“Mickey 17” is looking more like “Mickey 2025.”
South Korean director Bong Joon-ho’s hotly anticipated follow-up to his Best Picture-winning film “Parasite” was originally set for release in just about a month from now by Warner Bros. Discovery. In January, citing post-production delays and the lingering effect of the SAG-AFTRA and WGA strikes, the studio removed it from the calendar and slipped “Godzilla x Kong: The New Empire” in its place. Tuesday, it was announced that the Robert Pattinson-led picture won’t get released this year at all and, instead, will come next (eek!) January.
January is, uh, not when an auteur-led movie with a sterling cast like this is usually released, so the date does raise some eyebrows. Variety noted that the new date guarantees placement in IMAX houses, and coincides with Lunar New Year, which is a big movie-going day internationally.
“Mickey 17” (which is not the...
South Korean director Bong Joon-ho’s hotly anticipated follow-up to his Best Picture-winning film “Parasite” was originally set for release in just about a month from now by Warner Bros. Discovery. In January, citing post-production delays and the lingering effect of the SAG-AFTRA and WGA strikes, the studio removed it from the calendar and slipped “Godzilla x Kong: The New Empire” in its place. Tuesday, it was announced that the Robert Pattinson-led picture won’t get released this year at all and, instead, will come next (eek!) January.
January is, uh, not when an auteur-led movie with a sterling cast like this is usually released, so the date does raise some eyebrows. Variety noted that the new date guarantees placement in IMAX houses, and coincides with Lunar New Year, which is a big movie-going day internationally.
“Mickey 17” (which is not the...
- 2/21/2024
- by Jordan Hoffman
- Gold Derby
After 15 long years, Rbd are officially back! The beloved Mexican pop group - which was born out of the 2005 telenovela "Rebelde" and includes Anahí, Christian Chávez, Dulce María, Maite Perroni, and Christopher von Uckermann - reunited earlier this year for one final tour, the Soy Rebelde Tour. On Sunday, they descended upon San Francisco's Chase Center, where they were met by thousands of fans dressed in miniskirts, white button-ups, red blazers, and knee-high boots.
Although it's been years since Rbd's last performance (and Alfonso Herrera is notably sitting out the tour), it was almost like no time had passed as the band transported the crowd back to Elite Way School with an emotional two-hour set of their greatest hits. "Thank you for not forgetting us. Thank you for making dreams come true tonight," Anahí passionately shouted to the audience in Spanish. "Thank you for keeping us in your hearts all these years,...
Although it's been years since Rbd's last performance (and Alfonso Herrera is notably sitting out the tour), it was almost like no time had passed as the band transported the crowd back to Elite Way School with an emotional two-hour set of their greatest hits. "Thank you for not forgetting us. Thank you for making dreams come true tonight," Anahí passionately shouted to the audience in Spanish. "Thank you for keeping us in your hearts all these years,...
- 10/11/2023
- by Monica Sisavat Solís
- Popsugar.com
Arthur Penn’s under-appreciated epic has everything a big-scale western could want — spectacle, interesting characters, good history and a sense of humor. Dustin Hoffman gets to play at least five characters in one as an ancient pioneer relating his career exploits — which are either outrageous tall tales or a concise history of the taking of The West.
Little Big Man
Region B Blu-ray
Koch Media
1970 / Color / 2:35 widescreen / 139 147 min. / Available from Amazon.de / Street Date September 14, 2017 / Eur 17.99
Starring: Dustin Hoffman, Faye Dunaway, Chief Dan George, Martin Balsam, Richard Mulligan, Jeff Corey, Aimée Eccles, Kelly Jean Peters, Carole Androsky, Ruben Moreno, William Hickey, Jesse Vint, Alan Oppenheimer, Thayer David.
Cinematography: Harry Stradling Jr.
Production Designer: Dean Tavoularis
Art Direction: Angelo P. Graham
Special Makeup: Dick Smith
Special Effects: Logan Frazee
Film Editors: Dede Allen, Richard Marks
Original Music: John Hammond
Written by Calder Willingham from the novel by Thomas Berger
Produced...
Little Big Man
Region B Blu-ray
Koch Media
1970 / Color / 2:35 widescreen / 139 147 min. / Available from Amazon.de / Street Date September 14, 2017 / Eur 17.99
Starring: Dustin Hoffman, Faye Dunaway, Chief Dan George, Martin Balsam, Richard Mulligan, Jeff Corey, Aimée Eccles, Kelly Jean Peters, Carole Androsky, Ruben Moreno, William Hickey, Jesse Vint, Alan Oppenheimer, Thayer David.
Cinematography: Harry Stradling Jr.
Production Designer: Dean Tavoularis
Art Direction: Angelo P. Graham
Special Makeup: Dick Smith
Special Effects: Logan Frazee
Film Editors: Dede Allen, Richard Marks
Original Music: John Hammond
Written by Calder Willingham from the novel by Thomas Berger
Produced...
- 11/28/2017
- by Glenn Erickson
- Trailers from Hell
Director John G. Avildsen has passed away from pancreatic cancer. He had an eclectic body of work that began in earnest with his work as a cinematographer on several high profile films of the 1960s including "Hurry Sundown" and "Mickey One". Avildsen graduated to the director's chair with the surprise indie hit "Joe" in 1970 a serio-comic look at an ultra conservative working man (Peter Boyle) whose rage boils over from what he believes are anti-American protest movements against the Vietnam War. Three years later Avildsen directed the acclaimed drama "Save the Tiger" which won Jack Lemmon the Best Actor Oscar. In 1976 he directed the most unlikely of blockbusters, "Rocky", which won the Best Picture Oscar. Avildsen took home the Best Director award. He also scored with the "Karate Kid" franchise and also directed the zany comedy "Neighbors" with John Belushi and Dan Aykroyd as well as "The Formula" with Marlon Brando...
- 6/18/2017
- by nospam@example.com (Cinema Retro)
- Cinemaretro.com
Watch This offers movie recommendations inspired by new releases or premieres. Since it’s Chicago Week here at The A.V. Club, we’re looking back on some essential Chicago movies, set (and often filmed) in the Windy City.
Mickey One (1965)
Arthur Penn’s 1967 film Bonnie And Clyde, with Faye Dunaway and Warren Beatty in the title roles, is popularly seen as the flashpoint of the French New Wave’s influence on American cinema and the start of the New Hollywood era, which brought so many of the creative values of European art cinema into the American mainstream. But it was not the first attempt at a New Wave-style crime film by Penn or Beatty. Instead, that distinction belongs to Mickey One, an imperfect but unique film whose French influences were even more obvious and less Americanized. Aiming for the sort of surreal, existentialist pulp deadpan then associated ...
Mickey One (1965)
Arthur Penn’s 1967 film Bonnie And Clyde, with Faye Dunaway and Warren Beatty in the title roles, is popularly seen as the flashpoint of the French New Wave’s influence on American cinema and the start of the New Hollywood era, which brought so many of the creative values of European art cinema into the American mainstream. But it was not the first attempt at a New Wave-style crime film by Penn or Beatty. Instead, that distinction belongs to Mickey One, an imperfect but unique film whose French influences were even more obvious and less Americanized. Aiming for the sort of surreal, existentialist pulp deadpan then associated ...
- 3/30/2017
- by Ignatiy Vishnevetsky
- avclub.com
Alan Surgal, screenwriter behind the 1965's Mickey One starring Warren Beatty, died at his Beverly Hills home on Jan. 3, his son Jon Surgal confirmed to The Hollywood Reporter. He was 100.
Throughout his career, Surgal drew inspiration from the likes of television and film icons like Danny Thomas and Bob Hope and incorporated that into his hit drama, which eventually went on to achieve cult classic status in Hollywood.
Surgal was born in Chicago in 1916 where he also attended the University of Chicago. The writer served in World War II where he worked for both the Armed Forces Network and BBC as a...
Throughout his career, Surgal drew inspiration from the likes of television and film icons like Danny Thomas and Bob Hope and incorporated that into his hit drama, which eventually went on to achieve cult classic status in Hollywood.
Surgal was born in Chicago in 1916 where he also attended the University of Chicago. The writer served in World War II where he worked for both the Armed Forces Network and BBC as a...
- 1/21/2017
- by Farnoush Amiri
- The Hollywood Reporter - Movie News
Alan Surgal, who wrote director Arthur Penn’s 1965 jazzy cult classic Mickey One starring Warren Beatty, died January 3 at his home in Beverly Hills. His death, at 100, was confirmed today by his son Jon Surgal. In addition to Jon, he is survived by his wife, Florence Small (with whom he produced TV-movies in the 1970s and ’80s), and son Tom. Memorial plans are pending. Surgal was born in Chicago, 1916, and attended the University of Chicago before beginning a writing…...
- 1/13/2017
- Deadline
Chicago – When encountering film producer, director, writer and “movie star” Warren Beatty, I entered into an interview that would be truly one of a kind. The spontaneous Mr. Beatty works a talk in a give-and-take Socratic method, searching for the truth underneath the rhetoric, as he did with his new film “Rules Don’t Apply.”
The film is a quasi-biographical profile of the legendary American billionaire Howard Hughes, but don’t mention that to writer/director Beatty (who also portrays Hughes). What he wanted to explore was the truth around Hughes, in the personification of a fictional couple (Alden Ehrenreich and Lily Collins) working for the billionaire. Set in 1958 Hollywood – the same year a young Warren Beatty arrived there – the film highlights the clash between the sexual looseness that existed in the movie business, and the potential seekers that “got off the bus” in tinsel town, still mired in their 1950s puritanism.
The film is a quasi-biographical profile of the legendary American billionaire Howard Hughes, but don’t mention that to writer/director Beatty (who also portrays Hughes). What he wanted to explore was the truth around Hughes, in the personification of a fictional couple (Alden Ehrenreich and Lily Collins) working for the billionaire. Set in 1958 Hollywood – the same year a young Warren Beatty arrived there – the film highlights the clash between the sexual looseness that existed in the movie business, and the potential seekers that “got off the bus” in tinsel town, still mired in their 1950s puritanism.
- 11/21/2016
- by adam@hollywoodchicago.com (Adam Fendelman)
- HollywoodChicago.com
The excellent retrospective of Joe Dante's subversive, eccentric cinema in New York at Bam this month includes all the expected classics, which can hardly be termed "forgotten"—"fondly remembered" would be more like it—but also some intriguing and more obscure pieces: The Film Orgy, a five-hour found footage riot; several items programmed by Dante, such as Anthony Mann's The Black Book (a.k.a. Reign of Terror) and Arthur Penn's existential art film Mickey One; and also some of Dante's TV work, much of which is far less well-known than it ought to be...Dante's episodes of cable show Masters of Horror are uniquely dark, savage affairs with strong political agendas—Homecoming (2005) was the first bit of American filmed drama to deal openly with the war in Iraq. The "serious comedy" of this all-out, take-no-prisoners assault on the Bush administration is anticipated by the...
- 8/11/2016
- MUBI
Above: Us poster for Alphaville (Jean-Luc Godard, France, 1965).As the 53rd New York Film Festival ends today, I thought I would go back half a century and take a look at the 3rd edition of the festival. Curated by Amos Vogel and Richard Roud, the then fledgling fest comprised 17 new features, 6 retrospective selections (ranging from Feuillade’s 1915 Les vampires to Godard’s 1960 Le petit soldat), and a number of shorts or demi-features (including Chris Marker’s The Koumiko Mystery). The main slate was chock-full of masterpieces (Gertrud, Alphaville, Charulata) and films by masters (Franju, Visconti, Kurosawa) and young turks on the rise (Straub, Bellocchio, Forman, Penn, Skolimowski). And there is only one film in the list—Laurence L. Kent’s Canadian indie Caressed—that I had never heard of before.In his introduction to the festival catalog Amos Vogel wrote:“Several fascinating, contradictory facts stand out in the 1965 New York film scene.
- 10/11/2015
- by Adrian Curry
- MUBI
The thought of snapping your fingers to the tunes of your favorite fictional bands in film seems rather unreal. After all these movie music-makers seem like the “reel” deal in terms of their celluloid artistry and sense of colorful on-screen showmanship.
However, some of the fictional bands or musical acts we know very well and consider so fondly actually morph into real-life acts. Also, there are real-life bands that share a “fictionalized existence” on screen as well (for instance one can try and divide the musical phenomenon of The Beatles as treasured pop cultural entities from the mop top maniacs they portrayed on the big screen in A Hard’s Day Night or Help. Some may argue they were the one in the same in front of and away from the rolling cameras).
Whatever your definition of what constitutes a favorable fictional band in film at the present moment just...
However, some of the fictional bands or musical acts we know very well and consider so fondly actually morph into real-life acts. Also, there are real-life bands that share a “fictionalized existence” on screen as well (for instance one can try and divide the musical phenomenon of The Beatles as treasured pop cultural entities from the mop top maniacs they portrayed on the big screen in A Hard’s Day Night or Help. Some may argue they were the one in the same in front of and away from the rolling cameras).
Whatever your definition of what constitutes a favorable fictional band in film at the present moment just...
- 3/8/2015
- by Frank Ochieng
- SoundOnSight
Two new documentaries about cinema, centred on the work of Us directors Peter Bogdanovich and Arthur Penn, have been added to the Venice Classics strand of the 71st Venice International Film Festival (Aug 27 - Sept 6).One Day Since Yesterday: Peter Bogdanovich & The Lost American Film by Bill Teck reconstructs the grim story of Peter Bogdanovich film They All Laughed, presented at the Venice Film Festival in 1981.Bogdanovich’s fi
Two new documentaries about cinema, centred on the work of Us directors Peter Bogdanovich and Arthur Penn, have been added to the Venice Classics strand of the 71st Venice International Film Festival (Aug 27 - Sept 6).
One Day Since Yesterday: Peter Bogdanovich & The Lost American Film by Bill Teck reconstructs the grim story of Peter Bogdanovich film They All Laughed, presented at the Venice Film Festival in 1981.
Bogdanovich’s film was caught up in a series of distribution problems only to be rediscoveredby directors such as Quentin Tarantino, [link...
Two new documentaries about cinema, centred on the work of Us directors Peter Bogdanovich and Arthur Penn, have been added to the Venice Classics strand of the 71st Venice International Film Festival (Aug 27 - Sept 6).
One Day Since Yesterday: Peter Bogdanovich & The Lost American Film by Bill Teck reconstructs the grim story of Peter Bogdanovich film They All Laughed, presented at the Venice Film Festival in 1981.
Bogdanovich’s film was caught up in a series of distribution problems only to be rediscoveredby directors such as Quentin Tarantino, [link...
- 8/6/2014
- by michael.rosser@screendaily.com (Michael Rosser)
- ScreenDaily
Tim here, rejoicing over the fact that our good host Nathaniel is in my very own Chicago this weekend – we have a movie night planned tomorrow! – and to celebrate, I wanted to showcase some of my city’s best and most dubious moments in the cinematic spotlight. Therefore:
Three Chicago-based movies that truly "get" the city
(no documentaries; that would be cheating, no matter how much Hoop Dreams and The Interrupters are 100% essential Chicago movies)
Mickey One (1965)
The film that Warren Beatty and director Arthur Penn made right before Bonnie and Clyde is even more besotted with the French New Wave, but stylistic excess doesn’t get in the way of a really special hyper-naturalistic depiction of the city streets as they existed almost half a century ago. I cannot, of course, speak to the veracity of what’s onscreen, but the film’s documentary aspects shine through even under...
Three Chicago-based movies that truly "get" the city
(no documentaries; that would be cheating, no matter how much Hoop Dreams and The Interrupters are 100% essential Chicago movies)
Mickey One (1965)
The film that Warren Beatty and director Arthur Penn made right before Bonnie and Clyde is even more besotted with the French New Wave, but stylistic excess doesn’t get in the way of a really special hyper-naturalistic depiction of the city streets as they existed almost half a century ago. I cannot, of course, speak to the veracity of what’s onscreen, but the film’s documentary aspects shine through even under...
- 7/26/2013
- by Tim Brayton
- FilmExperience
Review by Sam Moffitt
The private investigator has been with us for years, decades really. When I was younger I read as many private eye mysteries as I did science fiction and horror novels and short stories. I read as much of Raymond Chandler and Dashiell Hammett and Mickey Spillane as I could find. I also read a lot of the two MacDonald’s, Ross MacDonald’s novels about Lew Archer (one of which made a great movie with Paul Newman as Harper) and John D. MacDonald’s novels about Travis McGee. Although McGee was not strictly speaking a Pi he still functioned as one in MacDonald’s color coded novels like Darker Than Amber (which made a great movie with Rod Taylor).
I used to stay up late to watch classic private eye movies like The Maltese Falcon, Kiss Me Deadly (the best Mike Hammer movie ever, seriously!) Murder My Sweet,...
The private investigator has been with us for years, decades really. When I was younger I read as many private eye mysteries as I did science fiction and horror novels and short stories. I read as much of Raymond Chandler and Dashiell Hammett and Mickey Spillane as I could find. I also read a lot of the two MacDonald’s, Ross MacDonald’s novels about Lew Archer (one of which made a great movie with Paul Newman as Harper) and John D. MacDonald’s novels about Travis McGee. Although McGee was not strictly speaking a Pi he still functioned as one in MacDonald’s color coded novels like Darker Than Amber (which made a great movie with Rod Taylor).
I used to stay up late to watch classic private eye movies like The Maltese Falcon, Kiss Me Deadly (the best Mike Hammer movie ever, seriously!) Murder My Sweet,...
- 2/26/2013
- by Movie Geeks
- WeAreMovieGeeks.com
Above: A rack focus in Bullitt.
Trespassers Will Be Eaten
Perhaps a less eye-grabbing, but still “driving” title for this third Mubi soundtrack mix should be Shifting Gears...as such, it’s a free-falling, propulsive survey of scores focusing on the thriller in all of its manifestations: detective procedurals, bank heists, neo-noirs, spy films, psychodramas, giallos, chases, races, and sci-fi mind-games. Featured also are a few composers better known for their more famous musical projects. Police drummer Stewart Copeland’s metallic, rhythmic score for Rumble Fish, gamely taunts the self-conscious black and white street theatre of Francis Ford Coppola's film. So-called fifth Beatle, producer George Martin’s funky Shaft-influenced Live and Let Die score ushers in a more leisurely 70s-era James Bond, as incarnated by Roger Moore. Epic crooner visionary Scott Walker’s fatally romantic melodies for Leos Carax’s inventively faithful Melville adaptation Pola X is remarkably subdued and lush.
Trespassers Will Be Eaten
Perhaps a less eye-grabbing, but still “driving” title for this third Mubi soundtrack mix should be Shifting Gears...as such, it’s a free-falling, propulsive survey of scores focusing on the thriller in all of its manifestations: detective procedurals, bank heists, neo-noirs, spy films, psychodramas, giallos, chases, races, and sci-fi mind-games. Featured also are a few composers better known for their more famous musical projects. Police drummer Stewart Copeland’s metallic, rhythmic score for Rumble Fish, gamely taunts the self-conscious black and white street theatre of Francis Ford Coppola's film. So-called fifth Beatle, producer George Martin’s funky Shaft-influenced Live and Let Die score ushers in a more leisurely 70s-era James Bond, as incarnated by Roger Moore. Epic crooner visionary Scott Walker’s fatally romantic melodies for Leos Carax’s inventively faithful Melville adaptation Pola X is remarkably subdued and lush.
- 10/15/2012
- by Paul Clipson
- MUBI
Picking your favorite Akira Kurosawa film is a tricky choice for any movie fan. From "Rashomon" to "Ran," the great Japanese filmmaker, one of the most beloved and influential directors of all time, knocked out a string of classics in a career that lasted well over 40 years. But more often than not, at the top of the list for Kurosawa fans is "The Seven Samurai," the 1954 samurai epic that redefined the action movie for generations.
Following six samurai (and one pretender, iconically played by Toshiro Mifune) who are recruited by a village of farmers to protect them from bandits, it remains to this day one of the most stirring, thrilling adventures in cinema history, and landed Kurosawa firmly on the map in international cinema. The film was released in Japan 58 years ago today, on April 26th, 1954 (a U.S. release, heavily cut down, would follow 30 months later), and to mark the occasion,...
Following six samurai (and one pretender, iconically played by Toshiro Mifune) who are recruited by a village of farmers to protect them from bandits, it remains to this day one of the most stirring, thrilling adventures in cinema history, and landed Kurosawa firmly on the map in international cinema. The film was released in Japan 58 years ago today, on April 26th, 1954 (a U.S. release, heavily cut down, would follow 30 months later), and to mark the occasion,...
- 4/26/2012
- by Oliver Lyttelton
- The Playlist
Above: Publicity still from John Parker's Dementia (1955).
Rep houses in San Francisco, like those in most American cities, are struggling to stay open. But for something like thirty nights a year, the clouds lift and big crowds materialize for films of the past: call it the noir exception. To be sure, one needn’t actually attend the Film Noir Foundation’s annual Noir City festival at the Castro or Elliot Lavine’s grittier programs at the Roxie to know that the generic fantasy of film noir (style, sex and violence washed together) still holds powerful allure. You could hardly miss the bus stop advert for Rockstar Games’ latest blockbuster, L.A. Noire, outside the Roxie during Lavine’s latest marathon, “I Wake Up Dreaming: The Legendary and the Lost”. For those of us still invested in the non-interactive cinema experience, however, the popularity of these series is a remarkable if curious thing.
Rep houses in San Francisco, like those in most American cities, are struggling to stay open. But for something like thirty nights a year, the clouds lift and big crowds materialize for films of the past: call it the noir exception. To be sure, one needn’t actually attend the Film Noir Foundation’s annual Noir City festival at the Castro or Elliot Lavine’s grittier programs at the Roxie to know that the generic fantasy of film noir (style, sex and violence washed together) still holds powerful allure. You could hardly miss the bus stop advert for Rockstar Games’ latest blockbuster, L.A. Noire, outside the Roxie during Lavine’s latest marathon, “I Wake Up Dreaming: The Legendary and the Lost”. For those of us still invested in the non-interactive cinema experience, however, the popularity of these series is a remarkable if curious thing.
- 6/13/2011
- MUBI
"Though Éric Rohmer's breakthrough film stateside was the lustrous black-and-white, winter-set My Night at Maud's (1969), the New Wave architect may be cinema's greatest chronicler of the summer vacation," suggests Melissa Anderson in the Voice. "Among the director's many holiday-set movies, Pauline at the Beach (1983) and A Summer's Tale (1996) explore both the languid pleasures and the romantic anguish of time off during the hottest season. Rohmer's 1986 masterpiece (being re-released with its original French title, which translates as 'The Green Ray'), Le Rayon Vert centers on those themes, too, but delivers something much richer: an absorbing, empathic portrait of a complex woman caught between her own obstinacy and melancholy."
"As Delphine, the lonely but defiant Paris secretary at the center of Le Rayon Vert, Marie Rivière creates an emotionally rich portrait of a young woman disappointed in love who transfers her energies into an anxious quest for the ideal summer vacation.
"As Delphine, the lonely but defiant Paris secretary at the center of Le Rayon Vert, Marie Rivière creates an emotionally rich portrait of a young woman disappointed in love who transfers her energies into an anxious quest for the ideal summer vacation.
- 6/9/2011
- MUBI
By Steve Dollar
Time has not worn dull the oddball charms, nor solved the existential riddles of Mickey One. Arthur Penn's much-neglected 1965 film is long overdue for wide reappreciation, which will be a lot easier now that it's out on DVD, presented in a digitized version of a fabulous restored print, one that lends seductive depth and richness to its black-and-white palette. The visual scheme is slyly well-suited to the surreal tilts and spontaneous freak-outs that punctuate the story, paced by saxophonist Stan Getz's improvisations on an imaginative jazz score.
The film remains as curious as ever. Its opening scene establishes a phantasmagorical tone that it rarely departs for long, as a nightclub comic (played by budding heartthrob Warren Beatty, fresh from Lilith and acting his 28-year-old ass off) lights up a cigar in a sauna, sitting fully clothed in foppish finery as a laughing chorus of fat,...
Time has not worn dull the oddball charms, nor solved the existential riddles of Mickey One. Arthur Penn's much-neglected 1965 film is long overdue for wide reappreciation, which will be a lot easier now that it's out on DVD, presented in a digitized version of a fabulous restored print, one that lends seductive depth and richness to its black-and-white palette. The visual scheme is slyly well-suited to the surreal tilts and spontaneous freak-outs that punctuate the story, paced by saxophonist Stan Getz's improvisations on an imaginative jazz score.
The film remains as curious as ever. Its opening scene establishes a phantasmagorical tone that it rarely departs for long, as a nightclub comic (played by budding heartthrob Warren Beatty, fresh from Lilith and acting his 28-year-old ass off) lights up a cigar in a sauna, sitting fully clothed in foppish finery as a laughing chorus of fat,...
- 11/11/2010
- by underdog
- GreenCine
by Steve Dollar
Time has not worn dull the oddball charms, nor solved the existential riddles of Mickey One. Arthur Penn's much-neglected 1965 film is long overdue for wide reappreciation, which will be a lot easier now that it's out on DVD, presented in a digitized version of a fabulous restored print, one that lends seductive depth and richness to its black-and-white palette. The visual scheme is slyly well-suited to the surreal tilts and spontaneous freak-outs that punctuate the story, paced by saxophonist Stan Getz's improvisations on an imaginative jazz score.
The film remains as curious as ever. Its opening scene establishes a phantasmagorical tone that it rarely departs for long, as a nightclub comic (played by budding heartthrob Warren Beatty, fresh from Lilith and acting his 28-year-old ass off) lights up a cigar in a sauna, sitting fully clothed in foppish finery as a laughing chorus of fat,...
Time has not worn dull the oddball charms, nor solved the existential riddles of Mickey One. Arthur Penn's much-neglected 1965 film is long overdue for wide reappreciation, which will be a lot easier now that it's out on DVD, presented in a digitized version of a fabulous restored print, one that lends seductive depth and richness to its black-and-white palette. The visual scheme is slyly well-suited to the surreal tilts and spontaneous freak-outs that punctuate the story, paced by saxophonist Stan Getz's improvisations on an imaginative jazz score.
The film remains as curious as ever. Its opening scene establishes a phantasmagorical tone that it rarely departs for long, as a nightclub comic (played by budding heartthrob Warren Beatty, fresh from Lilith and acting his 28-year-old ass off) lights up a cigar in a sauna, sitting fully clothed in foppish finery as a laughing chorus of fat,...
- 11/11/2010
- GreenCine Daily
Although the holiday season means time off work for most other industries in the U.S., it means it's awards season for the film business, which in turn necessitates plenty of tributes and accolades to be presented on the East and West Coasts at your local repertory theater in advance of the Oscars where movie stars can be seen and Q & As are conducted. Yet in New York and Los Angeles, there will be a wealth of other options as neighborhood theaters flood their screens with contemporary cinema from other parts of the world, classic movies in their full bigscreen glory, and certain-to-be-fun nods to the holidays, whether it's Halloween or Christmas. If you live in one of these areas or see fit to travel, these are the events worth the trouble over the next few months.
by Stephen Saito
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- 10/21/2010
- by Stephen Saito
- ifc.com
Cinema has lost a truly great, underrated talent in Arthur Penn, a filmmaker who passed away due to a congestive heart failure at the age of 88. Penn made a series of movies like Bonnie and Clyde (1967), Little Big Man (1970) and Night Moves (1975) that captured the tensions, themes and times of Vietnam-era America. A left-wing humanist director with a compassion for the eccentric and misunderstood, Penn made some stellar movies before 1967 in The Miracle Worker (1962) and Mickey One (1965) but it was Bonnie and Clyde that changed cinema forever with its screen violence, antiauthoritarian...
- 10/1/2010
- by Joseph La Rocca, NY Film Reviews Examiner
- Examiner Movies Channel
Yesterday Arthur Penn, the director of Bonnie and Clyde, died aged 88. We look back over his career in clips
Arthur Penn cut his teeth as a director on the American television drama circuit of the 1950s, contributing to a range of the playhouse and showcase series that were a staple of the industry. Western stories were among the episodes he delivered and his feature debut was a genre piece, a version of the Billy the Kid story called The Left Handed Gun (1958), starring Paul Newman, also at the start of his cinema career after a small-screen apprenticeship. The film had hints of the broadly sympathetic – or at least empathetic – view of outlaw psychology that would mark Penn's most famous film.
For his next film, Penn drew on his stage directing experience, transferring to the screen the Broadway production of The Miracle Worker in which he directed Anne Sullivan and Patty Duke...
Arthur Penn cut his teeth as a director on the American television drama circuit of the 1950s, contributing to a range of the playhouse and showcase series that were a staple of the industry. Western stories were among the episodes he delivered and his feature debut was a genre piece, a version of the Billy the Kid story called The Left Handed Gun (1958), starring Paul Newman, also at the start of his cinema career after a small-screen apprenticeship. The film had hints of the broadly sympathetic – or at least empathetic – view of outlaw psychology that would mark Penn's most famous film.
For his next film, Penn drew on his stage directing experience, transferring to the screen the Broadway production of The Miracle Worker in which he directed Anne Sullivan and Patty Duke...
- 9/30/2010
- by Ben Walters
- The Guardian - Film News
We would be remiss if we didn’t make note of the death of director Arthur Penn who passed away Wednesday in Manhattan at the age of 88.
His film resume was modest making only 14 films over 38 years, but during that time he made some important films such as Mickey One with Warren Beatty, his revisionist western Little Big Man with Dustin Hoffman, and The Miracle Worker. And like any director he had a few missteps along the way such as The Chase with Marlon Brando and Missouri Breaks with Brando and Jack Nicholson.
But if there is one film for which will be always remembered it is his 1967 seminal classic Bonnie and Clyde with Warren Beatty and Faye Dunaway, the film that literally changed American cinema forever. Taking what could have been a routine 1930’s gangsters in love and on the run film and using what was then cutting edge...
His film resume was modest making only 14 films over 38 years, but during that time he made some important films such as Mickey One with Warren Beatty, his revisionist western Little Big Man with Dustin Hoffman, and The Miracle Worker. And like any director he had a few missteps along the way such as The Chase with Marlon Brando and Missouri Breaks with Brando and Jack Nicholson.
But if there is one film for which will be always remembered it is his 1967 seminal classic Bonnie and Clyde with Warren Beatty and Faye Dunaway, the film that literally changed American cinema forever. Taking what could have been a routine 1930’s gangsters in love and on the run film and using what was then cutting edge...
- 9/30/2010
- by Sergio
- ShadowAndAct
The director's most famous scene is the shoot-out at the end of Bonnie and Clyde, but his most violent one took place between a disabled child and her teacher
There was something not just contradictory, but almost implausible about Arthur Penn. In person, he was maybe the most amiable and engaging film director I have ever met. Agreed, the competition in that brotherhood is not intense. All too many movie directors are insufferable after half an hour. Arthur Penn was a gentleman, and a gentle man, kind, modest and naturally curious about other people. Indeed, he shared the joke and the mystery if one asked: how can a man so reasonable and charitable have such an astonishing, passionate awareness of violence? He smiled, and said he didn't know. I believed him, although I think he was troubled by the question.
When I say "violence" I don't just mean the prolonged...
There was something not just contradictory, but almost implausible about Arthur Penn. In person, he was maybe the most amiable and engaging film director I have ever met. Agreed, the competition in that brotherhood is not intense. All too many movie directors are insufferable after half an hour. Arthur Penn was a gentleman, and a gentle man, kind, modest and naturally curious about other people. Indeed, he shared the joke and the mystery if one asked: how can a man so reasonable and charitable have such an astonishing, passionate awareness of violence? He smiled, and said he didn't know. I believed him, although I think he was troubled by the question.
When I say "violence" I don't just mean the prolonged...
- 9/30/2010
- by David Thomson
- The Guardian - Film News
Theatre and film director Arthur Penn died in his Manhattan apartment Tuesday night of congestive heart failure, reports A.P. Penn died a year after his brother, photographer Irving Penn. Penn was a star director on Broadway, winning Tonys for All the Way Home and The Miracle Worker, which he later made into an Oscar-winning movie; he went on to score in Hollywood, forging a strong rapport with the demanding Warren Beatty as a star in Mickey One and star-producer of Bonnie and Clyde, which was Penn's crowning achievement. Bonnie and Clyde holds up extraordinarily well: it feels fresh, smart and very indie. It's hard to imagine how bold and violent the film was at the time. Dede Allen's stacatto editing and the brutal action was too ...
- 9/29/2010
- Thompson on Hollywood
HollywoodNews.com: Arthur Penn will be getting a special tribute this Saturday and fans of the director will want to tune in.
Turner Classic Movies (TCM) will pay tribute this Saturday, October 2nd, to acclaimed stage, television and film director Arthur Penn, who passed away Tuesday at the age of 88. At 6:30 p.m. (Et), the network is scheduling a special presentation of Penn’s French New Wave-style drama Mickey One (1965), starring Warren Beatty as a nightclub comic in trouble with the mob. At 8 p.m. (Et), as part of TCM’s previously scheduled The Essentials showcase, Robert Osborne and Alec Baldwin will host a presentation of Penn’s groundbreaking drama Bonnie and Clyde (1967), starring Beatty and Faye Dunaway as the legendary gangsters.
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Turner Classic Movies (TCM) will pay tribute this Saturday, October 2nd, to acclaimed stage, television and film director Arthur Penn, who passed away Tuesday at the age of 88. At 6:30 p.m. (Et), the network is scheduling a special presentation of Penn’s French New Wave-style drama Mickey One (1965), starring Warren Beatty as a nightclub comic in trouble with the mob. At 8 p.m. (Et), as part of TCM’s previously scheduled The Essentials showcase, Robert Osborne and Alec Baldwin will host a presentation of Penn’s groundbreaking drama Bonnie and Clyde (1967), starring Beatty and Faye Dunaway as the legendary gangsters.
Follow Hollywood News on Twitter for up-to-date news information.
Hollywood News, Hollywood Awards, Awards, Movies, News, Award News, Breaking News, Entertainment News, Movie News, Music News...
- 9/29/2010
- by Molly Sullivan
- Hollywoodnews.com
American director best known for Bonnie and Clyde, he focused on disillusioned outsiders
Arthur Penn, who has died aged 88, was one of the major figures of Us television, stage and film in the 1960s and 70s when the three disciplines actively encouraged experimentation, innovation and challenging subject matter. "I think the 1960s generation was a state of mind," he said, "and it's really the one I've been in since I was born." He will be best remembered for Bonnie and Clyde (1967), a complex and lyrical study of violent outsiders whose lives became the stuff of myth.
The film, starring Warren Beatty and Faye Dunaway, and based on the exploits of the bank-robbing Barrow Gang in the 1930s, became a cause celebre. It was praised and attacked for its distortion, bad taste and glorification of violence in equal measure. Newsweek's critic, Joseph Morgenstern, retracted his initial view of the film's violence,...
Arthur Penn, who has died aged 88, was one of the major figures of Us television, stage and film in the 1960s and 70s when the three disciplines actively encouraged experimentation, innovation and challenging subject matter. "I think the 1960s generation was a state of mind," he said, "and it's really the one I've been in since I was born." He will be best remembered for Bonnie and Clyde (1967), a complex and lyrical study of violent outsiders whose lives became the stuff of myth.
The film, starring Warren Beatty and Faye Dunaway, and based on the exploits of the bank-robbing Barrow Gang in the 1930s, became a cause celebre. It was praised and attacked for its distortion, bad taste and glorification of violence in equal measure. Newsweek's critic, Joseph Morgenstern, retracted his initial view of the film's violence,...
- 9/29/2010
- by Sheila Whitaker
- The Guardian - Film News
Director of seminal crime movie and John F Kennedy's debate coach died at home of heart failure
Bonnie and Clyde famously bowed out in a hail of bullets, gunned down by police in what came billed as the bloodiest death scene in American movies. For the man who called the shots, behind the camera, the end was altogether more peaceful. Director Arthur Penn died quietly at home on Tuesday night, a day after his 88th birthday. His daughter said he died of congestive heart failure.
Born in Philadelphia, the younger brother of the photographer Irving Penn, the director galvanised the crime genre with his 1967 film starring Warren Beatty and Faye Dunaway as the lovers on the run. It juggled the freewheeling flavour of the French New Wave with an explicit, stylised violence that was hitherto unknown in mainstream American cinema. Penn's playful, muscular style of directing would prove a major...
Bonnie and Clyde famously bowed out in a hail of bullets, gunned down by police in what came billed as the bloodiest death scene in American movies. For the man who called the shots, behind the camera, the end was altogether more peaceful. Director Arthur Penn died quietly at home on Tuesday night, a day after his 88th birthday. His daughter said he died of congestive heart failure.
Born in Philadelphia, the younger brother of the photographer Irving Penn, the director galvanised the crime genre with his 1967 film starring Warren Beatty and Faye Dunaway as the lovers on the run. It juggled the freewheeling flavour of the French New Wave with an explicit, stylised violence that was hitherto unknown in mainstream American cinema. Penn's playful, muscular style of directing would prove a major...
- 9/29/2010
- by Xan Brooks
- The Guardian - Film News
Penn consults with Bonnie and Clyde stars Warren Beatty and Alexandra Stewart on the set of Mickey One. (Photo: Sam Falk/ NY Times)
By Lee Pfeiffer
Arthur Penn, the acclaimed director of stage, TV and screen, has died at age 88. A low-key man not prone to publicity or bombast, Penn quietly changed the course of cinematic history with his direction of the ground-breaking 1967 film Bonnie and Clyde, which ushered in a New Wave of American cinema. Penn had already gained acclaimed through his work in the early days of TV. He directed the television adaptation of The Miracle Worker, as well as both the hit Broadway and big screen versions of the story. Penn also played a key role in American political history by advising John F. Kennedy how to prepare for his presidential debate against Richard Nixon in 1960. Most audiences who heard the debate on radio thought Nixon was the winner,...
By Lee Pfeiffer
Arthur Penn, the acclaimed director of stage, TV and screen, has died at age 88. A low-key man not prone to publicity or bombast, Penn quietly changed the course of cinematic history with his direction of the ground-breaking 1967 film Bonnie and Clyde, which ushered in a New Wave of American cinema. Penn had already gained acclaimed through his work in the early days of TV. He directed the television adaptation of The Miracle Worker, as well as both the hit Broadway and big screen versions of the story. Penn also played a key role in American political history by advising John F. Kennedy how to prepare for his presidential debate against Richard Nixon in 1960. Most audiences who heard the debate on radio thought Nixon was the winner,...
- 9/29/2010
- by nospam@example.com (Cinema Retro)
- Cinemaretro.com
Arthur Penn, the director of the polarizing "Bonnie and Clyde" whose films often flew in the face of American mythology, died Tuesday, one day after his 88th birthday.
Daughter Molly Penn said her father died of congestive heart failure at his Manhattan home. Longtime friend and business manager Evan Bell said Wednesday that Penn had been ill for about a year.
A product of the golden era of live television and an accomplished theater director, Penn's work on "The Miracle Worker" earned him an Emmy nomination in 1957, a Tony in 1959 and an Oscar nom in 1962. At one time, Penn had five hits running simultaneously on Broadway.
Penn was one of a group of directors -- including John Frankenheimer, Sidney Lumet and Norman Jewison -- whose films were intelligent glimpses into politics, morals and social institutions. Often, they were met with controversy.
His movies debunked the allure of the gunman, the...
Daughter Molly Penn said her father died of congestive heart failure at his Manhattan home. Longtime friend and business manager Evan Bell said Wednesday that Penn had been ill for about a year.
A product of the golden era of live television and an accomplished theater director, Penn's work on "The Miracle Worker" earned him an Emmy nomination in 1957, a Tony in 1959 and an Oscar nom in 1962. At one time, Penn had five hits running simultaneously on Broadway.
Penn was one of a group of directors -- including John Frankenheimer, Sidney Lumet and Norman Jewison -- whose films were intelligent glimpses into politics, morals and social institutions. Often, they were met with controversy.
His movies debunked the allure of the gunman, the...
- 9/29/2010
- by By Duane Byrge
- The Hollywood Reporter - Movie News
Director Arthur Penn.
The Left Handed Gun: Arthur Penn’S Ticket To Hollywood… And His Ticket Back Home As Well
by Jon Zelazny
Editor's Note: This article originally appeared on EightMillionStories.com September 29, 2008.
In the 1960’s, Arthur Penn was one of the most acclaimed directors in the world, best known for his smash hits The Mircale Worker (1962) and Bonnie & Clyde (1967), each of which earned him an Oscar nomination.
He spent his early career directing theater and live television in New York, until he and three of his TV colleagues—producer Fred Coe, writer Leslie Stevens, and fledgling star Paul Newman—went to Hollywood to make a western about Billy the Kid.
Paul Newman takes aim as Billy the Kid, in Arthur Penn's The Left Handed Gun.
2008 marked the 50th anniversary of The Left Handed Gun, Penn’s now-celebrated feature film debut. We spoke by phone, ironically the day...
The Left Handed Gun: Arthur Penn’S Ticket To Hollywood… And His Ticket Back Home As Well
by Jon Zelazny
Editor's Note: This article originally appeared on EightMillionStories.com September 29, 2008.
In the 1960’s, Arthur Penn was one of the most acclaimed directors in the world, best known for his smash hits The Mircale Worker (1962) and Bonnie & Clyde (1967), each of which earned him an Oscar nomination.
He spent his early career directing theater and live television in New York, until he and three of his TV colleagues—producer Fred Coe, writer Leslie Stevens, and fledgling star Paul Newman—went to Hollywood to make a western about Billy the Kid.
Paul Newman takes aim as Billy the Kid, in Arthur Penn's The Left Handed Gun.
2008 marked the 50th anniversary of The Left Handed Gun, Penn’s now-celebrated feature film debut. We spoke by phone, ironically the day...
- 4/10/2009
- by The Hollywood Interview.com
- The Hollywood Interview
NEW YORK -- Veteran screen, stage and television director Arthur Penn was given an Academy Salute on Thursday night by the Academy of Motion Picture Arts and Sciences, where he was acclaimed as the consummate actor's director. The event, held in Lighthouse International's Academy Theater and presented by AMPAS' New York Events Committee and the Academy Foundation, featured a montage of clips from such films as The Missouri Breaks, Mickey One, and Target as well as the three that earned Penn Oscar nominations: The Miracle Worker, Alice's Restaurant and the seminal countercultural gangster film Bonnie and Clyde.
- 11/18/2005
- The Hollywood Reporter - Movie News
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