It's 100 years since the first volume of À La Recherche du Temps Perdu was published, but a definitive cinematisation of Proust's epic novel has so far proved elusive
This year has been punctuated by a rash of anniversary-themed books and articles anticipating the first world war centenary, and indeed attempting snapshots of how Europe looked and felt in 1913, eerily poised on the precipice. The other centenary is similar in many ways: on 8 November 1913, Marcel Proust published the first volume of À La Recherche du Temps Perdu, his monumental novel about memory, mortality and art, the belle époque, and the leisured and aristocratic classes of Paris, a city crammed in Proust's pages with the most vivid and extraordinary personalities, destined to be swept away by the Great War.
Fourteen years ago, at Cannes, I saw Raúl Ruiz's superlative screen adaptation of the final volume: Time Regained, in which the narrator,...
This year has been punctuated by a rash of anniversary-themed books and articles anticipating the first world war centenary, and indeed attempting snapshots of how Europe looked and felt in 1913, eerily poised on the precipice. The other centenary is similar in many ways: on 8 November 1913, Marcel Proust published the first volume of À La Recherche du Temps Perdu, his monumental novel about memory, mortality and art, the belle époque, and the leisured and aristocratic classes of Paris, a city crammed in Proust's pages with the most vivid and extraordinary personalities, destined to be swept away by the Great War.
Fourteen years ago, at Cannes, I saw Raúl Ruiz's superlative screen adaptation of the final volume: Time Regained, in which the narrator,...
- 11/7/2013
- by Peter Bradshaw
- The Guardian - Film News
There is a complexity in Pcc rulings aimed at drawing a line between should, and should not, be published
Leveson inquiry: Dowlers and Hugh Grant give evidence - live
"No private life should be entirely off-limits," writes Stephen Glover in today's Independent in a precursor to this week's Leveson inquiry hearings.
It would appear that, in so doing, he comes somewhat closer to the editorial line of his other employer, the Daily Mail, than the Indy itself.
Aside from that, let's consider his substantive argument, based around three particular critics of - and victims of - tabloid intrusion: Hugh Grant, Steve Coogan and Max Mosley.
Glover concedes that none of them "had proclaimed their virtue, and they were therefore not guilty of hypocrisy".
He continues: "Many will say that what they get up to in their private lives is entirely their own business, so long as it is legal."
Many do indeed say it,...
Leveson inquiry: Dowlers and Hugh Grant give evidence - live
"No private life should be entirely off-limits," writes Stephen Glover in today's Independent in a precursor to this week's Leveson inquiry hearings.
It would appear that, in so doing, he comes somewhat closer to the editorial line of his other employer, the Daily Mail, than the Indy itself.
Aside from that, let's consider his substantive argument, based around three particular critics of - and victims of - tabloid intrusion: Hugh Grant, Steve Coogan and Max Mosley.
Glover concedes that none of them "had proclaimed their virtue, and they were therefore not guilty of hypocrisy".
He continues: "Many will say that what they get up to in their private lives is entirely their own business, so long as it is legal."
Many do indeed say it,...
- 11/21/2011
- by Roy Greenslade
- The Guardian - Film News
The opening pages of my memoir, to be published September 13, 2011:
I was born inside the movie of my life. The visuals were before me, the audio surrounded me, the plot unfolded inevitably but not necessarily. I don't remember how I got into the movie, but it continues to entertain me. At first the frames flicker without connection, as they do in Bergman's Persona after the film breaks and begins again. I am flat on my stomach on the front sidewalk, my eyes an inch from a procession of ants. What these are I do not know. It is the only sidewalk in my life, in front of the only house. I have seen grasshoppers and ladybugs. My uncle Bob extends the business end of a fly swatter toward me, and I grasp it and try to walk toward him.
Hal Holmes has a red tricycle and I cry because...
I was born inside the movie of my life. The visuals were before me, the audio surrounded me, the plot unfolded inevitably but not necessarily. I don't remember how I got into the movie, but it continues to entertain me. At first the frames flicker without connection, as they do in Bergman's Persona after the film breaks and begins again. I am flat on my stomach on the front sidewalk, my eyes an inch from a procession of ants. What these are I do not know. It is the only sidewalk in my life, in front of the only house. I have seen grasshoppers and ladybugs. My uncle Bob extends the business end of a fly swatter toward me, and I grasp it and try to walk toward him.
Hal Holmes has a red tricycle and I cry because...
- 8/16/2011
- by Roger Ebert
- blogs.suntimes.com/ebert
IMDb.com, Inc. takes no responsibility for the content or accuracy of the above news articles, Tweets, or blog posts. This content is published for the entertainment of our users only. The news articles, Tweets, and blog posts do not represent IMDb's opinions nor can we guarantee that the reporting therein is completely factual. Please visit the source responsible for the item in question to report any concerns you may have regarding content or accuracy.