000 other “midnight’s children,” all born in that initial hour and endowed with magical gifts.
The book, published by Random House in 1981, is a literary tour de force that has won multiple accolades, including the 1981 Booker Prize, the Best of the Booker twice...
- 11/28/2018
- by Denise Petski
- Deadline Film + TV
Isabelle Huppert, Mariachi and a History Lesson: Cannes Celebrates Its 70th Year With a Lively Night
The Cannes Film Festival aims to show great movies, but it also knows how to throw a good party. That much was evident late at night in the waning hours of a glitzy dinner on Tuesday night at Port Pierre Canto to celebrate the 70th anniversary of the festival, when Salma Hayek surprised guests with a mariachi band.
The Mexican film luminaries in the room — including “Three Amigos” Guillermo Del Toro, Alejandro Gonzalez Iñarriuto and Alfono Cuaron as well as actors Diego Luna and Gael Garcia Bernal — all crowded around a single table to lead a boisterous crowd in numerous songs. They were joined by guests from all over the world, from directors Michel Hazanavicius and Paolo Sorrentino to Sony Pictures Classics co-president Michael Barker, 88-year-old French New Wave legend Agnes Varda and Hayek, who eventually led a conga line to the stage while shooting an iPhone video of the whole affair.
The Mexican film luminaries in the room — including “Three Amigos” Guillermo Del Toro, Alejandro Gonzalez Iñarriuto and Alfono Cuaron as well as actors Diego Luna and Gael Garcia Bernal — all crowded around a single table to lead a boisterous crowd in numerous songs. They were joined by guests from all over the world, from directors Michel Hazanavicius and Paolo Sorrentino to Sony Pictures Classics co-president Michael Barker, 88-year-old French New Wave legend Agnes Varda and Hayek, who eventually led a conga line to the stage while shooting an iPhone video of the whole affair.
- 5/24/2017
- by Eric Kohn
- Indiewire
Every week, IndieWire asks a select handful of film and TV critics two questions and publishes the results on Monday. (The answer to the second, “What is the best film in theaters right now?”, can be found at the end of this post.)
This week’s question: In honor of the Cannes Film Festival, the 70th edition of which starts this week, what is the best film to ever win the coveted Palme d’Or?
For a complete list of Palme d’Or winners, click here.
Erin Whitney (@Cinemabite), ScreenCrush
This question is impossible because I clearly haven’t seen all 40 Palme d’Or winners (it’s on my to do list, I swear). But I could easily say “Apocalypse Now,” “Paris, Texas,” “Taxi Driver,” “Amour,” or even “Pulp Fiction.” But since this is a personal question, I have to say “The Tree of Life.” No film has moved me...
This week’s question: In honor of the Cannes Film Festival, the 70th edition of which starts this week, what is the best film to ever win the coveted Palme d’Or?
For a complete list of Palme d’Or winners, click here.
Erin Whitney (@Cinemabite), ScreenCrush
This question is impossible because I clearly haven’t seen all 40 Palme d’Or winners (it’s on my to do list, I swear). But I could easily say “Apocalypse Now,” “Paris, Texas,” “Taxi Driver,” “Amour,” or even “Pulp Fiction.” But since this is a personal question, I have to say “The Tree of Life.” No film has moved me...
- 5/15/2017
- by David Ehrlich
- Indiewire
The Criterion Collection has announced its May offerings, including “Dheepan,” “Ghost World” and a Blu-ray update of “Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles.” Also joining the Collection are Orson Welles’ “Othello,” a new World Cinema Project collector’s set and Yasujirō Ozu’s “Good Morning.” More information below.
Read More: The Criterion Collection Announces April Titles: ‘Tampopo,’ ‘Rumble Fish,’ ‘Woman of the Year’ and More
“Ghost World”
“Terry Zwigoff’s first fiction film, adapted from a cult-classic comic by Daniel Clowes, is an idiosyncratic portrait of adolescent alienation that’s at once bleakly comic and wholly endearing. Set during the malaise-filled months following high-school graduation, ‘Ghost World’ follows the proud misfit Enid (Thora Birch), who confronts an uncertain future amid the cultural wasteland of consumerist suburbia. As her cynicism becomes too much to bear even for her best friend, Rebecca (Scarlett Johansson), Enid finds herself drawn to an unlikely kindred...
Read More: The Criterion Collection Announces April Titles: ‘Tampopo,’ ‘Rumble Fish,’ ‘Woman of the Year’ and More
“Ghost World”
“Terry Zwigoff’s first fiction film, adapted from a cult-classic comic by Daniel Clowes, is an idiosyncratic portrait of adolescent alienation that’s at once bleakly comic and wholly endearing. Set during the malaise-filled months following high-school graduation, ‘Ghost World’ follows the proud misfit Enid (Thora Birch), who confronts an uncertain future amid the cultural wasteland of consumerist suburbia. As her cynicism becomes too much to bear even for her best friend, Rebecca (Scarlett Johansson), Enid finds herself drawn to an unlikely kindred...
- 2/15/2017
- by Michael Nordine
- Indiewire
It’s only fitting that the kick-off to the summer movie season also means a major month for The Criterion Collection. They’ve unveiled their May line-up and it’s a stacked one, and we can partially thank Martin Scorsese. While none of his films will be coming to the collection, the second edition of his World Cinema Project will arrive, which includes works from the Philippines (Insiang), Thailand (Mysterious Object at Noon), Soviet Kazakhstan (Revenge), Brazil (Limite), Turkey (Law of the Border), and Taiwan (Taipei Story).
Along with those films from Apichatpong Weerasethakul, Edward Yang, and more, we’ll be getting Terry Zwigoff‘s Ghost World, Jacques Audiard‘s Palme d’Or-winning Dheepan, Yasujiro Ozu‘s Good Morning (which also includes I Was Born, But… and surviving excerpt from A Straightforward Boy), Orson Welles‘ Othello, and a Blu-ray upgrade for Chantal Akerman‘s masterpiece Jeanne Dielman, 23, quai du Commerce,...
Along with those films from Apichatpong Weerasethakul, Edward Yang, and more, we’ll be getting Terry Zwigoff‘s Ghost World, Jacques Audiard‘s Palme d’Or-winning Dheepan, Yasujiro Ozu‘s Good Morning (which also includes I Was Born, But… and surviving excerpt from A Straightforward Boy), Orson Welles‘ Othello, and a Blu-ray upgrade for Chantal Akerman‘s masterpiece Jeanne Dielman, 23, quai du Commerce,...
- 2/15/2017
- by Jordan Raup
- The Film Stage
New Criterion Collection titles announced for May 2017. There are a few stand outs from the slate below, namely “Ghost World” and “Othello” from director Orson Welles. What are your favorites? Jeanne Dielman, 23, Quai Du Commerce, 1080 Bruxelles A singular work in film history, Chantal Akerman’s Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles meticulously details, with […]
The post The Criterion Collection Adds Ghost World, Orson Welles’ Othello, Good Morning, and Others For May 2017 #criterion appeared first on Shockya.com.
The post The Criterion Collection Adds Ghost World, Orson Welles’ Othello, Good Morning, and Others For May 2017 #criterion appeared first on Shockya.com.
- 2/15/2017
- by Rudie Obias
- ShockYa
A letter found inside a book at the Lilly Library at Indiana University has revealed that, while living in Europe in the early 1950s, Orson Welles was contemplating working on several films and stage projects.
The signed, two-page letter, which was typed on Welles’ stationery, was found by Liana Meeker, a catalog specialist at Lilly Library. It was folded inside a copy of Whit Materson’s “Badge of Evil,” which was the basis for Welles’ 1958 film “Touch of Evil.”
It is unknown how the letter ended up in the book, said Craig S. Simpson, Manuscripts Archivist at Lilly Library.”It was just a random item found in a random book,” he explained.
Read More: 20 Must-See Films At Sundance 2017
The letter, dated March 11, 1953, is believed to have been addressed to Welles’ longtime friend and columnist Leonard Lyons. In it, the actor and filmmaker asks Lyons to publish a column about an...
The signed, two-page letter, which was typed on Welles’ stationery, was found by Liana Meeker, a catalog specialist at Lilly Library. It was folded inside a copy of Whit Materson’s “Badge of Evil,” which was the basis for Welles’ 1958 film “Touch of Evil.”
It is unknown how the letter ended up in the book, said Craig S. Simpson, Manuscripts Archivist at Lilly Library.”It was just a random item found in a random book,” he explained.
Read More: 20 Must-See Films At Sundance 2017
The letter, dated March 11, 1953, is believed to have been addressed to Welles’ longtime friend and columnist Leonard Lyons. In it, the actor and filmmaker asks Lyons to publish a column about an...
- 1/11/2017
- by Yoselin Acevedo
- Indiewire
If you’re wondering where the next Damien Chazelle will come from, look no further than the 2017 Sundance Film Festival short film lineup.
Sundance has a long history of discovering the next generation of acclaimed filmmakers by first championing their short films. Chazelle made his first big splash by winning the 2013 Grand Jury Prize for “Whiplash” (the short). Last year, Jim Cummings won that prize for “Thunder Road,” and he’s back this year with a new short. Also generating a lot of pre-festival buzz is Kristen Stewart, making her writing/directing debut with the short “Come Swim.”
Before the Sundance Film Festival commences on January 19, 2017, here’s a briefing on Cummings’ “The Robbery,” Stewart’s “Come Swim” and eight other buzzworthy shorts (two of which are viewable online).
IndieWire reached out to the filmmakers to ask about their inspiration, production challenges and future projects. Check out our list below,...
Sundance has a long history of discovering the next generation of acclaimed filmmakers by first championing their short films. Chazelle made his first big splash by winning the 2013 Grand Jury Prize for “Whiplash” (the short). Last year, Jim Cummings won that prize for “Thunder Road,” and he’s back this year with a new short. Also generating a lot of pre-festival buzz is Kristen Stewart, making her writing/directing debut with the short “Come Swim.”
Before the Sundance Film Festival commences on January 19, 2017, here’s a briefing on Cummings’ “The Robbery,” Stewart’s “Come Swim” and eight other buzzworthy shorts (two of which are viewable online).
IndieWire reached out to the filmmakers to ask about their inspiration, production challenges and future projects. Check out our list below,...
- 1/10/2017
- by Kim Adelman
- Indiewire
Part of the fun in rounding up recent books about (or connected to) cinema is the sheer diversity of releases. This latest collection features a dive into this history of Hollywood legends, lots more Force Awakens, compelling reads from two fascinating critics, texts highlighting the art of Batman v. Superman and The Little Prince, and more. Plus, if you’ve been coveting Constable Zuvio mentions, you’re finally in luck.
Movie Freak: My Life Watching Movies by Owen Gleiberman (Hachette Books)
My favorite book of 2016 thus far has arrived, and it’s Movie Freak by former Entertainment Weekly critic Owen Gleiberman. For many a nineties teen, EW was something of a pop culture bible, and Gleiberman’s incisive writing was a key reason. In Movie Freak, his unguardedly personal memoir, he talks of films loved (Blue Velvet, Manhunter), friendships dashed (with the likes of Oliver Stone and Pauline Kael), and...
Movie Freak: My Life Watching Movies by Owen Gleiberman (Hachette Books)
My favorite book of 2016 thus far has arrived, and it’s Movie Freak by former Entertainment Weekly critic Owen Gleiberman. For many a nineties teen, EW was something of a pop culture bible, and Gleiberman’s incisive writing was a key reason. In Movie Freak, his unguardedly personal memoir, he talks of films loved (Blue Velvet, Manhunter), friendships dashed (with the likes of Oliver Stone and Pauline Kael), and...
- 5/5/2016
- by Christopher Schobert
- The Film Stage
Criterion digs Bitter Rice out of obscurity this month, a pulpy mix of social drama and dime store pathos from director and screenwriter Giuseppe De Santis. Premiering at the 1949 Cannes Film Festival, the title was also nominated for an Oscar in 1950 for Best Story. Lumped in with the neo-realism movement, it’s been a well-regarded minor title, but its problematic noir elements seem to have denied it prominent classification, at least compared to De Santis’ contemporary, Roberto Rossellini, whose Rome, Open City (1945) birthed the movement (and had just finished his notable war trilogy the year prior to release of this title). But De Santis creates something a bit stranger with this hybrid, a darker examination of sex and violence from the perspective of two central female characters. In its native language, the title is a pun since the Italian word for rice can also be substituted for the word laughter,...
- 1/12/2016
- by Nicholas Bell
- IONCINEMA.com
Not so very long ago I had a co-worker who described himself as a movie geek, film fan, cinema addict, what have you. He talked about film as if he knew all about it. I asked him one day what he thought of Orson Welles. His reply?
“I don’t think about Orson Welles, he was old and fat, now he’s dead, what am I supposed to think about him?”
Needless to say I never really talked to this person again, who shall remain nameless. Of course the fact that he was an egocentric, arrogant, narcissistic weasel didn’t help matters. (He claimed to have a small part in Tombstone, I have seen that movie several times, never spotted him, by the way…)
I simply cannot fathom the arrogance of someone dismissing, so casually one of the greatest film makers who ever lived. I have been fascinated, obsessed even,...
“I don’t think about Orson Welles, he was old and fat, now he’s dead, what am I supposed to think about him?”
Needless to say I never really talked to this person again, who shall remain nameless. Of course the fact that he was an egocentric, arrogant, narcissistic weasel didn’t help matters. (He claimed to have a small part in Tombstone, I have seen that movie several times, never spotted him, by the way…)
I simply cannot fathom the arrogance of someone dismissing, so casually one of the greatest film makers who ever lived. I have been fascinated, obsessed even,...
- 1/7/2016
- by Sam Moffitt
- WeAreMovieGeeks.com
Born in St. Louis on May 27, 1911, iconic actor Vincent Price retained a special fondness for his place of origin, and that love was reciprocated with Vincentennial, a celebration of his 100th birthday in his hometown back in May of 2011 (for summary of all the Vincentennial activities go Here). One of the guests of honor at Vincentennial was Vincent Price’s daughter Victoria Price. Because of their close relationship and her access to his unpublished memoirs and letters, Victoria Price was able to provide a remarkably vivid account of her father’s public and private life in her essential book, Vincent Price, a Daughter’s Biography, originally published in 1999. .In 2011, her biography of her father was out of print. but now it’s been re-issued and Victoria will be in St. Louis this weekend (October 9th – 10th) for three special events. In addition to the biography, she will also be signing...
- 10/6/2015
- by Tom Stockman
- WeAreMovieGeeks.com
“Do you still say my Shylock was inadequate?”
Theatre Of Blood starring St. Louis native Vincent Price will be screened Saturday October 10th, as part of Movies for Foodies, a regular film series put on by the chefs at Tenacious Eats. The event will take place at St. Louis Banquet Center located at 5700 Leona. In attendance will be special guest Victoria Price, author of Vincent Price, a Daughter’s Biography.
Tenacious Eats presents five courses and five cocktails themed to the Vincent Price masterpiece Theatre Of Blood with special guest of honor Victoria Price! Recipes will be featured from Victoria’s parents’ best-selling cookbook “A Treasury of Great Recipes” which is being re-issued for its 50th Anniversary. Cookbooks will be available for purchase that evening. This event will take place at St. Louis Banquet Center located at 5700 Leona. Get ready for a creepy good time! Live music and cash bar begin at 6:30pm.
Theatre Of Blood starring St. Louis native Vincent Price will be screened Saturday October 10th, as part of Movies for Foodies, a regular film series put on by the chefs at Tenacious Eats. The event will take place at St. Louis Banquet Center located at 5700 Leona. In attendance will be special guest Victoria Price, author of Vincent Price, a Daughter’s Biography.
Tenacious Eats presents five courses and five cocktails themed to the Vincent Price masterpiece Theatre Of Blood with special guest of honor Victoria Price! Recipes will be featured from Victoria’s parents’ best-selling cookbook “A Treasury of Great Recipes” which is being re-issued for its 50th Anniversary. Cookbooks will be available for purchase that evening. This event will take place at St. Louis Banquet Center located at 5700 Leona. Get ready for a creepy good time! Live music and cash bar begin at 6:30pm.
- 9/10/2015
- by Tom Stockman
- WeAreMovieGeeks.com
This month on the Newsstand, Ryan is joined by David Blakeslee and Scott Nye to discuss the September 2015 Criterion Collection line-up, as well as the latest in Criterion rumors, news, packaging, and more.
Subscribe to The Newsstand in iTunes or via RSS
Contact us with any feedback.
Shownotes Topics The September Criterion Line-up (and the delayed announcement) Orson Welles Updates: Issa Clubb at the University Of Michigan, Chimes At Midnight, It’s All True, The Immortal Story, Othello New titles rumored: In Cold Blood (Richard Brooks), The Decalogue, The Graduate, Valley Of The Dolls / Beyond The Valley Of The Dolls, Janus Films: A Poem Is A Naked Person theatrical run, poster, trailer, etc. Last month’s E-mail newsletter drawing: empty coat (Young And Innocent?) The Apu Trilogy poster is now available from the Criterion store Episode Links The September Criterion Collection line-up … Blind Chance (1981) Gérard DuBois Breaker Morant (1980) Mister Johnson (1990) Sean Phillips.
Subscribe to The Newsstand in iTunes or via RSS
Contact us with any feedback.
Shownotes Topics The September Criterion Line-up (and the delayed announcement) Orson Welles Updates: Issa Clubb at the University Of Michigan, Chimes At Midnight, It’s All True, The Immortal Story, Othello New titles rumored: In Cold Blood (Richard Brooks), The Decalogue, The Graduate, Valley Of The Dolls / Beyond The Valley Of The Dolls, Janus Films: A Poem Is A Naked Person theatrical run, poster, trailer, etc. Last month’s E-mail newsletter drawing: empty coat (Young And Innocent?) The Apu Trilogy poster is now available from the Criterion store Episode Links The September Criterion Collection line-up … Blind Chance (1981) Gérard DuBois Breaker Morant (1980) Mister Johnson (1990) Sean Phillips.
- 6/18/2015
- by Ryan Gallagher
- CriterionCast
Gary Graver, the man who committed himself to serving as Orson Welles' cinematographer for the last fifteen years of his life, learned his trade on the battlefield—literally—as a cameraman in Vietnam. When his tour of duty was over, he took his skills to Los Angeles and landed work shooting a film for notorious cult director Al Adamson called Satan's Sadists (1969), the first of over 200 productions. He shot cheap drive-in films for Roger Corman, Jim Wynorski, Fred Olen Ray and Adamson, second unit work on Enter the Dragon and Raiders of the Lost Ark, and directed horror films, documentaries, family comedies and even adult movies. And he was Welles' cameraman on everything Welles made between 1970 until 1985, from F For Fake and Filming Othello to TV projects and pilots, commercials and unfinished films such as The Other Side of the Wind and The Dreamers.>> - Sean Axmaker...
- 5/21/2015
- Fandor: Keyframe
Gary Graver, the man who committed himself to serving as Orson Welles' cinematographer for the last fifteen years of his life, learned his trade on the battlefield—literally—as a cameraman in Vietnam. When his tour of duty was over, he took his skills to Los Angeles and landed work shooting a film for notorious cult director Al Adamson called Satan's Sadists (1969), the first of over 200 productions. He shot cheap drive-in films for Roger Corman, Jim Wynorski, Fred Olen Ray and Adamson, second unit work on Enter the Dragon and Raiders of the Lost Ark, and directed horror films, documentaries, family comedies and even adult movies. And he was Welles' cameraman on everything Welles made between 1970 until 1985, from F For Fake and Filming Othello to TV projects and pilots, commercials and unfinished films such as The Other Side of the Wind and The Dreamers.>> - Sean Axmaker...
- 5/21/2015
- Keyframe
The legal system is a literal maze in Orson Welles' visualization and the disparate locations all lead back to one another. The Trial favors long takes and sustained shots to the fractured editing that defines so much of both the European Othello and the American Touch of Evil, but as we leaves Joseph's familiar world and follow him through the surreal legal labyrinth, the editing becomes faster and more fragmented. The logistics of space is distorted and exaggerated by the editing to show the perverse conspiratorial integration of the incestuous system. Shots between locations, and even within the same scene, are cut together from diverse sources and Welles doesn't match them so much as connect them, using action and momentum and graphic cues to carry us through the incongruities.>> - Sean Axmaker...
- 5/6/2015
- Fandor: Keyframe
The legal system is a literal maze in Orson Welles' visualization and the disparate locations all lead back to one another. The Trial favors long takes and sustained shots to the fractured editing that defines so much of both the European Othello and the American Touch of Evil, but as we leaves Joseph's familiar world and follow him through the surreal legal labyrinth, the editing becomes faster and more fragmented. The logistics of space is distorted and exaggerated by the editing to show the perverse conspiratorial integration of the incestuous system. Shots between locations, and even within the same scene, are cut together from diverse sources and Welles doesn't match them so much as connect them, using action and momentum and graphic cues to carry us through the incongruities.>> - Sean Axmaker...
- 5/6/2015
- Keyframe
Orson Welles was born 100 years ago today and, as Jonathan Rosenbaum tells Kevin B. Lee in the video we posted the other day, we're still discovering him—in the films we believe we already know and in the films we know are out there but haven't yet seen. Following the rediscovery and restoration of Too Much Johnson (1938) and last year's restoration of Othello (1952), we've seen a restoration of Chimes at Midnight (1965) and the team working on The Other Side of the Wind is still at it, though, as Ray Kelly reports at Wellesnet, the project "is still far from done." But today's for celebrating. We're gathering links, videos and more. » - David Hudson...
- 5/6/2015
- Fandor: Keyframe
Orson Welles was born 100 years ago today and, as Jonathan Rosenbaum tells Kevin B. Lee in the video we posted the other day, we're still discovering him—in the films we believe we already know and in the films we know are out there but haven't yet seen. Following the rediscovery and restoration of Too Much Johnson (1938) and last year's restoration of Othello (1952), we've seen a restoration of Chimes at Midnight (1965) and the team working on The Other Side of the Wind is still at it, though, as Ray Kelly reports at Wellesnet, the project "is still far from done." But today's for celebrating. We're gathering links, videos and more. » - David Hudson...
- 5/6/2015
- Keyframe
The Lady from Shanghai
Written and directed by Orson Welles
USA, 1947
The Lady from Shanghai (1947) didn’t come easily for Orson Welles. No film ever really did after his breakthrough, the great Citizen Kane (1941), the movie that put him on the map and in the crosshairs of the Hollywood establishment. They wanted little to do with this iconoclastic hotshot from New York, and for the rest of his days, Welles struggled to achieve an autonomous artistic vision. That so many astonishing films came out of this struggle, like The Lady from Shanghai, surely says something about his cinematic gift, an inherent talent that could not be restrained or denied.
It took considerable wheeling and dealing for Welles to convince Harry Cohn to back the film. Welles had three features on his directorial résumé, and though Citizen Kane and The Magnificent Ambersons (1942) were not financially successful, his third film, The Stranger (1946), was.
Written and directed by Orson Welles
USA, 1947
The Lady from Shanghai (1947) didn’t come easily for Orson Welles. No film ever really did after his breakthrough, the great Citizen Kane (1941), the movie that put him on the map and in the crosshairs of the Hollywood establishment. They wanted little to do with this iconoclastic hotshot from New York, and for the rest of his days, Welles struggled to achieve an autonomous artistic vision. That so many astonishing films came out of this struggle, like The Lady from Shanghai, surely says something about his cinematic gift, an inherent talent that could not be restrained or denied.
It took considerable wheeling and dealing for Welles to convince Harry Cohn to back the film. Welles had three features on his directorial résumé, and though Citizen Kane and The Magnificent Ambersons (1942) were not financially successful, his third film, The Stranger (1946), was.
- 3/25/2015
- by Jeremy Carr
- SoundOnSight
Oscar 2015 winners (photo: Chris Pratt during Oscar 2015 rehearsals) The complete list of Oscar 2015 winners and nominees can be found below. See also: Oscar 2015 presenters and performers. Now, a little Oscar 2015 trivia. If you know a bit about the history of the Academy Awards, you'll have noticed several little curiosities about this year's nominations. For instance, there are quite a few first-time nominees in the acting and directing categories. In fact, nine of the nominated actors and three of the nominated directors are Oscar newcomers. Here's the list in the acting categories: Eddie Redmayne. Michael Keaton. Steve Carell. Benedict Cumberbatch. Felicity Jones. Rosamund Pike. J.K. Simmons. Emma Stone. Patricia Arquette. The three directors are: Morten Tyldum. Richard Linklater. Wes Anderson. Oscar 2015 comebacks Oscar 2015 also marks the Academy Awards' "comeback" of several performers and directors last nominated years ago. Marion Cotillard and Reese Witherspoon won Best Actress Oscars for, respectively, Olivier Dahan...
- 2/22/2015
- by Steve Montgomery
- Alt Film Guide
“I disappear between these two moments of speech/ self-portrait not autobiography” – Jean-Luc Godard
Never has Godard been so melancholic and comedic in one film. Jlg/Jlg: self-portrait in December (hereafter referred to as Jlg/Jlg) is a portrait of an artist, the artist of cinema, at sixty four. Part documentary, part film essay, Jlg/Jlg is a poignant and tender depiction of Jean-Luc in his apartment in Switzerland. The icy beaches and snowy landscapes depict Jean-Luc entering the winter season, nesting at his desk with pen and notebook, quoting from the history of cinema, literature, and philosophy in the voice-over, intertitles, and the dialogue, pensively ruminating about his place in the history of cinema.
“Self-portrait not autobiography” Jean-Luc tells us and this distinction is important for understanding Jlg/Jlg. Typical documentary-biopics proceed in this manner: begin with subject’s childhood; list their achievements; pad the film with talking head interviews...
Never has Godard been so melancholic and comedic in one film. Jlg/Jlg: self-portrait in December (hereafter referred to as Jlg/Jlg) is a portrait of an artist, the artist of cinema, at sixty four. Part documentary, part film essay, Jlg/Jlg is a poignant and tender depiction of Jean-Luc in his apartment in Switzerland. The icy beaches and snowy landscapes depict Jean-Luc entering the winter season, nesting at his desk with pen and notebook, quoting from the history of cinema, literature, and philosophy in the voice-over, intertitles, and the dialogue, pensively ruminating about his place in the history of cinema.
“Self-portrait not autobiography” Jean-Luc tells us and this distinction is important for understanding Jlg/Jlg. Typical documentary-biopics proceed in this manner: begin with subject’s childhood; list their achievements; pad the film with talking head interviews...
- 1/19/2015
- by Cody Lang
- SoundOnSight
"Film Forum toasts 2015, the centennial of Orson Welles’s birth, with Orson Welles 100, an exhaustive five-week overview of his oeuvre," reports Andy Webster in the New York Times. William Friedkin will introduce screenings of Citizen Kane (1941) and The Magnificent Ambersons (1942) and the Film Forum Players will accompany screenings of Too Much Johnson (1938). Welles scholar Joseph McBride discusses Chimes at Midnight (1965) and we're collecting more writing on The Stranger (1946), Othello (1952) and The Trial (1963). » - David Hudson...
- 1/1/2015
- Keyframe
"Film Forum toasts 2015, the centennial of Orson Welles’s birth, with Orson Welles 100, an exhaustive five-week overview of his oeuvre," reports Andy Webster in the New York Times. William Friedkin will introduce screenings of Citizen Kane (1941) and The Magnificent Ambersons (1942) and the Film Forum Players will accompany screenings of Too Much Johnson (1938). Welles scholar Joseph McBride discusses Chimes at Midnight (1965) and we're collecting more writing on The Stranger (1946), Othello (1952) and The Trial (1963). » - David Hudson...
- 1/1/2015
- Fandor: Keyframe
We’ll be celebrating the 5th year anniversary of Super-8 Movie Madness at The Way Out Club in St. Louis on Tuesday October 7th with an encore performance of our most popular show. It’s Super-8 Vincent Price Movie Madness in 3D, the show that we took on the road to promote Vincentennial back in 2011. We’ll be honoring the hometown horror hero by showing condensed (average length: 15 minutes) versions of several of Price’s greatest films on Super-8 sound film projected on a big screen. They are: Master Of The World, War-gods Of The Deep, Pit And The Pendulum, The Raven, Witchfinder General, Tim Burton’s Vincent, Two Vincent Price Trailer Reels, Abbott And Costello Meet Frankenstein and The Mad Magician in 3D (We’ll have plenty of 3D Glasses for everyone)
The non-Price movies we’re showing October 7th are The Three Stooges in Pardon My Backfire...
The non-Price movies we’re showing October 7th are The Three Stooges in Pardon My Backfire...
- 10/1/2014
- by Tom Stockman
- WeAreMovieGeeks.com
It's one of those rare weekends where there are basically no wide releases entering the marketplace. Ok, there's an Ashley Judd movie aimed at the faith-based crowds, but that's all that is headed for the multiplexes (ensuring another easy week at the top of the box office for Guardians). That has left an especially adventurous week of bookings with lots of smaller titles hitting town, including the latest from Roman Polanski that we had assumed was never going to play in Austin. Before I show you the new releases, let's take a look at this week's specialty programming.
While the Paramount 100 will continue on, the official Paramount Summer Classic Film Series is coming to a close this weekend with the Texas-based epic Giant (which Don just revisited in Lone Star Cinema). Elizabeth Taylor, Rock Hudson and James Dean star in this classic drama which will run in 35mm on Saturday...
While the Paramount 100 will continue on, the official Paramount Summer Classic Film Series is coming to a close this weekend with the Texas-based epic Giant (which Don just revisited in Lone Star Cinema). Elizabeth Taylor, Rock Hudson and James Dean star in this classic drama which will run in 35mm on Saturday...
- 9/5/2014
- by Matt Shiverdecker
- Slackerwood
Contrary to popular belief, “F for Fake” is not Orson Welles’s last completed film. That honor goes to the rarely seen (or even discussed) 1978 documentary “Filming Othello.” As you would expect from the title, the doc traces the creation of Welles’s 1952 Palme d’Or-winning adaptation of “Othello.” Though the film was never officially released outside of one screening at the 1978 Berlin Film Festival and two in New York in 1979 and 1987, you can now watch it in the comfort of your home, courtesy of The Seventh Art. Originally intended as the first component of an ongoing series documenting the creation of Welles’s films for German television, the second part, centering on “The Trial,” was like many projects in the twilight of his career never completed. It’s a shame the series never continued, but you can still see some of the partially completed second entry. It’s a...
- 8/5/2014
- by Cain Rodriguez
- The Playlist
Documentary filmmaker and distribution executive Juergen Hellwig died on April 8, 2014, in Los Angeles. He was 66.
Hellwig was born on August 12, 1947, in Frankfurt, Germany, and eventually relocated to the Us in 1974 where he embarked on a career as a documentary producer.
He built up a body of work that included Orson Welles’ Filming Othello, Alain Resnais’ Providence and Hollywood On Trial.
Later in his career, Hellwig became an executive independent distributor for Janus Films, Taurus Films GmbH, KirchMedia Gmbh, E-m-s Media and Juergen Hellwig Entertainment, Inc.
He is survived by his two sons, Sean and Justin, and his wife, Barbra.
Hellwig was born on August 12, 1947, in Frankfurt, Germany, and eventually relocated to the Us in 1974 where he embarked on a career as a documentary producer.
He built up a body of work that included Orson Welles’ Filming Othello, Alain Resnais’ Providence and Hollywood On Trial.
Later in his career, Hellwig became an executive independent distributor for Janus Films, Taurus Films GmbH, KirchMedia Gmbh, E-m-s Media and Juergen Hellwig Entertainment, Inc.
He is survived by his two sons, Sean and Justin, and his wife, Barbra.
- 5/15/2014
- by jeremykay67@gmail.com (Jeremy Kay)
- ScreenDaily
Documentary filmmaker and distribution executive Juergen Hellwig died on April 8, 2014, in Los Angeles. He was 66.
Hellwig was born on August 12, 1947, in Frankfurt, Germany, and eventually relocated to the Us in 1974 where he embarked on a career as a documentary producer.
He built up a body of work that included Orson Welles’ Filming Othello, Alain Resnais’ Providence and Hollywood On Trial.
Later in his career, Hellwig became an executive independent distributor for Janus Films, Taurus Films GmbH, KirchMedia Gmbh, E-m-s Media and Juergen Hellwig Entertainment, Inc.
He is survived by his two sons, Sean and Justin, and his wife, Barbra.
Hellwig was born on August 12, 1947, in Frankfurt, Germany, and eventually relocated to the Us in 1974 where he embarked on a career as a documentary producer.
He built up a body of work that included Orson Welles’ Filming Othello, Alain Resnais’ Providence and Hollywood On Trial.
Later in his career, Hellwig became an executive independent distributor for Janus Films, Taurus Films GmbH, KirchMedia Gmbh, E-m-s Media and Juergen Hellwig Entertainment, Inc.
He is survived by his two sons, Sean and Justin, and his wife, Barbra.
- 5/15/2014
- by jeremykay67@gmail.com (Jeremy Kay)
- ScreenDaily
Above: the new poster for Orson Welles' newly restored Othello, screening at the Film Forum. Occasioned by the restoration, Richard Brody writes on the film for The Front Row:
"Welles’s fundamental and lifelong story is that of a big man who gets his comeuppance. He himself was a big man who, in repeatedly filming his own downfall, displayed a kind of emotional masochism, a delight in his own humiliation, that he veritably trumpets in Othello. He films the entire play as a flashback, starting the movie with his own face in closeup: Othello, dead and being borne off for burial. The shock of self-destruction is matched only by the howl of self-pity, albeit a well-earned one—for Welles himself, soon after the world-historical artistic eruption of Citizen Kane, found his own strong and stubborn temperament fiercely countered by the plotters and the potentates of his field."
More on...
"Welles’s fundamental and lifelong story is that of a big man who gets his comeuppance. He himself was a big man who, in repeatedly filming his own downfall, displayed a kind of emotional masochism, a delight in his own humiliation, that he veritably trumpets in Othello. He films the entire play as a flashback, starting the movie with his own face in closeup: Othello, dead and being borne off for burial. The shock of self-destruction is matched only by the howl of self-pity, albeit a well-earned one—for Welles himself, soon after the world-historical artistic eruption of Citizen Kane, found his own strong and stubborn temperament fiercely countered by the plotters and the potentates of his field."
More on...
- 4/30/2014
- by Adam Cook
- MUBI
The Venn diagram overlap of Shakespeare with the elaborate scrap-fabric quilts pieced together by early American settlers is Orson Welles's Othello, a film pulled together from everything and nothing. This Othello took nearly four years to make: Welles began planning it in the summer of 1948, and it debuted at Cannes in 1952. It was filmed in fits and starts, in at least four locales in two countries, as Welles's finances were alternately drained dry and replenished. Several Desdemonas came and went. Because so much of the movie had been shot on the fly, at different times in different places by different cameramen, Welles assembled it largely in the editing room, cleverly stitching one sequence to the next to impart the illusion of continuity. Othello came togethe...
- 4/23/2014
- Village Voice
Orson Welles' "Othello," based on Shakespeare's tragedy, was a famously troubled production with a long and checkered history. The film itself was shot sporadically over a period of three years after the film's initial Italian producer went bankrupt. Welles poured his own money into the production and found some creative solutions to keep the budget down. Shooting went on for so long that some key roles (including Desdemona) had to be recast, with scenes reshot. Though the film won the 1952 Best Picture Award at Cannes, it wasn't released (in an altered version) in the U.S. until 1955 to little fanfare. In the film, written and directed by Welles, the director himself plays the doomed Moor in the classic tale of sexual jealousy and betrayal shot on location in Morocco and Rome. Welles starred alongside Micheál MacLiammóir, Robert Coot and Suzanne Cloutier. There have been several different versions of the film,...
- 2/6/2014
- by Paula Bernstein
- Indiewire
The UK and Moroccan governments have signed a co-production treaty.
The UK and Moroccan governments have signed a film co-production treaty, negotiated by the BFI and Centre Cinématographique Marocain (Ccm).
The treaty will likely soon be extended to include television as well.
Productions that qualify under the terms of the treaty will be able to access the benefits of national status in each country, allowing access to Moroccan tax incentives and the UK’s film tax relief and the BFI Film Fund.
BFI chief executive Amanda Nevill said: “British filmmakers, from David Lean through to Christopher Nolan, have long since looked to Morocco for its stunning landscapes and substantial production infrastructure.
“This treaty will be a catalyst to grow opportunities to pool creative and financial resources and foster a deeper sense of collaboration.”
Director general of the Centre Cinématographique Marocain, Nour-Eddine Sail, commented: “This treaty will help us create sustainable cultural partnerships between our two film industries...
The UK and Moroccan governments have signed a film co-production treaty, negotiated by the BFI and Centre Cinématographique Marocain (Ccm).
The treaty will likely soon be extended to include television as well.
Productions that qualify under the terms of the treaty will be able to access the benefits of national status in each country, allowing access to Moroccan tax incentives and the UK’s film tax relief and the BFI Film Fund.
BFI chief executive Amanda Nevill said: “British filmmakers, from David Lean through to Christopher Nolan, have long since looked to Morocco for its stunning landscapes and substantial production infrastructure.
“This treaty will be a catalyst to grow opportunities to pool creative and financial resources and foster a deeper sense of collaboration.”
Director general of the Centre Cinématographique Marocain, Nour-Eddine Sail, commented: “This treaty will help us create sustainable cultural partnerships between our two film industries...
- 9/2/2013
- by andreas.wiseman@screendaily.com (Andreas Wiseman)
- ScreenDaily
Looking back at 2012 on what films moved and impressed us, it is clear that watching old films is a crucial part of making new films meaningful. Thus, the annual tradition of our end of year poll, which calls upon our writers to pick both a new and an old film: they were challenged to choose a new film they saw in 2012—in theaters or at a festival—and creatively pair it with an old film they also saw in 2012 to create a unique double feature.
All the contributors were asked to write a paragraph explaining their 2012 fantasy double feature. What's more, each writer was given the option to list more pairings, with or without explanation, as further imaginative film programming we'd be lucky to catch in that perfect world we know doesn't exist but can keep dreaming of every time we go to the movies.
How would you program some...
All the contributors were asked to write a paragraph explaining their 2012 fantasy double feature. What's more, each writer was given the option to list more pairings, with or without explanation, as further imaginative film programming we'd be lucky to catch in that perfect world we know doesn't exist but can keep dreaming of every time we go to the movies.
How would you program some...
- 1/9/2013
- by Daniel Kasman
- MUBI
Here Lies... Hilton Edwards' short film Return to Glennascaul, mauled by Disney's Bear Country.
Andreas here with another spooky Oscar Horrors case file! This time, it's a ghost story. And who doesn't love a good ghost story? (Other than the Academy, I suppose.) Return to Glennascaul (1953) retells a traditional urban legend, that of the "vanishing hitchhiker," but with so much flair and atmosphere that its overfamiliarity doesn't matter. The set-up is classic: it's late at night, on a winding road outside Dublin, and the narrator stops to pick up a stranded motorist. But aha, a twist: the narrator is in fact Orson Welles, on a break from Othello! What better addition to a ghost story than Orson, that master raconteur, he of the perfect radio voice?
Aother small twist: his passenger isn't a ghost, but instead has his own eerie story of two mysterious women and the old abandoned house he drove them to,...
Andreas here with another spooky Oscar Horrors case file! This time, it's a ghost story. And who doesn't love a good ghost story? (Other than the Academy, I suppose.) Return to Glennascaul (1953) retells a traditional urban legend, that of the "vanishing hitchhiker," but with so much flair and atmosphere that its overfamiliarity doesn't matter. The set-up is classic: it's late at night, on a winding road outside Dublin, and the narrator stops to pick up a stranded motorist. But aha, a twist: the narrator is in fact Orson Welles, on a break from Othello! What better addition to a ghost story than Orson, that master raconteur, he of the perfect radio voice?
Aother small twist: his passenger isn't a ghost, but instead has his own eerie story of two mysterious women and the old abandoned house he drove them to,...
- 10/26/2012
- by Andreas
- FilmExperience
Well, I suppose it was inevitable.
After all, the American Nazis objected to Heimdall being played by a black man in last year’s Thor movie. To swing 180 degrees in the opposite direction, many Asian groups objected to the casting of a European in the role of a Eurasian in the play Miss Saigon. They felt that the part should have gone to an Asian and not to a Eur.
There are numerous examples of this, and some attracted justifiable outrage. I’m not too certain about the Miss Saigon thing: the character is Eurasian but Asians are woefully underrepresented on western stages. The Thor thing is just completely stupid: Heimdall is Asgardian and not Teutonic, and the American Nazis are assholes.
Several thousand white actors have been cast as American Indians in several hundred (at least) motion pictures, and that’s simply wrong. We should have grown out of that,...
After all, the American Nazis objected to Heimdall being played by a black man in last year’s Thor movie. To swing 180 degrees in the opposite direction, many Asian groups objected to the casting of a European in the role of a Eurasian in the play Miss Saigon. They felt that the part should have gone to an Asian and not to a Eur.
There are numerous examples of this, and some attracted justifiable outrage. I’m not too certain about the Miss Saigon thing: the character is Eurasian but Asians are woefully underrepresented on western stages. The Thor thing is just completely stupid: Heimdall is Asgardian and not Teutonic, and the American Nazis are assholes.
Several thousand white actors have been cast as American Indians in several hundred (at least) motion pictures, and that’s simply wrong. We should have grown out of that,...
- 3/21/2012
- by Mike Gold
- Comicmix.com
Theatre Of Blood will play at the Vincentennial Vincent Price Film Festival in a 35mm print at 2:30pm on Saturday, May 21st at the Hi-Pointe Theatre. Ticket information can be found Here
In the early 1907′s Vincent Price’s career was at a high point. The Doctor Phibes films were unexpected hits. How would he capitalize on these? In 1973 he took on a role in a film with a similar plot structure. In fact, many fright film fans consider Theatre Of Blood an unofficial finale in a Phibes trilogy. Produced by United Artists rather then American International Blood differed from the Phibes film in that it was set in modern times and boasted one of the most prestigious casts that Price ever worked with. Price portrays Edward Lionheart , a stage actor thought to be dead , who returns to murder the critics that denied him a thespian award. Many of...
In the early 1907′s Vincent Price’s career was at a high point. The Doctor Phibes films were unexpected hits. How would he capitalize on these? In 1973 he took on a role in a film with a similar plot structure. In fact, many fright film fans consider Theatre Of Blood an unofficial finale in a Phibes trilogy. Produced by United Artists rather then American International Blood differed from the Phibes film in that it was set in modern times and boasted one of the most prestigious casts that Price ever worked with. Price portrays Edward Lionheart , a stage actor thought to be dead , who returns to murder the critics that denied him a thespian award. Many of...
- 5/21/2011
- by Tom Stockman
- WeAreMovieGeeks.com
This year's president of the Festival de Cannes Robert De Niro will preside over jury members including fellow actors Jude Law, Uma Thurman and Martina Gusman, directors Olivier Assayas, Johnnie To and Mahamat Saleh Haroun, Chinese producer Nansun Shi and Norwegian critic and writer Linn Ullmann. The nine jury members will hand out the main prizes including the Palme d'Or amongst others for writing, directing and performances. They will follow the path of some of the greatest names in the history of cinema. Many accused Isabelle Huppert of playing favourites when Haneke finally won for his long overdue Palme. De Niro has worked with Brad Pitt and Sean Penn --- will the brotherhood remain intact with a vote going towards Malick? Unlike any other awards, the Palme d'Or is the most elusive and coveted of them all. The first prize handed out was the Grand Prix in 1949 at the third...
- 5/10/2011
- IONCINEMA.com
Article by Jim Batts, Dana Jung, and Tom Stockman
Born in St. Louis on May 27, 1911, iconic actor Vincent Price retained a special fondness for his place of origin, and that love is now reciprocated with Vincentennial, a celebration of his 100th birthday in his hometown. Price was not only a notable St. Louisan but one of the 20th century.s most remarkable men. To do full justice to the range of his accomplishments, Vincentennial features not only a 10-day film festival but also a pair of exhibits, a stage production, two publications, and illuminating discussions by Price experts and film historians. We decided to do a special edition of Top Ten Tuesday here at We Are Movie Geeks in honor of the many great films that Vincent Price starred in, and after we had assembled the list we realized that all ten of these films will be showing at the...
Born in St. Louis on May 27, 1911, iconic actor Vincent Price retained a special fondness for his place of origin, and that love is now reciprocated with Vincentennial, a celebration of his 100th birthday in his hometown. Price was not only a notable St. Louisan but one of the 20th century.s most remarkable men. To do full justice to the range of his accomplishments, Vincentennial features not only a 10-day film festival but also a pair of exhibits, a stage production, two publications, and illuminating discussions by Price experts and film historians. We decided to do a special edition of Top Ten Tuesday here at We Are Movie Geeks in honor of the many great films that Vincent Price starred in, and after we had assembled the list we realized that all ten of these films will be showing at the...
- 5/10/2011
- by Movie Geeks
- WeAreMovieGeeks.com
We at Mubi think that celebrating the films of 2010 should be a celebration of film viewing in 2010. Since all film and video is "old" one way or another, we present Out of a Past, a small (re-) collection of some of our favorite of 2010's retrospective viewings.
***
This is a list of older movies I saw for the first time in 2010—not necessarily the best, but the ones that gave me the greatest sense of discovery. It’s a sad commentary on contemporary film culture that only five of the twelve films I mention are available on Netflix.
Routine Pleasures (Jean-Pierre Gorin, USA, 1986)
An essay film from the Godard’s former collaborator during his leftist Dziga Vertov Group days. The movie begins as a documentary about a group of model train enthusiasts in San Diego who have constructed an elaborate imaginary world with enormous and minutely detailed landscapes and a...
***
This is a list of older movies I saw for the first time in 2010—not necessarily the best, but the ones that gave me the greatest sense of discovery. It’s a sad commentary on contemporary film culture that only five of the twelve films I mention are available on Netflix.
Routine Pleasures (Jean-Pierre Gorin, USA, 1986)
An essay film from the Godard’s former collaborator during his leftist Dziga Vertov Group days. The movie begins as a documentary about a group of model train enthusiasts in San Diego who have constructed an elaborate imaginary world with enormous and minutely detailed landscapes and a...
- 1/5/2011
- MUBI
The Arbor, a film in which actors mime to recorded words, is part of a rich history of sonic experiments
Like all cinematic developments hailed as leaps towards verisimilitude, the advent of synchronised sound at the end of the 1920s in fact opened up a whole new dimension of illusion. The clue is in the name: despite the appearance of unity, the audio and video tracks are synchronised but separate recordings, and the space between them can be put to all sorts of cunning uses.
The latest of these is found in The Arbor, Clio Barnard's moving and ingenious cinematic profile of the young Bradford playwright Andrea Dunbar, which is out this Friday. Taking its cue from "verbatim theatre", in which actors speak lines taken directly from interviews with real-life people, The Arbor features actors lip-synching to interviews with Dunbar's loved ones, to emotionally compelling yet formally alienating effect...
Like all cinematic developments hailed as leaps towards verisimilitude, the advent of synchronised sound at the end of the 1920s in fact opened up a whole new dimension of illusion. The clue is in the name: despite the appearance of unity, the audio and video tracks are synchronised but separate recordings, and the space between them can be put to all sorts of cunning uses.
The latest of these is found in The Arbor, Clio Barnard's moving and ingenious cinematic profile of the young Bradford playwright Andrea Dunbar, which is out this Friday. Taking its cue from "verbatim theatre", in which actors speak lines taken directly from interviews with real-life people, The Arbor features actors lip-synching to interviews with Dunbar's loved ones, to emotionally compelling yet formally alienating effect...
- 10/21/2010
- by Ben Walters
- The Guardian - Film News
Every year at the San Diego Comics Convention, you always hear the same gripe: “Isn’t this supposed to be about comic books?” From this perspective, Hollywood has turned what used to be a fanboy Mecca into a marketing platform for decidedly non-comic properties. (This isn’t exactly fair: as EW’s Lynette Rice noted a few weeks ago, an earlier Comic-Con featured a screening of Orson Welles’ Othello.) Angry die-hard comics fans have something to be happy about today, though: Summit Entertainment has just released their Comic-Con schedule, and in a surprising move, the Twilight franchise will not be...
- 7/8/2010
- by Darren Franich
- EW.com - PopWatch
Answer: Morocco. The location that film-makers use to stand in for anywhere sandy
'I don't think we're in Kansas any more," says Sarah Jessica Parker as she strolls into some luxurious Arabian hotel wearing what appears to be a table cloth and a tea cosy. She's not in Kansas, or New York. As everyone who's seen the Sex And The City 2 trailer knows, the "city" this time is Abu Dhabi, where Carrie and her sisters take a decadent desert mini-break. Except they're not really in Abu Dhabi either, they're actually in Morocco.
Confused? The original idea was to clash the Satc girls' post-permissive consumerism with the bling culture of Dubai. But having recently jailed a couple for simply snogging on a beach, Islamic-ruled Dubai thought better of being associated with a movie with "sex" and "city" in its title. Hence the switch to Abu Dhabi, which also refused the film-makers permission.
'I don't think we're in Kansas any more," says Sarah Jessica Parker as she strolls into some luxurious Arabian hotel wearing what appears to be a table cloth and a tea cosy. She's not in Kansas, or New York. As everyone who's seen the Sex And The City 2 trailer knows, the "city" this time is Abu Dhabi, where Carrie and her sisters take a decadent desert mini-break. Except they're not really in Abu Dhabi either, they're actually in Morocco.
Confused? The original idea was to clash the Satc girls' post-permissive consumerism with the bling culture of Dubai. But having recently jailed a couple for simply snogging on a beach, Islamic-ruled Dubai thought better of being associated with a movie with "sex" and "city" in its title. Hence the switch to Abu Dhabi, which also refused the film-makers permission.
- 5/28/2010
- by Steve Rose
- The Guardian - Film News
A schoolboy stumbles upon a major role in Welles's production of Julius Caesar in this sublime adaptation of Robert Kaplow's book
It is difficult to recapture the excitement Orson Welles generated 50 years ago among cinephiles and serious theatregoers. When George Coulouris joined the Bristol Old Vic Company in 1950 after a lengthy sojourn in the States my fellow sixth-formers and I were thrilled beyond measure to have in our city an actor who'd played Mark Antony opposite Welles in the Mercury company's fabled 1937 modern dress production of Julius Caesar and had a leading role in Citizen Kane. Yet none of us had seen Citizen Kane which had been out of distribution since shortly after its opening in 1941. We only knew of him through a few film appearances, most notably The Third Man, and his reputation for brilliance, wit and innovation, and what a few years later we'd learn to call charisma.
It is difficult to recapture the excitement Orson Welles generated 50 years ago among cinephiles and serious theatregoers. When George Coulouris joined the Bristol Old Vic Company in 1950 after a lengthy sojourn in the States my fellow sixth-formers and I were thrilled beyond measure to have in our city an actor who'd played Mark Antony opposite Welles in the Mercury company's fabled 1937 modern dress production of Julius Caesar and had a leading role in Citizen Kane. Yet none of us had seen Citizen Kane which had been out of distribution since shortly after its opening in 1941. We only knew of him through a few film appearances, most notably The Third Man, and his reputation for brilliance, wit and innovation, and what a few years later we'd learn to call charisma.
- 12/6/2009
- by Philip French
- The Guardian - Film News
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