It’s usually unwise to remake a masterpiece, but Guy Maddin has something different planned for “The Green Fog,” a meditation on Alfred Hitchcock’s “Vertigo.” Unlike Gus Van Sant’s much-maligned 1998 shot-for-shot remake of “Psycho,” the Canadian director has revisited the 1958 thriller as an assemblage of old footage from San Francisco, the city where “Vertigo” takes place.
However, the project was never intended to have anything to do with “Vertigo.”
In “The Green Fog — A San Francisco Fantasia,” commissioned by San Francisco Film Society and set to close the San Francisco International Film Festival’s 60th edition on April 16, Maddin and co-directors Evan and Galen Johnson explore what Maddin has called “a rhapsody” on the Hitchcock movie. Set to an original score by composer Jacob Garchik that will be performed live by the San Francisco-based Kronos Quartet, the 63-minute “The Green Fog” reimagines the movie through an assemblage of...
However, the project was never intended to have anything to do with “Vertigo.”
In “The Green Fog — A San Francisco Fantasia,” commissioned by San Francisco Film Society and set to close the San Francisco International Film Festival’s 60th edition on April 16, Maddin and co-directors Evan and Galen Johnson explore what Maddin has called “a rhapsody” on the Hitchcock movie. Set to an original score by composer Jacob Garchik that will be performed live by the San Francisco-based Kronos Quartet, the 63-minute “The Green Fog” reimagines the movie through an assemblage of...
- 4/15/2017
- by Eric Kohn
- Indiewire
Since any New York cinephile has a nearly suffocating wealth of theatrical options, we figured it’d be best to compile some of the more worthwhile repertory showings into one handy list. Displayed below are a few of the city’s most reliable theaters and links to screenings of their weekend offerings — films you’re not likely to see in a theater again anytime soon, and many of which are, also, on 35mm. If you have a chance to attend any of these, we’re of the mind that it’s time extremely well-spent.
Film Society of Lincoln Center
Perhaps the year’s most intriguing retrospective is “Lynch/Rivette,” and it begins this weekend. Pairing seven films from David Lynch with eight from Jacques Rivette, it seeks to find commonalities between two thoroughly unique film artists. Things begin with Friday’s double-billing of The Duchess of Langeais and Blue Velvet...
Film Society of Lincoln Center
Perhaps the year’s most intriguing retrospective is “Lynch/Rivette,” and it begins this weekend. Pairing seven films from David Lynch with eight from Jacques Rivette, it seeks to find commonalities between two thoroughly unique film artists. Things begin with Friday’s double-billing of The Duchess of Langeais and Blue Velvet...
- 12/11/2015
- by Nick Newman
- The Film Stage
Berlin has been the backdrop – and even the star – in movies from cold war spy thrillers to dramas about the collapse of East Germany. Andrew Pulver picks the top 10 films set in the city
• As featured in our Berlin city guide
People on Sunday (Menschen am Sonntag), Curt and Robert Siodmak, 1930
Silent cinema flourished in Germany during the Weimar years, and Berlin was immortalised in two particularly brilliant impressionist tributes: Walter Ruttmann's Berlin: Symphony of a Great City, and People on Sunday, which aimed to create a patchwork of ordinary Berliners' lives. This film, with its cast of non-professional actors and hidden camera, gets the pick – partly because of its extraordinary writing and directing credit roll. Virtually everyone – including Billy Wilder, Fred Zinnemann and Robert Siodmak – went on to make a name for themselves in Hollywood, after being forced out of Germany during the Nazi era.
• Bahnhof Zoo; Nikolassee
The Bourne Supremacy,...
• As featured in our Berlin city guide
People on Sunday (Menschen am Sonntag), Curt and Robert Siodmak, 1930
Silent cinema flourished in Germany during the Weimar years, and Berlin was immortalised in two particularly brilliant impressionist tributes: Walter Ruttmann's Berlin: Symphony of a Great City, and People on Sunday, which aimed to create a patchwork of ordinary Berliners' lives. This film, with its cast of non-professional actors and hidden camera, gets the pick – partly because of its extraordinary writing and directing credit roll. Virtually everyone – including Billy Wilder, Fred Zinnemann and Robert Siodmak – went on to make a name for themselves in Hollywood, after being forced out of Germany during the Nazi era.
• Bahnhof Zoo; Nikolassee
The Bourne Supremacy,...
- 8/17/2011
- by Andrew Pulver
- The Guardian - Film News
Chicago – One of the most important home entertainment releases of the year is Criterion’s high-definition restoration of Robert Siodmak and Edgar G. Ulmer’s “People on Sunday,” an extraordinary filmic landmark from 1930 that is a must-see for any self-respecting cinephile. Watching it for the first time, I felt like I was witnessing nothing less than the birth of independent cinema.
Coming out on the heels of “city symphony” pictures such as Walter Ruttman’s 1927 opus “Berlin: Symphony of a Great City,” and Dziga Vertov’s 1929 classic “Man With a Movie Camera,” “Sunday” blended the stylistic flourishes of avant-garde documentaries with experimental narrative structures. At its core are five non-actors playing characters loosely based on themselves, and the film’s witty prologue notes that after production wrapped, they all returned to their regular jobs.
Blu-Ray Rating: 5.0/5.0
A triumphant success with critics and audiences alike, this silent German masterwork united a group of brilliant unknowns,...
Coming out on the heels of “city symphony” pictures such as Walter Ruttman’s 1927 opus “Berlin: Symphony of a Great City,” and Dziga Vertov’s 1929 classic “Man With a Movie Camera,” “Sunday” blended the stylistic flourishes of avant-garde documentaries with experimental narrative structures. At its core are five non-actors playing characters loosely based on themselves, and the film’s witty prologue notes that after production wrapped, they all returned to their regular jobs.
Blu-Ray Rating: 5.0/5.0
A triumphant success with critics and audiences alike, this silent German masterwork united a group of brilliant unknowns,...
- 7/7/2011
- by adam@hollywoodchicago.com (Adam Fendelman)
- HollywoodChicago.com
"It's easy to enjoy Raffaello Matarazzo's melodramas for the campy excess of their acting and story lines," blogs Dave Kehr, "but it's more productive to take them seriously, I think — to see how cleanly and elegantly Matarazzo presents this bezerko material, with a visual style that reminded Jacques Lourcelles of Lang, Dreyer and Mizoguchi, and how perfectly engineered his narratives are, with every outlandish episode incorporated into a serene, symmetrical structure. The new Matarazzo box set (my New York Times review is here) from Criterion's budget Eclipse line contains four of Matarazzo's seven films with the towering star couple Amedeo Nazzari and Yvonne Sanson (literally — Matarazzo's mise-en-scene somehow makes them seem larger, both physically and emotionally, than any of the other characters on the screen), all subtitled in English for the first time: Chains (1949) [image above], Tormento (1950), Nobody's Children (1952) and The White Angel (1955)."
"Though immensely popular, the films were dismissed by...
"Though immensely popular, the films were dismissed by...
- 6/30/2011
- MUBI
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