Legendary film editor Thelma Schoonmaker is honoring the films of filmmaking duo Michael Powell and Emeric Pressburger with an upcoming retrospective at MoMA.
Titled “Cinema Unbound: The Creative Worlds of Powell and Pressburger,” the screening series is presented in collaboration with the BFI and will take place from June 21 to July 31. The program includes more than 50 films — many of which are new restorations — and was curated by conservation experts, archivists, and curators at the BFI National Archive.
Oscar-winning editor Schoonmaker will open the series on June 21 with an introduction to the new digital restoration of “Black Narcissus” (1947). Schoonmaker was married to British director Powell from 1984 until his death in 1990.
Powell and Pressburger’s cultural legacy is most notably recognized in their film “The Red Shoes” (1948), which has inspired sequences in films such as Luca Guadagnino’s “Challengers,” Darren Aronofsky’s “Black Swan,” and Martin Scorsese’s “Raging Bull,” which Schoonmaker edited.
Titled “Cinema Unbound: The Creative Worlds of Powell and Pressburger,” the screening series is presented in collaboration with the BFI and will take place from June 21 to July 31. The program includes more than 50 films — many of which are new restorations — and was curated by conservation experts, archivists, and curators at the BFI National Archive.
Oscar-winning editor Schoonmaker will open the series on June 21 with an introduction to the new digital restoration of “Black Narcissus” (1947). Schoonmaker was married to British director Powell from 1984 until his death in 1990.
Powell and Pressburger’s cultural legacy is most notably recognized in their film “The Red Shoes” (1948), which has inspired sequences in films such as Luca Guadagnino’s “Challengers,” Darren Aronofsky’s “Black Swan,” and Martin Scorsese’s “Raging Bull,” which Schoonmaker edited.
- 5/1/2024
- by Samantha Bergeson
- Indiewire
Powell’s expressionist-hallucinatory adaptation of Bartók features a blazing performance by Ana Raquel Satre as Bluebeard’s bride
The Powell/Pressburger season at London’s BFI Southbank has given us this rediscovered gem from the later works that Michael Powell directed on his own. It is an amazing and expressionist-hallucinatory adaptation of Béla Bartók’s one-act opera Bluebeard’s Castle, with original libretto by film critic and theorist Béla Balázs; it was first transmitted in 1963 on West German television, but mostly unseen since then, due to legal issues with the Bartók estate. Now it has been restored under the supervision of Powell’s widow Thelma Schoonmaker and Martin Scorsese.
Bluebeard’s Castle was originally to be the first part of a double bill directed by Powell; the other half being Bartók’s nightmarish cabaret ballet The Miraculous Mandarin, about a young girl forced by three sinister figures to perform seductive dances at...
The Powell/Pressburger season at London’s BFI Southbank has given us this rediscovered gem from the later works that Michael Powell directed on his own. It is an amazing and expressionist-hallucinatory adaptation of Béla Bartók’s one-act opera Bluebeard’s Castle, with original libretto by film critic and theorist Béla Balázs; it was first transmitted in 1963 on West German television, but mostly unseen since then, due to legal issues with the Bartók estate. Now it has been restored under the supervision of Powell’s widow Thelma Schoonmaker and Martin Scorsese.
Bluebeard’s Castle was originally to be the first part of a double bill directed by Powell; the other half being Bartók’s nightmarish cabaret ballet The Miraculous Mandarin, about a young girl forced by three sinister figures to perform seductive dances at...
- 11/30/2023
- by Peter Bradshaw
- The Guardian - Film News
Directing films is hard enough in itself, but getting films made at all is another story. "Development Hell" is unfortunately a very real place and many people grow frustrated and disillusioned with the process, often leaving the industry altogether. Spending all of your time and energy on something that's this risky, with the added potential to ruin you financially and in other ways, is just not feasible or advisable. This year we've seen several directors take their ideas to another medium. Richard Raaphorst finally released his apocalyptic zombie epos Worst Case Scenario, but as a graphic novel, not as a film. Anna Biller published her first novel this year: Bluebeard's Castle. And now we get Simon Rumley's The Wobble Club, which is indeed not a...
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[Read the whole post on screenanarchy.com...]...
- 10/23/2023
- Screen Anarchy
Martin Scorsese and his longtime editor Thelma Schoonmaker have seen more movies than you. Both of them have long been champions of independent and international cinema, and they have each done their part to amplify titles and filmmakers that might be lost in the sea of the commercial American film market. When they're not making movies, they're likely overseeing the restorations of lost classics or recommending great movies you've never heard of on Turner Classic Movies. But they're also constantly incorporating nods and tips of the cap to those films in their own work.
Schoonmaker was in a relationship with celebrated British filmmaker Michael Powell, the co-director (with Emeric Pressburger) of such classics as "The Life and Death of Colonel Blimp," "I Know Where I'm Going!," "Black Narcissus," and "The Red Shoes." Their romance spanned a decade, starting in 1980 and sadly ending in 1990 when Powell died. In a recent interview with Little White Lies,...
Schoonmaker was in a relationship with celebrated British filmmaker Michael Powell, the co-director (with Emeric Pressburger) of such classics as "The Life and Death of Colonel Blimp," "I Know Where I'm Going!," "Black Narcissus," and "The Red Shoes." Their romance spanned a decade, starting in 1980 and sadly ending in 1990 when Powell died. In a recent interview with Little White Lies,...
- 10/19/2023
- by Witney Seibold
- Slash Film
It was Michael Powell who proposed the idea of the composed film, in which movement, color and framing are all synchronized to music to create a seamless work of art, and he began putting it into practice in Black Narcissus and The Red Shoes, before going all-out with Tales of Hoffmann and Bluebeard's Castle. Few have followed in his steps. One who did was the late Andrzej Żuławski, whose filmed opera (music by Mussorgsky, lyrics by Pushkin) Boris Godunov (1989) is one of the most relentlessly and astonishingly beautiful cinematic artifacts I have ever seen.It is in the nature of these things that when watching the film it is quite impossible to think of anything which comes close. After the end titles have rolled, one may begin putting things in perspective, but while you're looking at Żuławski's images, nothing finer can be imagined.Shamelessly theatrical in its design, the film...
- 3/7/2016
- by David Cairns
- MUBI
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