The question of who will continue the legacy of the 4Ks and particularly their successes on the international movie scene is one of the most dominant in the discussions among critics and scholars of Japanese cinema. Following the 2016 Un Certain Regard Jury Prize for “Harmonium”, one of the names that provides an answer to the aforementioned question is that of Koji Fukada. In the following text, we will take a closer and more thorough look at all the elements that make the 1980 born filmmaker a worthy successor of the aforementioned masters, starting from the very beginning of his life.
Born in Tokyo in Tokyo on January 5, 1980, Koji Fukada had a father who was a film buff, which resulted in him growing up in an environment surrounded with hundreds of VHS tapes, and subsequently, to become a cineaste, just like his old man. He watched the movies that inspired him to...
Born in Tokyo in Tokyo on January 5, 1980, Koji Fukada had a father who was a film buff, which resulted in him growing up in an environment surrounded with hundreds of VHS tapes, and subsequently, to become a cineaste, just like his old man. He watched the movies that inspired him to...
- 3/30/2024
- by Panos Kotzathanasis
- AsianMoviePulse
In the fall of 1975, Sam Shepard — the hottest playwright on both sides of the Atlantic — returned to his new home in Northern California one day to find a note waiting for him that said Bob Dylan had called. Having never met him, the 31-year-old Shepard called the phone number on the note and was informed that Dylan wanted him to write the screenplay for the film to be based on his upcoming, star-studded Rolling Thunder tour. Because Shepard, who would later be nominated for an Academy Award for his portrayal of Chuck Yeager, America’s most famous test pilot, in The Right Stuff but was so afraid of flying that he had not been inside a plane for the past twelve years, he crossed the country by rail to meet Dylan in New York. As Robert Greenfield recounts in an exclusive excerpt from his new biography of Shepard, True West,...
- 4/21/2023
- by Robert Greenfield
- The Hollywood Reporter - Movie News
Click here to read the full article.
Clu Gulager, the real-life cowboy from Oklahoma known for his turns on The Tall Man, The Virginian, The Last Picture Show and horror movies including The Return of the Living Dead, has died. He was 93.
Gulager died Friday of natural causes at the Los Angeles home of his son John and daughter-in-law Diane, they told The Hollywood Reporter.
Gulager also portrayed the protégé of hitman Charlie Strom (Lee Marvin) taken out by a mob boss (Ronald Reagan) in Don Siegel’s The Killers (1964), a race-car mechanic opposite Paul Newman in Winning (1969) and a detective working alongside John Wayne’s character in John Sturges’ McQ (1974).
More recently, he showed up on the big screen in such critical darlings as Tangerine (2015), Blue Jay (2016) and Quentin Tarantino’s Once Upon a Time in Hollywood (2019).
Gulager’s performance in The Killers convinced Peter Bogdanovich to cast him as Abilene,...
Clu Gulager, the real-life cowboy from Oklahoma known for his turns on The Tall Man, The Virginian, The Last Picture Show and horror movies including The Return of the Living Dead, has died. He was 93.
Gulager died Friday of natural causes at the Los Angeles home of his son John and daughter-in-law Diane, they told The Hollywood Reporter.
Gulager also portrayed the protégé of hitman Charlie Strom (Lee Marvin) taken out by a mob boss (Ronald Reagan) in Don Siegel’s The Killers (1964), a race-car mechanic opposite Paul Newman in Winning (1969) and a detective working alongside John Wayne’s character in John Sturges’ McQ (1974).
More recently, he showed up on the big screen in such critical darlings as Tangerine (2015), Blue Jay (2016) and Quentin Tarantino’s Once Upon a Time in Hollywood (2019).
Gulager’s performance in The Killers convinced Peter Bogdanovich to cast him as Abilene,...
- 8/6/2022
- by Mike Barnes
- The Hollywood Reporter - Movie News
This year, Eskil Vogt and Joachim Trier are Oscar-nominated nominated for their original screenplay for the Norwegian hit “The Worst Person in the World.” Over the first 76 years of this category, only five films in languages other than English have taken home Oscar gold in this category.
So let’s test your Oscar history. Without hitting the Internet or your reference books, what was the first of these five to win in this category? Could it be Jacques Prevert’s script for Marcel Carne’s beloved French epic “Children of Paradise,” which opened here in 1946. Sorry, it wasn’t. Do you give up?
It was “Marie-Louise,” which won at the 18th Academy Awards on March 7, 1946 over the original scripts for “Dillinger,” “Music for Millions,” “Salty O’Rourke” and “What Next, Private Hargrove?”
Since then, only four more films in languages other than English took home the screenplay Oscar” the Italian...
So let’s test your Oscar history. Without hitting the Internet or your reference books, what was the first of these five to win in this category? Could it be Jacques Prevert’s script for Marcel Carne’s beloved French epic “Children of Paradise,” which opened here in 1946. Sorry, it wasn’t. Do you give up?
It was “Marie-Louise,” which won at the 18th Academy Awards on March 7, 1946 over the original scripts for “Dillinger,” “Music for Millions,” “Salty O’Rourke” and “What Next, Private Hargrove?”
Since then, only four more films in languages other than English took home the screenplay Oscar” the Italian...
- 3/21/2022
- by Susan King
- Gold Derby
Koji Fukada was born in Tokyo in 1980. In love with European cinema, he is very influenced by Marcel Carné and Victor Erice. While studiyng Litterature at the Taisho University, he took lessons of cinema direction at the Tokyo Film School, where one of his teacher was Kiyoshi Kurosawa. Fukada directed his first feature film in 2001, “The Chair”. In 2020, he is back with “The Real Thing”, based on the comic by Mochiru Hoshisato, and presented as a premiere in Vesoul, in two parts.
On the occasion of his presence in Fica Vesoul, we speak with him about rewatching his older films, his preference between Japanese and French cinema, the effect theater had on his filmmaking, Kanji Furutachi and Bryerly Long, and many other topics.
Translation by Lea Le Dimna
This morning, you watched “Human Comedy in Tokyo”, a film you shot in 2008. How does that make you feel?
It does not...
On the occasion of his presence in Fica Vesoul, we speak with him about rewatching his older films, his preference between Japanese and French cinema, the effect theater had on his filmmaking, Kanji Furutachi and Bryerly Long, and many other topics.
Translation by Lea Le Dimna
This morning, you watched “Human Comedy in Tokyo”, a film you shot in 2008. How does that make you feel?
It does not...
- 2/5/2022
- by Panos Kotzathanasis
- AsianMoviePulse
After a hiatus where New York’s theaters closed during the pandemic, we’re delighted to announce the return of NYC Weekend Watch, our weekly round-up of repertory offerings. While many theaters are still focused on a selection of new releases, a handful of worthwhile repertory screenings are taking place.
Paris Theater
To mark their return, a frighteningly stacked weekend: A Room with a View and Grey Gardens on Friday; Children of Paradise, Louis Malle, and Vivre Sa Vie on Saturday; then Amelie and Ed Lachman’s print of Carol on Sunday.
Roxy Cinema
Screen Slate celebrates their 10th anniversary with prints of Friday the 13th, Jackass, 24 Hour Party People and more.
Anthology Film Archives
A weekend of experimental shorts is complemented by Kenneth Anger and a Baille/Belson program.
Museum of the Moving Image
The Age of Innocence and Ran show in “See It Big,” while 2001 and Eyes Wide Shut have showings.
Paris Theater
To mark their return, a frighteningly stacked weekend: A Room with a View and Grey Gardens on Friday; Children of Paradise, Louis Malle, and Vivre Sa Vie on Saturday; then Amelie and Ed Lachman’s print of Carol on Sunday.
Roxy Cinema
Screen Slate celebrates their 10th anniversary with prints of Friday the 13th, Jackass, 24 Hour Party People and more.
Anthology Film Archives
A weekend of experimental shorts is complemented by Kenneth Anger and a Baille/Belson program.
Museum of the Moving Image
The Age of Innocence and Ran show in “See It Big,” while 2001 and Eyes Wide Shut have showings.
- 8/12/2021
- by Nick Newman
- The Film Stage
The Paris Theater, a beloved arthouse cinema in New York City, is reopening its doors next month.
To celebrate its return on Aug. 6, filmmaker Radha Blank is curating a slate of repertory titles to screen alongside her directorial debut “The Forty-Year-Old Version.” Her movie, which premiered at Sundance Film Festival, is playing through Aug. 12.
The Paris opened in 1948 and is the only single-screen movie theater in Manhattan. Netflix acquired the 545-seat venue in 2019 and, prior to Covid-19, held premieres, special events and screenings of its films in the storied institution, which is just south of Central Park.
“I made ‘Forty-Year-Old Version’ in 35mm Black & White in the spirit of the many great films that informed my love of cinema,” says Blank. “I’m excited to show the film in 35mm as intended and alongside potent films by fearless filmmakers who inspired my development as a storyteller and expanded my vision...
To celebrate its return on Aug. 6, filmmaker Radha Blank is curating a slate of repertory titles to screen alongside her directorial debut “The Forty-Year-Old Version.” Her movie, which premiered at Sundance Film Festival, is playing through Aug. 12.
The Paris opened in 1948 and is the only single-screen movie theater in Manhattan. Netflix acquired the 545-seat venue in 2019 and, prior to Covid-19, held premieres, special events and screenings of its films in the storied institution, which is just south of Central Park.
“I made ‘Forty-Year-Old Version’ in 35mm Black & White in the spirit of the many great films that informed my love of cinema,” says Blank. “I’m excited to show the film in 35mm as intended and alongside potent films by fearless filmmakers who inspired my development as a storyteller and expanded my vision...
- 7/28/2021
- by Rebecca Rubin
- Variety Film + TV
The Paris Theater, an NYC cinematic landmark rescued by Netflix in 2019, will officially reopen August 6 with the streamer’s The Forty-Year-Old Version by Radha Blank and a week of repertory films programmed by the director.
The only single-screen movie theater in Manhattan and the borough’s largest, with 545 seats, has hosted limited theatrical engagements since March that included Netflix’ 17 Oscar-nominated films, retrospectives of Charlie Kaufman and Orson Wells, zombie movie classics and a Bob Dylan film series.
The Paris closed in August of 2019 after its lease with City Cinemas expired. That November, Netflix entered an extended lease agreement, said to be for ten years with owner the Solow Family, to keep the theater open and use it for events, screenings and theatrical releases of its films. The first was Noah Baumbach’s Marriage Story. The theater was shuttered by Covid-19 last spring.
(In May of 2020, Netflix acquired another storied theaters,...
The only single-screen movie theater in Manhattan and the borough’s largest, with 545 seats, has hosted limited theatrical engagements since March that included Netflix’ 17 Oscar-nominated films, retrospectives of Charlie Kaufman and Orson Wells, zombie movie classics and a Bob Dylan film series.
The Paris closed in August of 2019 after its lease with City Cinemas expired. That November, Netflix entered an extended lease agreement, said to be for ten years with owner the Solow Family, to keep the theater open and use it for events, screenings and theatrical releases of its films. The first was Noah Baumbach’s Marriage Story. The theater was shuttered by Covid-19 last spring.
(In May of 2020, Netflix acquired another storied theaters,...
- 7/28/2021
- by Jill Goldsmith
- Deadline Film + TV
by Cláudio Alves
The 19th Academy Awards were, in some regard, a celebration of the war's end, a reckoning with its immediate consequences. We can see it in the embrace of European cinema, an industry rising from the ashes, with nods for films like the Italian Neorealist Rome, Open City, and the French poetry of Children of Paradise. American cinema, America itself, was also still reeling from its hard-won victory. The scars were fresh and bloody when William Wyler's The Best Years of Our Lives won the Best Picture Oscar. The production portrays the lives of three military men returning home after the war's end, traumatized and still recovering, adapting back to civilian life. It was the perfect champion for these postwar Oscars.
Nevertheless, not even the picture's awards success could spell away some of its performers' chronic bad luck when it came to movie awards. After decades as one of Hollywood's greatest stars,...
The 19th Academy Awards were, in some regard, a celebration of the war's end, a reckoning with its immediate consequences. We can see it in the embrace of European cinema, an industry rising from the ashes, with nods for films like the Italian Neorealist Rome, Open City, and the French poetry of Children of Paradise. American cinema, America itself, was also still reeling from its hard-won victory. The scars were fresh and bloody when William Wyler's The Best Years of Our Lives won the Best Picture Oscar. The production portrays the lives of three military men returning home after the war's end, traumatized and still recovering, adapting back to civilian life. It was the perfect champion for these postwar Oscars.
Nevertheless, not even the picture's awards success could spell away some of its performers' chronic bad luck when it came to movie awards. After decades as one of Hollywood's greatest stars,...
- 6/10/2021
- by Cláudio Alves
- FilmExperience
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By Hank Reineke
In March of 2019 I took a drive to the Hudson River town of Nyack, New York, for a rare public screening of Bob Dylan’s ill-fated cinematic opus Renaldo & Clara. The film, originally released to art houses in New York City and Los Angeles January of 1978, was mercilessly panned. The movie – shot during Dylan’s fabled autumn 1975 tour with his ragtag Rolling Thunder Revue – all but disappeared from cinemas and, mostly, from public consciousness within the span of a few weeks. The original cut of the film was, let’s charitably say, a rambling affair, clocking in at just under four hours.
Dylan would tell his co-writer, the playwright Sam Shepard, that he was looking to model his film after a pair of French classics: Marcel Carné’s Les Enfants du Paradis (Children of Paradise) (1945) and Francois Truffaut’s Shoot the Piano Player (1960). Or,...
By Hank Reineke
In March of 2019 I took a drive to the Hudson River town of Nyack, New York, for a rare public screening of Bob Dylan’s ill-fated cinematic opus Renaldo & Clara. The film, originally released to art houses in New York City and Los Angeles January of 1978, was mercilessly panned. The movie – shot during Dylan’s fabled autumn 1975 tour with his ragtag Rolling Thunder Revue – all but disappeared from cinemas and, mostly, from public consciousness within the span of a few weeks. The original cut of the film was, let’s charitably say, a rambling affair, clocking in at just under four hours.
Dylan would tell his co-writer, the playwright Sam Shepard, that he was looking to model his film after a pair of French classics: Marcel Carné’s Les Enfants du Paradis (Children of Paradise) (1945) and Francois Truffaut’s Shoot the Piano Player (1960). Or,...
- 1/25/2021
- by nospam@example.com (Cinema Retro)
- Cinemaretro.com
“If someone’s wearing a mask, he’s gonna tell you the truth,” Bob Dylan says midway through Martin Scorsese’s new Netflix movie Rolling Thunder Revue: A Bob Dylan Story. “If he’s not wearing a mask, it’s highly unlikely.” As he says these words, Bob Dylan is most definitely not wearing a mask. He’s also in a documentary that occasionally takes wild deviations from the truth by utilizing actors to tell tale tales about the tour. The tactic is sure to confuse a great many people,...
- 6/12/2019
- by Andy Greene
- Rollingstone.com
Just when you think you have this unruly, untamed phantasmagoria pegged, this unclassifiable documentary/concert film — subtitled “A Bob Dylan Story by Martin Scorsese” — continually pulls the rug from under you. The film features a glorious restoration of previously abandoned footage from the Rolling Thunder Revue as Dylan and company, including violinist Scarlet Rivera and guitarist Mick Ronson, played gigs across America from 1975 to 1976.
It was a time of transition for the tambourine man. His electronic success in large stadiums left him yearning to play smaller venues to get closer...
It was a time of transition for the tambourine man. His electronic success in large stadiums left him yearning to play smaller venues to get closer...
- 6/11/2019
- by Peter Travers
- Rollingstone.com
It’s a dream come true for Terry Gilliam fans: after 25 years of false starts, budget shortfalls, major casting changes, and flooded sets, “The Man Who Killed Don Quixote” is finally here. But when it screened for the first time at the Cannes Film Festival in May, many critics thought it was less a grand slam and more of a bunt.
IndieWire’s Chief Critic Eric Kohn was more generous in his B- review, calling it “sloppy” but “far from a total disappointment” and ultimately concluding that it may be “Gilliam’s most personal film.” Unfortunately, “The Man Who Killed Don Quixote” also ended up with a score of 56 on Metacritic and 61% on Rotten Tomatoes.
Gilliam knows his films divide people. Talking to Variety while promoting “Don Quixote” in Los Cabos, Mexico, the director of “Brazil” said that even with that classic movie “half the audience would walk out.”
“It doesn’t surprise me,...
IndieWire’s Chief Critic Eric Kohn was more generous in his B- review, calling it “sloppy” but “far from a total disappointment” and ultimately concluding that it may be “Gilliam’s most personal film.” Unfortunately, “The Man Who Killed Don Quixote” also ended up with a score of 56 on Metacritic and 61% on Rotten Tomatoes.
Gilliam knows his films divide people. Talking to Variety while promoting “Don Quixote” in Los Cabos, Mexico, the director of “Brazil” said that even with that classic movie “half the audience would walk out.”
“It doesn’t surprise me,...
- 11/9/2018
- by Christian Blauvelt
- Indiewire
The 23rd entry in an on-going series of audiovisual essays by Cristina Álvarez López and Adrian Martin. Mubi is showing Jean Renoir's The Testament of Dr. Cordelier (1959) is August 3 - September 2, 2017 in the United States as part of the series Jean Renoir.Jean Renoir’s The Experiment of Dr. Cordelier (a.k.a. The Doctor’s Horrible Experiment, 1959), shot using the multi-camera set-up of a television production, is a free variation on Robert Louis Stevenson’s immortal tale, Strange Case of Dr. Jekyll and Mr. Hyde (1886). However, Renoir’s take on this material owes less to the horror genre than to a kind of speculative, philosophical fiction. Unlike in most screen versions of the Jekyll/Hyde duality, Renoir goes easy on the conventional distinction between the good and evil sides of a single personality. Yes, the figure of Opale, into whom Cordelier transforms himself, is destructive, bestial, cruel, and sadistic.
- 8/4/2017
- MUBI
‘Toni Erdmann’ (Courtesy: Tiff)
By: Carson Blackwelder
Managing Editor
It’s not too often that foreign-language films get recognized for anything at the Oscars beyond the best foreign-language film category — but it does happen. And, believe it or not, it happens more for best original screenplay and best adapted screenplay than many other categories. A prime example of that is Toni Erdmann, Germany’s submission this year that is proving to be a cross-category threat, which could score a nomination — or a win — for its writing.
The story of Toni Erdmann — which has a solid Rotten Tomatoes score of 91% — follows a father who is trying to reconnect with his adult daughter after the death of his dog. It sounds simple enough but, of course, the two couldn’t be more unalike. The film premiered at the Cannes Film Festival in 2016 and where it won the Fipresci Prize. Since then, it...
By: Carson Blackwelder
Managing Editor
It’s not too often that foreign-language films get recognized for anything at the Oscars beyond the best foreign-language film category — but it does happen. And, believe it or not, it happens more for best original screenplay and best adapted screenplay than many other categories. A prime example of that is Toni Erdmann, Germany’s submission this year that is proving to be a cross-category threat, which could score a nomination — or a win — for its writing.
The story of Toni Erdmann — which has a solid Rotten Tomatoes score of 91% — follows a father who is trying to reconnect with his adult daughter after the death of his dog. It sounds simple enough but, of course, the two couldn’t be more unalike. The film premiered at the Cannes Film Festival in 2016 and where it won the Fipresci Prize. Since then, it...
- 1/4/2017
- by Carson Blackwelder
- Scott Feinberg
The Lon Chaney silent The Hunchback of Notre Dame is an important document, and a pretty good movie, especially if you can see it projected. William Dieterle's 1939 film with Charles Laughton is an outright classic, with iconic casting in every role, but in a way it, like its predecessor, is as much a travesty of Victor Hugo's story as the Disney version. Tragedy is softened, hard edges blurred. (And actually there's a lot to admire in the cartoon: an epic cinematic scale and vision, use of humor that doesn't actually wreck the serious aspects. It's just that, starting with Quasimodo not being deaf—because he has to sing, you see—means you're not filming Notre-Dame de Paris by Victor Hugo at all.)So it was perhaps inevitable that the French would one day have to show us how it's done, and present a more faithful rendering of the book.
- 12/14/2016
- MUBI
World War, a solemn vow, and a promise betrayed lead to a ‘night of the living war dead’ – all cooked up by the director of Napoleon, Abel Gance. The early, famed pacifist fantasy is back in near-perfect condition and restored to its full length. It’s a reworking, not a remake, of Gance’s 1919 silent classic.
J’accuse
Blu-ray
Olive Films
1938 / B&W / 1:37 flat full frame / 120 min. / That They May Live; J’accuse: Fresque tragique des temps modernes vue et Réalisée par Abel Gance / Street Date November 15, 2016 / available through the Olive Films website / 29.98
Starring Victor Francen, Line Noro, Marie Lou, Jean-Max, Paul Amiot, Jean-Louis Barrault, Marcel Delaitre, Renée Devillers, Romuald Joubé, André Nox, Georges Rollin, Georges Saillard.
Cinematography Roger Hubert
Film Editor Madeleine Crétoile
Original Music Henri Verdun
Written by Abel Gance, Steve Passeur
Produced & Directed by Abel Gance
Reviewed by Glenn Erickson
Around 1973, UCLA film school professor Bob Epstein...
J’accuse
Blu-ray
Olive Films
1938 / B&W / 1:37 flat full frame / 120 min. / That They May Live; J’accuse: Fresque tragique des temps modernes vue et Réalisée par Abel Gance / Street Date November 15, 2016 / available through the Olive Films website / 29.98
Starring Victor Francen, Line Noro, Marie Lou, Jean-Max, Paul Amiot, Jean-Louis Barrault, Marcel Delaitre, Renée Devillers, Romuald Joubé, André Nox, Georges Rollin, Georges Saillard.
Cinematography Roger Hubert
Film Editor Madeleine Crétoile
Original Music Henri Verdun
Written by Abel Gance, Steve Passeur
Produced & Directed by Abel Gance
Reviewed by Glenn Erickson
Around 1973, UCLA film school professor Bob Epstein...
- 11/19/2016
- by Glenn Erickson
- Trailers from Hell
“This is a pretty good land, a fact” was proclaimed by President Lyndon B. Johnson in a television broadcast addressing the Vietnam War — the leader of the free world backing up a “humble” if contentious wording of his nation’s state with an absolute, and thus already opening up the possibility of not just satire, but images as the ultimate medium for telling lies. Perhaps it was the ultimate “prologue” for a 28-year-old Brian De Palma.
With the mission statement of setting out to make something akin to Jean-Luc Godard’s ’60s work, De Palma’s third feature, Greetings, still feels surprisingly his own; his preoccupations already so dominant that it doesn’t come off as a banalization of Godard’s aesthetics and ideas the way so many other rip-offs did. Perhaps the difference is that it’s based in a very personal milieu, situated around three New York buddies...
With the mission statement of setting out to make something akin to Jean-Luc Godard’s ’60s work, De Palma’s third feature, Greetings, still feels surprisingly his own; his preoccupations already so dominant that it doesn’t come off as a banalization of Godard’s aesthetics and ideas the way so many other rip-offs did. Perhaps the difference is that it’s based in a very personal milieu, situated around three New York buddies...
- 6/29/2016
- by Ethan Vestby
- The Film Stage
Fifty years ago this week, on December 22, 1965, David Lean’s Doctor Zhivago had its world premiere at the Capitol Theatre in New York. Contrary to current practices, it was reviewed in The New York Times the following day. (In his first paragraph the redoubtable Bosley Crowther notably refers to it as “Robert Bolt’s dramatization of Boris Pasternak’s Doctor Zhivago” rather than Lean’s, though he later mentions the “skillful direction of David Lean.” No auteurist, he.)The Capitol, which had stood on Broadway just north of Times Square since 1919, was one of New York’s first movie palaces, and was a flagship theater for MGM. It was the theater in which the Wizard of Oz had its first New York run and in 1964 it was converted for the presentation of Cinerama films. (It closed in 1968 not long after the premiere of 2001: A Space Odyssey.) All of which...
- 12/25/2015
- by Adrian Curry
- MUBI
The Barnes & Noble sale may have ended a couple of weeks ago, but that doesn’t mean that you can’t still buy some Criterion Collection releases for 50% off. Best Buy is currently having a 50% off sale on a number of Criterion releases, and Amazon has begun to match their prices.
Thanks to everyone for supporting our site by buying through our affiliate links.
A note on Amazon deals, for those curious: sometimes third party sellers will suddenly appear as the main purchasing option on a product page, even though Amazon will sell it directly from themselves for the sale price that we have listed. If the sale price doesn’t show up, click on the “new” options, and look for Amazon’s listing.
I’ll keep this list updated throughout the week, as new deals are found, and others expire. If you find something that’s wrong, a broken link or price difference,...
Thanks to everyone for supporting our site by buying through our affiliate links.
A note on Amazon deals, for those curious: sometimes third party sellers will suddenly appear as the main purchasing option on a product page, even though Amazon will sell it directly from themselves for the sale price that we have listed. If the sale price doesn’t show up, click on the “new” options, and look for Amazon’s listing.
I’ll keep this list updated throughout the week, as new deals are found, and others expire. If you find something that’s wrong, a broken link or price difference,...
- 12/17/2015
- by Ryan Gallagher
- CriterionCast
Before its flame was extinguished, New York’s legendary Kim’s Video contributed further to the world of cinephilia by polling better-known customers about their favorite films. One of these customers happened to be Allen Ginsberg, a figure whose relative lack of experience in cinema certainly won’t stand as any sort of qualifier. Thanks to The Allen Ginsberg Project (via Open Culture), we can now get a wider — and, to our eyes, more immediately understandable — grasp of what made this generation-defining voice tick.
Two interests — French Poetic Realism and the work of (or at least work heavily relating to) his fellow Beat poets — announce themselves rather clearly, given the fact that they arguably occupy 90% of the final list. The sole “outsider” is Battleship Potemkin, a picture that, with fierce political intentions and poetic inclinations in its cutting, nevertheless makes perfect sense as a Ginsberg favorite. Some of these are...
Two interests — French Poetic Realism and the work of (or at least work heavily relating to) his fellow Beat poets — announce themselves rather clearly, given the fact that they arguably occupy 90% of the final list. The sole “outsider” is Battleship Potemkin, a picture that, with fierce political intentions and poetic inclinations in its cutting, nevertheless makes perfect sense as a Ginsberg favorite. Some of these are...
- 12/7/2015
- by Nick Newman
- The Film Stage
Danièle Delorme: 'Gigi' 1949 actress and pioneering female film producer. Danièle Delorme: 'Gigi' 1949 actress was pioneering woman producer, politically minded 'femme engagée' Danièle Delorme, who died on Oct. 17, '15, at the age of 89 in Paris, is best remembered as the first actress to incarnate Colette's teenage courtesan-to-be Gigi and for playing Jean Rochefort's about-to-be-cuckolded wife in the international box office hit Pardon Mon Affaire. Yet few are aware that Delorme was featured in nearly 60 films – three of which, including Gigi, directed by France's sole major woman filmmaker of the '40s and '50s – in addition to more than 20 stage plays and a dozen television productions in a show business career spanning seven decades. Even fewer realize that Delorme was also a pioneering woman film producer, working in that capacity for more than half a century. Or that she was what in French is called a femme engagée...
- 12/5/2015
- by Andre Soares
- Alt Film Guide
I'll trade you two RKOs for two Warners', an even swap! This quartet of movie-magic wonderments offer a full course on old-school film effects wizardry at its best. Willis O'Brien passes the baton to disciple Ray Harryhausen, who dazzles us with his own effects magic for the first '50s giant monster epic. And the best monster thriller of the decade is offered at its original widescreen aspect ratio. It's all special enough to merit a mid-week review. Special Effects Collection Blu-ray The Son of Kong, Mighty Joe Young, The Beast from 20,000 Fathoms, Them! Warner Home Video 1933-1954 / B&W / 1:37 Academy - 1:85 widescreen / 335 min. / Street Date October 27, 2015 / 54.96 or 19.98 separately Starring Robert Armstrong, Helen Mack,, Frank Reicher, Victor Wong; Robert Armstrong, Terry Moore, Ben Johnson, Frank McHugh; Paul Christian, Paula Raymond, Cecil Kellaway, Kenneth Tobey, Donald Woods, Lee Van Cleef; James Whitmore, Edmund Gwenn, Joan Weldon, James Arness, Onslow Stevens,...
- 10/23/2015
- by Glenn Erickson
- Trailers from Hell
Each week, the fine folks at Fandor add a number of films to their Criterion Picks area, which will then be available to subscribers for the following twelve days. This week, the Criterion Picks focus on eight delightful French films.
Three decades of exceptional French cinema in the service of that most intoxicating, unpredictable and stubborn of muscles, to which laws of convention and commitment prove no barrier: the heart.
Don’t have a Fandor subscription? They offer a free trial membership.
Children of Paradise by Marcel Carne
Poetic realism reached sublime heights with Children Of Paradise, widely considered one of the greatest French films of all time. This nimble depiction of nineteenth-century Paris’s theatrical demimonde, filmed during World War II, follows a mysterious woman loved by four different men (all based on historical figures): an actor, a criminal, a count, and, most poignantly, a mime (Jean-Louis Barrault,...
Three decades of exceptional French cinema in the service of that most intoxicating, unpredictable and stubborn of muscles, to which laws of convention and commitment prove no barrier: the heart.
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Children of Paradise by Marcel Carne
Poetic realism reached sublime heights with Children Of Paradise, widely considered one of the greatest French films of all time. This nimble depiction of nineteenth-century Paris’s theatrical demimonde, filmed during World War II, follows a mysterious woman loved by four different men (all based on historical figures): an actor, a criminal, a count, and, most poignantly, a mime (Jean-Louis Barrault,...
- 9/22/2015
- by Ryan Gallagher
- CriterionCast
“The Movie For Movie Lovers”
By Raymond Benson
François Truffaut had an all too short but certainly brilliant career as a filmmaker. He began in the world of film criticism in France, but in the late 1950s he decided to make movies himself. Truffaut quickly shot to the forefront of the French New Wave in the late 1950s and early 60s, alongside the likes of Jean-Luc Godard, Eric Rohmer, Alain Resnais, and others. By the time the 70s rolled around, Truffaut was a national treasure in France and a mainstay in art house cinemas in the U.S. and Britain.
His 1973 masterpiece, Day for Night (in France La Nuit Américaine, or “American Night”), won the Oscar for Best Foreign Language Film of that year, the only time Truffaut picked up an Academy Award. Due to odd eligibility rules, the picture could be nominated for other categories the following year. For...
By Raymond Benson
François Truffaut had an all too short but certainly brilliant career as a filmmaker. He began in the world of film criticism in France, but in the late 1950s he decided to make movies himself. Truffaut quickly shot to the forefront of the French New Wave in the late 1950s and early 60s, alongside the likes of Jean-Luc Godard, Eric Rohmer, Alain Resnais, and others. By the time the 70s rolled around, Truffaut was a national treasure in France and a mainstay in art house cinemas in the U.S. and Britain.
His 1973 masterpiece, Day for Night (in France La Nuit Américaine, or “American Night”), won the Oscar for Best Foreign Language Film of that year, the only time Truffaut picked up an Academy Award. Due to odd eligibility rules, the picture could be nominated for other categories the following year. For...
- 8/14/2015
- by nospam@example.com (Cinema Retro)
- Cinemaretro.com
In his latest delightful entry, the Austrian Film Museum's Christoph Huber considers a couple of unconventional editing techniques born of necessity. Under consideration here are Jean-Luc Godard's Breathless (1960) and, by way of Raoul Walsh's The Roaring Twenties (1939), Robert Rossen’s All the King’s Men (1949). Also in today's roundup of news and views: Books on Zhang Yimou and Alfred Hitchcock, Marcel Carné’s Les Enfants du paradis at 70, interviews with Jacques Doillon, Peter Strickland, Veronika Lisková, Jan Soldat, Stine Marie Jacobsen, Adam Curtis, Chuck Palahniuk, Desiree Akhavan, Ira Sachs, Ben Stiller and more. » - David Hudson...
- 3/11/2015
- Keyframe
In his latest delightful entry, the Austrian Film Museum's Christoph Huber considers a couple of unconventional editing techniques born of necessity. Under consideration here are Jean-Luc Godard's Breathless (1960) and, by way of Raoul Walsh's The Roaring Twenties (1939), Robert Rossen’s All the King’s Men (1949). Also in today's roundup of news and views: Books on Zhang Yimou and Alfred Hitchcock, Marcel Carné’s Les Enfants du paradis at 70, interviews with Jacques Doillon, Peter Strickland, Veronika Lisková, Jan Soldat, Stine Marie Jacobsen, Adam Curtis, Chuck Palahniuk, Desiree Akhavan, Ira Sachs, Ben Stiller and more. » - David Hudson...
- 3/11/2015
- Fandor: Keyframe
In his latest delightful entry, the Austrian Film Museum's Christoph Huber considers a couple of unconventional editing techniques born of necessity. Under consideration here are Jean-Luc Godard's Breathless (1960) and, by way of Raoul Walsh's The Roaring Twenties (1939), Robert Rossen’s All the King’s Men (1949). Also in today's roundup of news and views: Books on Zhang Yimou and Alfred Hitchcock, Marcel Carné’s Les Enfants du paradis at 70, interviews with Jacques Doillon, Peter Strickland, Veronika Lisková, Jan Soldat, Stine Marie Jacobsen, Adam Curtis, Chuck Palahniuk, Desiree Akhavan, Ira Sachs, Ben Stiller and more. » - David Hudson...
- 3/11/2015
- Fandor: Keyframe
In his latest delightful entry, the Austrian Film Museum's Christoph Huber considers a couple of unconventional editing techniques born of necessity. Under consideration here are Jean-Luc Godard's Breathless (1960) and, by way of Raoul Walsh's The Roaring Twenties (1939), Robert Rossen’s All the King’s Men (1949). Also in today's roundup of news and views: Books on Zhang Yimou and Alfred Hitchcock, Marcel Carné’s Les Enfants du paradis at 70, interviews with Jacques Doillon, Peter Strickland, Veronika Lisková, Jan Soldat, Stine Marie Jacobsen, Adam Curtis, Chuck Palahniuk, Desiree Akhavan, Ira Sachs, Ben Stiller and more. » - David Hudson...
- 3/11/2015
- Keyframe
Translators introduction: This article by Mireille Latil Le Dantec, the first of two parts, was originally published in issue 40 of Cinématographe, September 1978. The previous issue of the magazine had included a dossier on "La qualité française" and a book of a never-shot script by Jean Grémillon (Le Printemps de la Liberté or The Spring of Freedom) had recently been published. The time was ripe for a re-evaluation of Grémillon's films and a resuscitation of his undervalued career. As this re-evaluation appears to still be happening nearly 40 years later—Grémillon's films have only recently seen DVD releases and a 35mm retrospective begins this week at Museum of the Moving Image in Queens—this article and its follow-up gives us an important view of a French perspective on Grémillon's work by a very perceptive critic doing the initial heavy-lifting in bringing the proper attention to the filmmaker's work.
Filmmaker maudit?...
Filmmaker maudit?...
- 11/30/2014
- by Ted Fendt
- MUBI
In 1946, the French animator Paul Grimault and poet/screenwriter Jacques Prévert set out to make what they hoped would be the first French animated feature film, based on Hans Christian Andersen’s tale “The Shepherdess and the Chimneysweep.” Prévert was already a legend, having written Le jour se lève and Children of Paradise for director Marcel Carné. Meanwhile, Grimault’s wonderfully iconoclastic fables had won favor both during and after the war. You wouldn’t think two such heavy-duty names would meet much resistance, but within a couple of years, Grimault and Prévert had lost control of the project, and an incomplete, 63-minute version was released without their approval in 1953. That also made its way to U.S. shores in a dubbed version as The Curious Case of Mr. Wonderbird.A couple of decades later, the duo set out to complete the film. Prévert worked on the new script until...
- 11/21/2014
- by Bilge Ebiri
- Vulture
Above: 1960 re-release poster for Second Chance (Jean Delannoy, France, 1947).
A couple of weeks ago the invaluable New York movie poster store Posteritati unveiled their newest acquisitions: nearly 500 new posters including many superb, rare Czech designs and some stunning one-offs like this poster for a short film about Brian Eno. But one of the highlights for me was a small collection of posters by the German designer Isolde Monson-Baumgart, some of which I had never seen before.
I featured Baumgart’s sublime poster for The Earrings of Madame De... last year and have been looking for more work by her ever since. Baumgart, who passed away in 2011 at the age of 76, was one of the chief designers—under the late great Hans Hillmann—employed by the Neue Filmkunst, the arthouse distribution company founded by Walter Kirchner in 1953. Like many of her fellow designers who together revolutionized German film advertising in the 1960s,...
A couple of weeks ago the invaluable New York movie poster store Posteritati unveiled their newest acquisitions: nearly 500 new posters including many superb, rare Czech designs and some stunning one-offs like this poster for a short film about Brian Eno. But one of the highlights for me was a small collection of posters by the German designer Isolde Monson-Baumgart, some of which I had never seen before.
I featured Baumgart’s sublime poster for The Earrings of Madame De... last year and have been looking for more work by her ever since. Baumgart, who passed away in 2011 at the age of 76, was one of the chief designers—under the late great Hans Hillmann—employed by the Neue Filmkunst, the arthouse distribution company founded by Walter Kirchner in 1953. Like many of her fellow designers who together revolutionized German film advertising in the 1960s,...
- 6/6/2014
- by Adrian Curry
- MUBI
As we continue to move forward through the list, let us consider: how do you define an original screenplay? In theory, everything is based on something. Woody Allen’s Blue Jasmine is basically a modern A Streetcar Named Desire. But, somehow, Jasmine is classified as an original screenplay. When a film is wholly original, nothing like it had been done before, and others have tried to copy it since. Plenty of original screenplays (some in this list) take on tired genres, but flip the script. But the ones that really catch the audience by surprise are the ones that feel imaginative, creative, and different.
40. Spirited Away (2001)
Written by Hayao Miyazaki
That’s a good start! Once you’ve met someone, you never really forget them. It just takes a while for your memories to return.
No writer/director on this list may be more fantastical than the great Hayao Miyazaki,...
40. Spirited Away (2001)
Written by Hayao Miyazaki
That’s a good start! Once you’ve met someone, you never really forget them. It just takes a while for your memories to return.
No writer/director on this list may be more fantastical than the great Hayao Miyazaki,...
- 2/24/2014
- by Joshua Gaul
- SoundOnSight
Nobody wants to rock the boat when it comes to reassessing the classics, but face facts: Gregory's Girl is clunky, 2001: A Space Odyssey is never-ending, while Dirty Dancing is still brilliant
A few weeks ago I watched The Searchers, the 1956 John Ford horse opera that is routinely described by critics as one of the greatest films of all time. In 2008 the American Film Institute named it the finest western ever, as well as the 12th best American movie, while the British Film Institute slotted it in at number seven on the all-time greatest list.
Are these guys serious? The Searchers, which deals with a mysterious, morally ambivalent Johnny Reb's relentless quest to find – and perhaps kill – a niece abducted by marauding Comanches, is padded out to epic length with all sorts of daffy comedy. The gags and slapstick fistfights undercut the serious message of the film: that most white...
A few weeks ago I watched The Searchers, the 1956 John Ford horse opera that is routinely described by critics as one of the greatest films of all time. In 2008 the American Film Institute named it the finest western ever, as well as the 12th best American movie, while the British Film Institute slotted it in at number seven on the all-time greatest list.
Are these guys serious? The Searchers, which deals with a mysterious, morally ambivalent Johnny Reb's relentless quest to find – and perhaps kill – a niece abducted by marauding Comanches, is padded out to epic length with all sorts of daffy comedy. The gags and slapstick fistfights undercut the serious message of the film: that most white...
- 12/19/2013
- by Joe Queenan
- The Guardian - Film News
Blu-ray & DVD Release Date: Oct. 15, 2013
Price: Blu-ray $39.95
Studio: Criterion
The eyes have it: Edith Scob stars in Eyes Without a Face.
The 1960 horror film Eyes Without a Face was directed by the highly regarded French filmmaker Georges Franju (Judex).
The movie tells the story of a brilliant, obsessive doctor (Pierre Brasseur, Children of Paradise), who, at his secluded chateau in the French countryside, attempts a radical plastic surgery to restore the beauty of his daughter’s (Edith Scob, Summer Hours) disfigured face. The horrifying price of his mission comes in the form of the faces of other young women, whom he kidnaps so he can use their own features to replace those of his daughter’s.
Eyes Without a Face is rare in horror cinema for its odd mixture of the ghastly and the lyrical, and it has been a major influence on the genre in the decades since its release.
Price: Blu-ray $39.95
Studio: Criterion
The eyes have it: Edith Scob stars in Eyes Without a Face.
The 1960 horror film Eyes Without a Face was directed by the highly regarded French filmmaker Georges Franju (Judex).
The movie tells the story of a brilliant, obsessive doctor (Pierre Brasseur, Children of Paradise), who, at his secluded chateau in the French countryside, attempts a radical plastic surgery to restore the beauty of his daughter’s (Edith Scob, Summer Hours) disfigured face. The horrifying price of his mission comes in the form of the faces of other young women, whom he kidnaps so he can use their own features to replace those of his daughter’s.
Eyes Without a Face is rare in horror cinema for its odd mixture of the ghastly and the lyrical, and it has been a major influence on the genre in the decades since its release.
- 7/25/2013
- by Laurence
- Disc Dish
It has been a busy week for me, not necessarily in terms of movie watching, but just in general. I have spent the last week-and-a-half moving into a new place and if you were wondering why I didn't post anything after noon on Friday, it's because I spent the rest of Friday and all of Saturday moving, but things should be back to normal 'round these parts now and I'll try and post a few additional items to make up for news lost... First, however, let's share our viewing habits over the last seven days. For me it was Pain & Gain in theaters and I already wrote all about seeing Marcel Carne's Children of Paradise, which you can read right here. The last item I watched this week was the fourth episode of "Hannibal", which I understand isn't exactly doing all that well in the ratings, which is a bit worrisome for me,...
- 4/28/2013
- by Brad Brevet
- Rope of Silicon
Last night I finally finished watching Marcel Carne's 1945 film Children of Paradise. At just over three hours long it took me a couple sittings, though last night I watched the bulk of it (a little over two hours) and it's one hell of a piece of cinema. Roger Ebert describes the production saying it "was shot in Paris and Nice during the Nazi occupation and released in 1945. Its sets sometimes had to be moved between the two cities. Its designer and composer, Jews sought by the Nazis, worked from hiding. Carne was forced to hire pro-Nazi collaborators as extras; they did not suspect they were working next to resistance fighters. The Nazis banned all films over about 90 minutes in length, so Carne simply made two films, confident he could show them together after the war was over." The film largely focuses on an actor -- Frederick Lema?tre played by...
- 4/25/2013
- by Brad Brevet
- Rope of Silicon
Time Out has put its heart on its sleeve and shouted its Brief Encounter infatuation from the rooftops. Will you join them in their lovebombing of the 68-year-old classic? Or have your tastes in romantic movies moved on?
Sam played it again, now it's our turn to plug in the turntable and petition you once more for your top romance films of all time. The peg? Time Out's 100 Most Romantic Films of all Time poll, which has been announced today, and which names Brief Encounter as the title most likely to get your heart a-flutter.
But by our reckoning, the Time Out folk are cruising for a bruising; when we came to the same conclusion three years ago, the readers felt we'd done them wrong, and suggested Casablanca was Mr Right when it came to romantic movies.
Do you feel the same? Has your taste for gin joints endured over the past three years?...
Sam played it again, now it's our turn to plug in the turntable and petition you once more for your top romance films of all time. The peg? Time Out's 100 Most Romantic Films of all Time poll, which has been announced today, and which names Brief Encounter as the title most likely to get your heart a-flutter.
But by our reckoning, the Time Out folk are cruising for a bruising; when we came to the same conclusion three years ago, the readers felt we'd done them wrong, and suggested Casablanca was Mr Right when it came to romantic movies.
Do you feel the same? Has your taste for gin joints endured over the past three years?...
- 4/23/2013
- The Guardian - Film News
It's been a busy week for me personally as I have been doing what I can to get up at 5 every morning to go to the gym, which was then interrupted as I had to get up at one in the morning to cover the Cannes Film Festival announcement and at the end of the week I started the process of moving to a new house. So... my movie watching took a hit. Yet, I did see Oblivion on Tuesday and Mud on Thursday and also watched the latest episode of "Hannibal" on Saturday night before tapping this week's "What I Watched" out. As for Oblivion you can read my review right here and I discussed Mud a little bit on the Friday edition of the podcast. When it comes to "Hannibal" I felt this week's episode was the weakest of the first three, though it ended with an interesting bit of intrigue,...
- 4/21/2013
- by Brad Brevet
- Rope of Silicon
I've mentioned before how several years ago I created a list using Roger Ebert's Great Movies, Oscar Best Picture winners, IMDb's Top 250, etc. and began going through them doing my best to see as many of the films on these lists that I had not seen as I possibly could to up my film I.Q. Well, someone has gone through the exhaustive effort to take all of the films Roger Ebert wrote about in his three "Great Movies" books, all of which are compiled on his website and added them to a Letterbxd list and I've added that list below. I'm not positive every movie on his list is here, but by my count there are 363 different titles listed (more if you count the trilogies, the Up docs and Decalogue) and of those 363, I have personally seen 229 and have added an * next to those I've seen. Clearly I have some work to do,...
- 4/10/2013
- by Brad Brevet
- Rope of Silicon
I've mentioned before how several years ago I created a list using Roger Ebert's Great Movies, Oscar Best Picture winners, IMDb's Top 250, etc. and began going through them doing my best to see as many of the films on these lists that I had not seen as I possibly could to up my film I.Q. Well, someone has gone through the exhaustive effort to take all of the films Roger Ebert wrote about in his three "Great Movies" books, all of which are compiled on his website and added them to a Letterbxd list and I've added that list below. I'm not positive every movie on his list is here, but by my count there are 362 different titles listed (more if you count the trilogies and Decalogue) and of those 362, I have personally seen 229 and have added an * next to those I've seen. Clearly I have some work to do,...
- 4/10/2013
- by Brad Brevet
- Rope of Silicon
There were two events this last weekend that portend the future of film. One that you all knew about is the worldwide opening of part one of Peter Jackson's Hobbit trilogy. Shot completely in digital using 48 3D Red Epic cameras, The Hobbit is what many film aficionados believe is the future of film whether we like it or not. Lots of cameras, all digital and no film going through the gate at all. Jackson has long been a proponent of the digtial format and has embraced all new technology as the future of cinema. That includes 3D, higher frame rates and the use of Hdr or High Dynamic Range technology. He believes this technology will make images more relistic for the audience. Based on the lukewarm reviews for The Hobbit: An Unexpected Journey, not everyone agrees. The second, less heralded event was Cinefamily's 24 Hour Telethon from the Silent Movie...
- 12/19/2012
- by Bill Cody
- Rope of Silicon
Chicago – It’s that wonderful time of year when we look back on the 11 months that just sped by and try to capture what was best, worst, overlooked, and more. While most of these pieces will just make people disagree, our annual cavalcade of year-end features starts with a piece that you can use to do your holiday shopping! These were the best Blu-ray releases of 2012, a year that saw a bit of a plateau in the technology but still produced enough quality to make a top 20 easy to produce.
First, a few notes.
Considering how easy it would be simply to make a top ten list that was comprised entirely of Criterion Collection Blu-rays, the tough decision was made to eliminate them entirely from contention. While it would be unfair to include them as they’d probably take up at least half the list, it seems just as unfair to ignore them entirely.
First, a few notes.
Considering how easy it would be simply to make a top ten list that was comprised entirely of Criterion Collection Blu-rays, the tough decision was made to eliminate them entirely from contention. While it would be unfair to include them as they’d probably take up at least half the list, it seems just as unfair to ignore them entirely.
- 12/11/2012
- by adam@hollywoodchicago.com (Adam Fendelman)
- HollywoodChicago.com
Les Enfants du Paradis (Children Of Paradise)
Directed by Marcel Carné
Starring Arletty, Jean-Louis Barrault, and Pierre Brasseur
France, 190 min – 1945.
Les Enfants du Paradis is a film about that class of people that hangs on the outskirts of 1820s and 30s French society, exuberantly enjoying theatre productions in the ‘Boulevard du Crime.’ It is very much a piece that celebrates the bohemian artist (of an earlier generation than the famed bohemians depicted in Moulin Rouge) and the tragedies of love. This love centers around the beautiful woman-about-town and artist, Garance (Arletty), and the four men who fall in love with her: Jean-Baptiste Debureau (Jean-Louis Barrault), a famous pantomime actor, Frédérick Lemaître (Pierre Brasseur), an aspiring, classical actor, Pierre-François Lacenaire (Marcel Herrand), a criminal, and finally, Count Édouard de Montray (Louis Salou), a rich aristocrat. Each man falls in love with Garance, but she only gives her heart to one of them.
Directed by Marcel Carné
Starring Arletty, Jean-Louis Barrault, and Pierre Brasseur
France, 190 min – 1945.
Les Enfants du Paradis is a film about that class of people that hangs on the outskirts of 1820s and 30s French society, exuberantly enjoying theatre productions in the ‘Boulevard du Crime.’ It is very much a piece that celebrates the bohemian artist (of an earlier generation than the famed bohemians depicted in Moulin Rouge) and the tragedies of love. This love centers around the beautiful woman-about-town and artist, Garance (Arletty), and the four men who fall in love with her: Jean-Baptiste Debureau (Jean-Louis Barrault), a famous pantomime actor, Frédérick Lemaître (Pierre Brasseur), an aspiring, classical actor, Pierre-François Lacenaire (Marcel Herrand), a criminal, and finally, Count Édouard de Montray (Louis Salou), a rich aristocrat. Each man falls in love with Garance, but she only gives her heart to one of them.
- 11/22/2012
- by Karen Bacellar
- SoundOnSight
Still from Sonchidi
The 3rd edition of Naya Cinema Festival, to be held in Mumbai from November 22-25, will screen Amit Dutta’s Sonchidi and Nainsukh. Both films were selected for Venice Film Festival in 2011 and 2010 respectively.
Anand Gandhi’s Ship of Theseus will also be screened at the festival.
Organised by Enlighten Film Society, the festival will be held at Russian Centre, Pedder Road, Mumbai.
The registration fee for the festival is Rs 599 that includes delegate pass for the entire festival, a festival booklet and access to online festival from 12th December, 2012 to 15th January, 2013. For registration, click here.
Festival programme:
22nd November, 2012
Pickpocket
Dir.: Robert Bresson
Time: 12 pm. (B&W / France / 1959 / 75 mins)
Trial of Joan of Arc
Dir.: Robert Bresson
Time: 1:30 pm (Colour / France / 1962 / 65 mins)
The Wages of Fear
Dir.: Henri-Georges Clouzot
Time: 3:15 pm (B&W / France / 1953 / 147 mins)
12
Dir.: Henri-Georges Clouzot
Time:...
The 3rd edition of Naya Cinema Festival, to be held in Mumbai from November 22-25, will screen Amit Dutta’s Sonchidi and Nainsukh. Both films were selected for Venice Film Festival in 2011 and 2010 respectively.
Anand Gandhi’s Ship of Theseus will also be screened at the festival.
Organised by Enlighten Film Society, the festival will be held at Russian Centre, Pedder Road, Mumbai.
The registration fee for the festival is Rs 599 that includes delegate pass for the entire festival, a festival booklet and access to online festival from 12th December, 2012 to 15th January, 2013. For registration, click here.
Festival programme:
22nd November, 2012
Pickpocket
Dir.: Robert Bresson
Time: 12 pm. (B&W / France / 1959 / 75 mins)
Trial of Joan of Arc
Dir.: Robert Bresson
Time: 1:30 pm (Colour / France / 1962 / 65 mins)
The Wages of Fear
Dir.: Henri-Georges Clouzot
Time: 3:15 pm (B&W / France / 1953 / 147 mins)
12
Dir.: Henri-Georges Clouzot
Time:...
- 11/12/2012
- by NewsDesk
- DearCinema.com
Today, we're featuring Marcel Marceau in 1983. Marceau joined Jean-Louis Barrault's company and was soon cast in the role of Arlequin in the pantomime, Baptiste which Barrault had interpreted in the film Les Enfants du Paradis. In 1947 Marceau created Bip the Clown and was first played at the Thtre de Poche Pocket Theatre in Paris. In his appearance he wore a striped pullover and a battered, beflowered silk opera hat.
- 11/8/2012
- by Walter McBride
- BroadwayWorld.com
Kind Hearts director Robert Hamer shows the same masterly ensemble control two years earlier in this East End melodrama
Robert Hamer's brilliant, brittle melodrama of London's East End, originally released in 1947, came out two years before his masterpiece Kind Hearts and Coronets. It shows the same masterly ensemble control. The film is in many ways a precursor to kitchen-sink movies like Saturday Night and Sunday Morning – and that huge, teeming market scene bears comparison with Carné's Les Enfants du Paradis. It follows a typical Sunday in a working-class neighbourhood. It's raining of course, but there's nothing dull and Sunday-ish about what's going to happen. Googie Withers is Rose, a former barmaid who has settled for marriage with a dull but steady widower with children. Handsome escaped convict Tommy Swann (John McCallum) turns up in their garden shed, pleading for help: she and Tommy were once sweethearts and his reappearance...
Robert Hamer's brilliant, brittle melodrama of London's East End, originally released in 1947, came out two years before his masterpiece Kind Hearts and Coronets. It shows the same masterly ensemble control. The film is in many ways a precursor to kitchen-sink movies like Saturday Night and Sunday Morning – and that huge, teeming market scene bears comparison with Carné's Les Enfants du Paradis. It follows a typical Sunday in a working-class neighbourhood. It's raining of course, but there's nothing dull and Sunday-ish about what's going to happen. Googie Withers is Rose, a former barmaid who has settled for marriage with a dull but steady widower with children. Handsome escaped convict Tommy Swann (John McCallum) turns up in their garden shed, pleading for help: she and Tommy were once sweethearts and his reappearance...
- 10/25/2012
- by Peter Bradshaw
- The Guardian - Film News
By Allen Gardner
Prometheus (20th Century Fox) Ridley Scott’s quasi-prequel to his 1979 classic “Alien” has an intergalactic exploratory team (Noomi Rapace, Michael Fassbender, Guy Pearce, Charlize Theron, Idris Elba) arriving on a uncharted planet, where they discover what appears to be a dormant alien spacecraft and what might be the first discovery of intelligent life outside of Earth. Of course, everything goes straight to hell before you can scream “Don’t touch that egg!” Sumptuous visuals and strong performances from the cast (not to mention a nearly-perfect first half) can’t compensate for gaping plot and logic holes that nearly sink the proceedings in the film’s protracted second half. It feels as though some very crucial footage wound up on the cutting room floor. Perhaps, as with “Alien” and “Aliens” we’ll see a “Director’s Cut” of “Prometheus” arriving on DVD within the next year. In the meantime,...
Prometheus (20th Century Fox) Ridley Scott’s quasi-prequel to his 1979 classic “Alien” has an intergalactic exploratory team (Noomi Rapace, Michael Fassbender, Guy Pearce, Charlize Theron, Idris Elba) arriving on a uncharted planet, where they discover what appears to be a dormant alien spacecraft and what might be the first discovery of intelligent life outside of Earth. Of course, everything goes straight to hell before you can scream “Don’t touch that egg!” Sumptuous visuals and strong performances from the cast (not to mention a nearly-perfect first half) can’t compensate for gaping plot and logic holes that nearly sink the proceedings in the film’s protracted second half. It feels as though some very crucial footage wound up on the cutting room floor. Perhaps, as with “Alien” and “Aliens” we’ll see a “Director’s Cut” of “Prometheus” arriving on DVD within the next year. In the meantime,...
- 10/8/2012
- by The Hollywood Interview.com
- The Hollywood Interview
Known for creating some of the most important films in French history, and during Nazi Occupation, no less, Criterion issues two of Marcel Carne’s most widely acclaimed masterpieces, his crowning achievement, Children of Paradise (1945), which, if you haven’t seen, you need to, and a noteworthy work that directly precedes it, Les Visiteurs du Soir (1942), which has long since been popularly interpreted as an allegory of the hostile occupation. While this interpretation is hardly surprising and seems rather fitting, Carne’s film is much more universal than that, instead conveying the unbreakable spirit of pure love. Presented like the dark, harsh fairy tale it is, Carne managed to create a sumptuously poetic, luxurious film about how love does not indeed conquer all, but can perhaps endure.
Pages flipped by a dark gloved hand inform us that our tale is set in the Middle Ages, May of 1485. Two of the devil’s envoys,...
Pages flipped by a dark gloved hand inform us that our tale is set in the Middle Ages, May of 1485. Two of the devil’s envoys,...
- 9/25/2012
- by Nicholas Bell
- IONCINEMA.com
Chicago – Marcel Carne is one of the most important filmmakers in European history and two of his most timeless efforts, “Children of Paradise” and “Les Visiteurs du Soir,” are two of the most recent films inducted into the most important collection of Blu-rays in the history of the form — The Criterion Collection. “Children” had been a Criterion release before (it’s spine #141) but “Visiteurs” (#626) is new to the collection. Both are gloriously restored version of French classics.
“Children” is the superior of the two, a film that has often been voted the best French film of the last century. It’s often compared to “Gone with the Wind” in its epic scope (it’s 190 minutes long) or at least that’s how it was sold in some markets — “The French Gone with the Wind!” The film is actually much more ambitious thematically than the American epic as wonderfully detailed in...
“Children” is the superior of the two, a film that has often been voted the best French film of the last century. It’s often compared to “Gone with the Wind” in its epic scope (it’s 190 minutes long) or at least that’s how it was sold in some markets — “The French Gone with the Wind!” The film is actually much more ambitious thematically than the American epic as wonderfully detailed in...
- 9/25/2012
- by adam@hollywoodchicago.com (Adam Fendelman)
- HollywoodChicago.com
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