Veteran Wheel of Fortune host Pat Sajak is in his retirement year, and he has no issue saying exactly what’s on his mind, even if it means insulting contestants for missing a seemingly easy answer. The playful moment happened on Monday’s (November 27) episode as three new contestants took on the famous game show. Those players were Lynette McClelland, a glamper who has five grandsons; Lissa Zingerman, who rescues elephant seals and sea lion pups; and Vince Jennings, a hobby baker who also makes leather accessories. After all three contestants struggled with the Final Spin puzzle, it was Jennings on the end of Sajak’s roast. The puzzle was a four-word sentence under the “Phrase” category, but all three players had a hard time working it out. Jennings made a guess of “And The Crowd Went Wild,” which was close but not quite the phrase they were looking for.
- 11/28/2023
- TV Insider
Developments around AI continued to accelerate rapidly on Tuesday, as news emerged of an Edith Piaf biopic that will be the first crafted in animation through AI. The project, from Warner Music Entertainment and the production company Seriously Happy, is sanctioned by the iconic French musical artist’s estate, which will be a partner in its creation.
A proof of concept for the biopic has already been created, though Warner Music Entertainment is seeking a studio partner to help take the feature forward.
Charting Piaf’s rise to become a symbol of female empowerment and one of France’s most beloved artists of all time, Edith is made possible courtesy of groundbreaking AI technology that will be used to recreate Piaf’s voice and image. In prep for the project, Warner Music trained AI on hundreds of voice clips and images of Piaf, some of which are over 80 years old.
A proof of concept for the biopic has already been created, though Warner Music Entertainment is seeking a studio partner to help take the feature forward.
Charting Piaf’s rise to become a symbol of female empowerment and one of France’s most beloved artists of all time, Edith is made possible courtesy of groundbreaking AI technology that will be used to recreate Piaf’s voice and image. In prep for the project, Warner Music trained AI on hundreds of voice clips and images of Piaf, some of which are over 80 years old.
- 11/14/2023
- by Matt Grobar
- Deadline Film + TV
Luc Besson’s Dogman is a superhero movie in search of a comic book, which makes a refreshing change amid the summer’s raft of DC disappointments. It skews a little close to Todd Phillips’ Golden Lion winner Joker in terms of weirdness and (especially) wardrobe, but it also offers the perfect showcase for star Caleb Landry Jones, who imbues a boisterously insane action thriller with heart and soul in what must surely be a career-high performance. Which is no mean feat for an actor whose work has always been excellent and has so often gone under the radar.
There is nothing remotely under-the-radar about Dogman, which fuses movies as diverse as Flawless and Willard with Besson’s trademark, anything-goes approach to genre. Besson’s films don’t always work — for every Léon there is a Lucy — but somehow it pulls together here as, pun intended, a shaggy-dog story spin by its hero.
There is nothing remotely under-the-radar about Dogman, which fuses movies as diverse as Flawless and Willard with Besson’s trademark, anything-goes approach to genre. Besson’s films don’t always work — for every Léon there is a Lucy — but somehow it pulls together here as, pun intended, a shaggy-dog story spin by its hero.
- 8/31/2023
- by Damon Wise
- Deadline Film + TV
“Talk to Me” is, unquestionably, the horror movie of the year. A fast, funny, very scary campfire story about a group of Australian teens who treat a cursed hand that opens a doorway to the spirit realm like a common party drug. (“One more time!”)
What makes the movie even more impressive is that it was directed by twin brothers Danny and Michael Philippou, known mostly for their YouTube channel RackaRacka (with nearly 7 million subscribers), full of prankish, impish content that still exhibits a technical knowledge and playful willingness to experiment. (A video simply titled “DC vs Marvel (Avengers Battle)” has 74 million views.)
The Philippou brothers went from YouTube to having their movie released by A24. A24 is also, of course, putting out a limited-edition line of merchandise. And you know what? They seem thrilled.
TheWrap spoke to the Philippou boys on the day that “Talk to Me” hit theaters and they were overjoyed.
What makes the movie even more impressive is that it was directed by twin brothers Danny and Michael Philippou, known mostly for their YouTube channel RackaRacka (with nearly 7 million subscribers), full of prankish, impish content that still exhibits a technical knowledge and playful willingness to experiment. (A video simply titled “DC vs Marvel (Avengers Battle)” has 74 million views.)
The Philippou brothers went from YouTube to having their movie released by A24. A24 is also, of course, putting out a limited-edition line of merchandise. And you know what? They seem thrilled.
TheWrap spoke to the Philippou boys on the day that “Talk to Me” hit theaters and they were overjoyed.
- 8/2/2023
- by Drew Taylor
- The Wrap
Tár writer/director Todd Field discusses a few of his favorite movies with Josh Olson and Joe Dante.
Show Notes: Movies Referenced In This Episode
You Only Live Twice (1967) – Dana Gould’s trailer commentary
Tár (2022)
Man With A Movie Camera (1929)
Battleship Potemkin (1925)
Koyaanisqatsi (1982)
The Big Parade (1925)
Lawrence Of Arabia (1962)
The Crowd (1928)
Star Wars (1977)
The Servant (1963)
Parasite (2019) – Glenn Erickson’s Blu-ray review, Dennis Cozzalio’s review
The Three Musketeers (1973) – Josh Olson’s trailer commentary
Figures In A Landscape (1970)
M (1931)
M (1951)
I Am Cuba (1964)
The Cranes Are Flying (1957) – Glenn Erickson’s Criterion Blu-ray review
Letter Never Sent (1960)
Shadows of Forgotten Ancestors (1965)
Butch Cassidy And The Sundance Kid (1969)
The Towering Inferno (1974) – George Hickenlooper’s trailer commentary
The Great Waldo Pepper (1975)
The Sting (1973)
The World of Henry Orient (1964) – Larry Karaszewski’s trailer commentary
Thelma And Louise (1991)
Murmur Of The Heart (1971)
The Silent World (1956)
Opening Night (1977)
The Killing Of A Chinese Bookie (1976) – Larry Karaszewski’s...
Show Notes: Movies Referenced In This Episode
You Only Live Twice (1967) – Dana Gould’s trailer commentary
Tár (2022)
Man With A Movie Camera (1929)
Battleship Potemkin (1925)
Koyaanisqatsi (1982)
The Big Parade (1925)
Lawrence Of Arabia (1962)
The Crowd (1928)
Star Wars (1977)
The Servant (1963)
Parasite (2019) – Glenn Erickson’s Blu-ray review, Dennis Cozzalio’s review
The Three Musketeers (1973) – Josh Olson’s trailer commentary
Figures In A Landscape (1970)
M (1931)
M (1951)
I Am Cuba (1964)
The Cranes Are Flying (1957) – Glenn Erickson’s Criterion Blu-ray review
Letter Never Sent (1960)
Shadows of Forgotten Ancestors (1965)
Butch Cassidy And The Sundance Kid (1969)
The Towering Inferno (1974) – George Hickenlooper’s trailer commentary
The Great Waldo Pepper (1975)
The Sting (1973)
The World of Henry Orient (1964) – Larry Karaszewski’s trailer commentary
Thelma And Louise (1991)
Murmur Of The Heart (1971)
The Silent World (1956)
Opening Night (1977)
The Killing Of A Chinese Bookie (1976) – Larry Karaszewski’s...
- 1/10/2023
- by Kris Millsap
- Trailers from Hell
US one sheet for Our Daily Bread.Though he was a name-above-the-title director back in the day and made some of the enduring classics of American cinema, the great Hollywood director King Vidor is no longer remembered as Hollywood royalty. The son of a Hungarian immigrant, Vidor made some 50 feature films over the course of 40 years, was nominated five times for the Academy Award for Best Director (in 1979 he was finally awarded an Honorary Oscar), and some of his films—The Crowd (1928) and Hallelujah! (1929) in particular—are die-hard masterpieces. Starting today, New York’s Film at Lincoln Center will be showing 20 of Vidor’s features in an attempt to redress the balance and revitalize his reputation. It is the first major US retrospective of his work since “Rediscovering King Vidor” ran at the Public Theater in 1994, on the 100th anniversary of his birth..Restlessly exploring multiple genres, working from the...
- 8/3/2022
- MUBI
Each week we highlight the noteworthy titles that have recently hit streaming platforms in the United States. Check out this week’s selections below and past round-ups here.
China Lost and Found: Eight Films by Jia Zhangke
One of the greatest directors to emerge in this young century, Jia Zhangke has captured his native country like few others. The Criterion Channel is now spotlighting his stellar body of work, including the new restoration of his debut Xiao Wu (1997), along with Platform (2000), Unknown Pleasures (2002), The World (2004), Still Life (2006), 24 City (2008), A Touch of Sin (2013), and Mountains May Depart (2015). Also playing is the documentary Jia Zhangke, A Guy from Fenyang from 2014.
Where to Stream: The Criterion Channel
Irma Vep (Olivier Assayas)
In the quarter-century since its debut, Olivier Assayas’ hilarious, mischievous, altogether unclassifiable Irma Vep stands merrily uninterested in many things contemporary movies are meant to be interested in—not ultra-sophisticated narrative gimmickry...
China Lost and Found: Eight Films by Jia Zhangke
One of the greatest directors to emerge in this young century, Jia Zhangke has captured his native country like few others. The Criterion Channel is now spotlighting his stellar body of work, including the new restoration of his debut Xiao Wu (1997), along with Platform (2000), Unknown Pleasures (2002), The World (2004), Still Life (2006), 24 City (2008), A Touch of Sin (2013), and Mountains May Depart (2015). Also playing is the documentary Jia Zhangke, A Guy from Fenyang from 2014.
Where to Stream: The Criterion Channel
Irma Vep (Olivier Assayas)
In the quarter-century since its debut, Olivier Assayas’ hilarious, mischievous, altogether unclassifiable Irma Vep stands merrily uninterested in many things contemporary movies are meant to be interested in—not ultra-sophisticated narrative gimmickry...
- 9/3/2021
- by Jordan Raup
- The Film Stage
Next month’s Criterion Channel selection is here, and as 2021 winds down further cements their status as our single greatest streaming service. Off the top I took note of their eight-film Jia Zhangke retro as well as the streaming premieres of Center Stage and Malni. And, yes, Margaret has been on HBO Max for a while, but we can hope Criterion Channel’s addition—as part of the 63(!)-film “New York Stories”—opens doors to a more deserving home-video treatment.
Aki Kaurismäki’s Finland Trilogy, Bruno Dumont’s Joan of Arc duology, and Criterion’s editions of Irma Vep and Flowers of Shanghai also mark major inclusions—just a few years ago the thought of Hou’s masterpiece streaming in HD was absurd.
I could implore you not to sleep on The Hottest August and Point Blank and Variety and In the Cut or, look, so many Ernst Lubitsch movies,...
Aki Kaurismäki’s Finland Trilogy, Bruno Dumont’s Joan of Arc duology, and Criterion’s editions of Irma Vep and Flowers of Shanghai also mark major inclusions—just a few years ago the thought of Hou’s masterpiece streaming in HD was absurd.
I could implore you not to sleep on The Hottest August and Point Blank and Variety and In the Cut or, look, so many Ernst Lubitsch movies,...
- 8/25/2021
- by Leonard Pearce
- The Film Stage
Dreams and disputations about “modernization” vs. “the land,” of what free labor did and could entail, were profuse in mid-1930s America. Alive in the minds and actions of the displaced worker and cloistered idealist alike. Director King Vidor had long been using moving images to think along the same lines, but in 1934 these ideas collided with real world events, and his own aspirations for independence within his trade, and produced a sui generis film. Born as a reaction to the widespread suffering of the Great Depression, and from reading a Reader’s Digest article advocating for co-operative farming as a solution to unemployment, Our Daily Bread was developed by Vidor and his then wife and close-collaborator Florence Hill, as a semi-sequel to his 1928 film The Crowd, which followed the tribulations of an ambitious “everyman.” Like The Crowd, Our Daily Bread features the Sims couple, John and Mary, this time...
- 8/16/2021
- MUBI
American director-producer-screenwriter King Vidor (1894-1982), whose long and notable career parallels the history of Hollywood filmmaking, is the subject of a 35-film retrospective at the Berlinale, curated by Rainer Rother, artistic director of the Deutsche Kinematek and head of the Retrospective program. The films, chosen from five decades, will be screened in the best extant copies. Rother notes, “We are able to present very good 35mm prints of most of the films; given the developments in the industry, that most likely won’t be possible too often anymore.” Screenings will take place at CinemaxX 8 and at Zeughauskino, which is part of the Deutsches Historisches Museum. Select silent works will feature live piano accompaniment.
After several retrospectives centering on films from specific time periods or genres, or illuminating the history of aesthetic and technical innovations, Rother felt it was a good time to dedicate a retrospective to a director again. Why Vidor?...
After several retrospectives centering on films from specific time periods or genres, or illuminating the history of aesthetic and technical innovations, Rother felt it was a good time to dedicate a retrospective to a director again. Why Vidor?...
- 2/20/2020
- by Alissa Simon
- Variety Film + TV
Exclusive: Angus Sampson (Insidious franchise) is set as a series regular opposite Kiele Sanchez in CBS’ drama The Lincoln Lawyer, from The Practice creator David E. Kelley based on Michael Connelly’s series of bestselling novels. It hails from A+E Studios, which will co-produce with CBS TV Studios.
Sampson will play Cisco, a former biker gang member who now serves as Mickey’s (yet to be cast) investigator, friend, and when necessary, bodyguard, Cisco is an imposing figure with a keen mind and a deep well of contacts on both sides of the law that help him do his job.
The search continues for the lead role of Mickey Haller, played in the 2011 feature adaptation by Matthew McConaughey.
Written by Kelley and directed by Bernstein, The Lincoln Lawyer centers on Mickey Haller, an iconoclastic idealist, who runs his law practice out of the back of his Lincoln Town Car, as...
Sampson will play Cisco, a former biker gang member who now serves as Mickey’s (yet to be cast) investigator, friend, and when necessary, bodyguard, Cisco is an imposing figure with a keen mind and a deep well of contacts on both sides of the law that help him do his job.
The search continues for the lead role of Mickey Haller, played in the 2011 feature adaptation by Matthew McConaughey.
Written by Kelley and directed by Bernstein, The Lincoln Lawyer centers on Mickey Haller, an iconoclastic idealist, who runs his law practice out of the back of his Lincoln Town Car, as...
- 2/19/2020
- by Denise Petski
- Deadline Film + TV
Kingdom alumna Kiele Sanchez has been cast as a female lead in CBS’ drama The Lincoln Lawyer, from The Practice creator David E. Kelley based on Michael Connelly’s series of bestselling novels. Wisdom of the Crowd creator Ted Humphrey has come on board as executive producer and showrunner, and Adam Bernstein (Divorce) has been tapped to direct and executive produce the project, which has a series order. It hails from A+E Studios, which will co-produce with CBS TV Studios. Sanchez is the first actor cast as the search continues for the lead role of Mickey Haller, played in the 2011 feature adaptation by Matthew McConaughey.
Written by Kelley and directed by Bernstein, The Lincoln Lawyer centers on Mickey Haller, an iconoclastic idealist, who runs his law practice out of the back of his Lincoln Town Car, as he takes on cases big and small across the expansive city of Los Angeles.
Written by Kelley and directed by Bernstein, The Lincoln Lawyer centers on Mickey Haller, an iconoclastic idealist, who runs his law practice out of the back of his Lincoln Town Car, as he takes on cases big and small across the expansive city of Los Angeles.
- 2/3/2020
- by Nellie Andreeva and Denise Petski
- Deadline Film + TV
It’s expressive silent filmmaking at its best — Anthony Asquith vies with Alfred Hitchcock for direction in silent-era England. Elissa Landi and Brian Aherne meet in the Tube but become entangled in the jealous scheme of the jealous Cyril McLaglen. Restored just a few years back after being unavailable for generations, this is a beauty: the BFI gives it a full orchestral orchestra score, plus a second avant-garde ‘contextual audio’ track.
Underground
Blu-ray
Kino Classics / BFI
1928 / B&W / 1:33 silent ap. / 93 min. / Street Date April 23, 2019 / available through Kino Lorber / 29.95
Starring: Elissa Landi, Brian Aherne, Cyril McLaglen, Norah Baring.
Cinematography: Stanley Rodwell
Art Direction: Ian Campbell-Gray
Written and Directed by Anthony Asquith
If one was asked to come up with the name of a ‘tame’ English director, the answer a while back might have been Anthony Asquith, a privileged toff whose post-grad lark was to spend a year in Hollywood, learning all...
Underground
Blu-ray
Kino Classics / BFI
1928 / B&W / 1:33 silent ap. / 93 min. / Street Date April 23, 2019 / available through Kino Lorber / 29.95
Starring: Elissa Landi, Brian Aherne, Cyril McLaglen, Norah Baring.
Cinematography: Stanley Rodwell
Art Direction: Ian Campbell-Gray
Written and Directed by Anthony Asquith
If one was asked to come up with the name of a ‘tame’ English director, the answer a while back might have been Anthony Asquith, a privileged toff whose post-grad lark was to spend a year in Hollywood, learning all...
- 3/30/2019
- by Glenn Erickson
- Trailers from Hell
Prepare to let your jaw drop: Jennifer Jones and Charlton Heston’s sleazy bucolic ‘romance’ comes off as two-way sex harassment, with suggestive one-liners that make us cringe. Are there other pictures like this? Is this where dolts came to believe that women wanted to be treated like stupid squeeze toys? The great King Vidor directed, with no sign of intentional satire — the bizarre, eventually violent Southern-set melodrama is a one-of-a-kind grotesque spectacle.
Ruby Gentry
Blu-ray
Kl Studio Classics
1952 / B&W / 1:37 flat Academy / 82 min. / Street Date April 24, 2018 / available through Kino Lorber / 24.96
Starring: Jennifer Jones, Charlton Heston, Karl Malden, Tom Tully, James Anderson, Josephine Hutchinson, Phyllis Avery, Barney Phillips.
Cinematography: Russell Harlan
Film Editor: Terry Morse
Original Music: Heinz Roemheld
Written by Silvia Richards from a story by Arthur Fitz-Richard
Produced by Joseph Bernhard, King Vidor
Directed by King Vidor
I have two basic thoughts on 1952’s Ruby Gentry. First,...
Ruby Gentry
Blu-ray
Kl Studio Classics
1952 / B&W / 1:37 flat Academy / 82 min. / Street Date April 24, 2018 / available through Kino Lorber / 24.96
Starring: Jennifer Jones, Charlton Heston, Karl Malden, Tom Tully, James Anderson, Josephine Hutchinson, Phyllis Avery, Barney Phillips.
Cinematography: Russell Harlan
Film Editor: Terry Morse
Original Music: Heinz Roemheld
Written by Silvia Richards from a story by Arthur Fitz-Richard
Produced by Joseph Bernhard, King Vidor
Directed by King Vidor
I have two basic thoughts on 1952’s Ruby Gentry. First,...
- 5/3/2018
- by Glenn Erickson
- Trailers from Hell
Maybe Todd Haynes has always been too smart for his own good. The 56-year-old director has been making films for nearly 40 years, but in some ways he’s still the Brown semiotics grad who can’t resist the siren’s call of form. As he admits, “I like to set up obstacles at times, because movies are ultimately about what the spectator brings to them.”
That would seem to make him an unlikely candidate to direct a young-adult adaptation, but his “Carol” and “Velvet Goldmine” costume designer Sandy Powell knew better. When she discovered Brian Selznick’s 2011 graphic novel “Wonderstruck,” which intertwines stories from 1927 and 1977 in a young-adult mystery with little dialogue, she encouraged him to adapt it for Haynes on spec.
Indeed, Haynes found the “Wonderstruck” screenplay downright Haynesian. “Brian’s script was so ornately and attentively cinematic,” he said. “Not just the movie references, but the use of...
That would seem to make him an unlikely candidate to direct a young-adult adaptation, but his “Carol” and “Velvet Goldmine” costume designer Sandy Powell knew better. When she discovered Brian Selznick’s 2011 graphic novel “Wonderstruck,” which intertwines stories from 1927 and 1977 in a young-adult mystery with little dialogue, she encouraged him to adapt it for Haynes on spec.
Indeed, Haynes found the “Wonderstruck” screenplay downright Haynesian. “Brian’s script was so ornately and attentively cinematic,” he said. “Not just the movie references, but the use of...
- 10/23/2017
- by Anne Thompson
- Thompson on Hollywood
Maybe Todd Haynes has always been too smart for his own good. The 56-year-old director has been making films for nearly 40 years, but in some ways he’s still the Brown semiotics grad who can’t resist the siren’s call of form. As he admits, “I like to set up obstacles at times, because movies are ultimately about what the spectator brings to them.”
That would seem to make him an unlikely candidate to direct a young-adult adaptation, but his “Carol” and “Velvet Goldmine” costume designer Sandy Powell knew better. When she discovered Brian Selznick’s 2011 graphic novel “Wonderstruck,” which intertwines stories from 1927 and 1977 in a young-adult mystery with little dialogue, she encouraged him to adapt it for Haynes on spec.
Indeed, Haynes found the “Wonderstruck” screenplay downright Haynesian. “Brian’s script was so ornately and attentively cinematic,” he said. “Not just the movie references, but the use of...
That would seem to make him an unlikely candidate to direct a young-adult adaptation, but his “Carol” and “Velvet Goldmine” costume designer Sandy Powell knew better. When she discovered Brian Selznick’s 2011 graphic novel “Wonderstruck,” which intertwines stories from 1927 and 1977 in a young-adult mystery with little dialogue, she encouraged him to adapt it for Haynes on spec.
Indeed, Haynes found the “Wonderstruck” screenplay downright Haynesian. “Brian’s script was so ornately and attentively cinematic,” he said. “Not just the movie references, but the use of...
- 10/23/2017
- by Anne Thompson
- Indiewire
With the premiere of his film “Wonderstruck” right around the corner, Todd Haynes has compiled a list of films that inspired him through the making of his film. This selection of films will be part of Turner Classic Movies’ night program this coming Thursday October 19, one day before the film hits select theaters on October 20.
Related:‘Wonderstruck’ Trailer: Todd Haynes’ Love Letter to Silent Cinema is a Profound Gem
“Wonderstruck” conjoins the stories of two kids living in different time periods who are both dreaming of something different: a girl from New York during the 1920s and a boy from the Midwest during the 1970s. As they seek meaning in their lives, their stories will connect through time. Here is the list of films that Haynes studied when making “Wonderstruck”:
The first one is “The Crowd,” directed by King Vidor from 1928. It is a silent film that follows the...
Related:‘Wonderstruck’ Trailer: Todd Haynes’ Love Letter to Silent Cinema is a Profound Gem
“Wonderstruck” conjoins the stories of two kids living in different time periods who are both dreaming of something different: a girl from New York during the 1920s and a boy from the Midwest during the 1970s. As they seek meaning in their lives, their stories will connect through time. Here is the list of films that Haynes studied when making “Wonderstruck”:
The first one is “The Crowd,” directed by King Vidor from 1928. It is a silent film that follows the...
- 10/17/2017
- by Alberto Achar
- Indiewire
Todd Haynes loves period films, and capturing the look of the eras’ movies, but he doesn’t stop there; he’s obsessed with the visual languages as well. And all of that would be impossible without Haynes’ longtime cinematographer Edward Lachman, who takes a forensic approach: If you want the look, it makes sense to use the tools and production modes that created it.
In “Far From Heaven,” Lachman figured out how to recreate the manufactured studio look of Douglas Sirk’s 1950s Universal melodramas, while shooting on real locations. For “Carol,” he mirrored the color palette and sense of composition of mid-century color photographers like Saul Leiter.
Read More: Cannes Review – With ‘Wonderstruck,’ Todd Haynes Returns With A Profoundly Moving Fable For All Ages
Lachman and Haynes’ latest collaboration on “Wonderstruck” – which just premiered at Cannes to rave reviews and is in the early poll position for the Palme...
In “Far From Heaven,” Lachman figured out how to recreate the manufactured studio look of Douglas Sirk’s 1950s Universal melodramas, while shooting on real locations. For “Carol,” he mirrored the color palette and sense of composition of mid-century color photographers like Saul Leiter.
Read More: Cannes Review – With ‘Wonderstruck,’ Todd Haynes Returns With A Profoundly Moving Fable For All Ages
Lachman and Haynes’ latest collaboration on “Wonderstruck” – which just premiered at Cannes to rave reviews and is in the early poll position for the Palme...
- 5/20/2017
- by Chris O'Falt
- Indiewire
‘Wonderstruck’ Is Cannes’ First Oscar Contender and Other Revelations From Festival Press Conference
“Wonderstruck” is the perfect match of rich source material and cinema. Author Brian Selznick (“Hugo”) was inspired to adapt his own graphic novel intertwining two stories from 1927 and 1977 when costume designer Sandy Powell pulled it off a shelf and said, “This should be a Todd Haynes movie.”
Selznick, following the recent model of “Room” author Emma Donoghue, secretly adapted his own script on spec, with a little advice from “Hugo” screenwriter John Logan, which doesn’t hurt. By the time the detailed screenplay, complete with sound notes, got to Haynes, the director found its cinematic riches “irresistible,” he said at the Cannes press conference. He artfully weaves a propulsive mystery, throwing the audience clues in both the black and white silent narrative and the color with a ’70s story that eventually ties all the threads together.
Read More: The 2017 IndieWire Cannes Bible: Every Review, Interview and News Item Posted During...
Selznick, following the recent model of “Room” author Emma Donoghue, secretly adapted his own script on spec, with a little advice from “Hugo” screenwriter John Logan, which doesn’t hurt. By the time the detailed screenplay, complete with sound notes, got to Haynes, the director found its cinematic riches “irresistible,” he said at the Cannes press conference. He artfully weaves a propulsive mystery, throwing the audience clues in both the black and white silent narrative and the color with a ’70s story that eventually ties all the threads together.
Read More: The 2017 IndieWire Cannes Bible: Every Review, Interview and News Item Posted During...
- 5/18/2017
- by Anne Thompson
- Thompson on Hollywood
‘Wonderstruck’ Is Cannes’ First Oscar Contender and Other Revelations From Festival Press Conference
“Wonderstruck” is the perfect match of rich source material and cinema. Author Brian Selznick (“Hugo”) was inspired to adapt his own graphic novel intertwining two stories from 1927 and 1977 when costume designer Sandy Powell pulled it off a shelf and said, “This should be a Todd Haynes movie.”
Selznick, following the recent model of “Room” author Emma Donoghue, secretly adapted his own script on spec, with a little advice from “Hugo” screenwriter John Logan, which doesn’t hurt. By the time the detailed screenplay, complete with sound notes, got to Haynes, the director found its cinematic riches “irresistible,” he said at the Cannes press conference. He artfully weaves a propulsive mystery, throwing the audience clues in both the black and white silent narrative and the color with a ’70s story that eventually brings ties all the threads together.
Read More: The 2017 IndieWire Cannes Bible: Every Review, Interview and News Item Posted...
Selznick, following the recent model of “Room” author Emma Donoghue, secretly adapted his own script on spec, with a little advice from “Hugo” screenwriter John Logan, which doesn’t hurt. By the time the detailed screenplay, complete with sound notes, got to Haynes, the director found its cinematic riches “irresistible,” he said at the Cannes press conference. He artfully weaves a propulsive mystery, throwing the audience clues in both the black and white silent narrative and the color with a ’70s story that eventually brings ties all the threads together.
Read More: The 2017 IndieWire Cannes Bible: Every Review, Interview and News Item Posted...
- 5/18/2017
- by Anne Thompson
- Indiewire
All sing the praises of Frank Borzage, a gentle director fully committed to the idea of romance in an imperfect world. Sally Eilers and James Dunn make a go of marriage, despite their personal flaws and difficulties with communication. It’s hard to believe that films of this vintage portray behaviors as sensitive as this.
Bad Girl
Blu-ray
Kl Studio Classics
1931 / B&W / 1:37 flat Academy / 90 min. / Street Date December 13, 2016 / available through Kino Lorber / 29.95
Starring James Dunn, Sally Eilers, Minna Gombell, Sarah Padden, William Pawley, Billy Watson.
Cinematography Chester A. Lyons
Film Editor Margaret Clancey
Written by Viña Delmar, Brian Marlow, Edwin J. Burke
Directed by Frank Borzage
Reviewed by Glenn Erickson
Directors don’t come any more romantic than Frank Borzage. It is said that he was one of several Fox directors, including John Ford, who were heavily influenced by F.W. Murnau, whose Sunrise was a massive hit in...
Bad Girl
Blu-ray
Kl Studio Classics
1931 / B&W / 1:37 flat Academy / 90 min. / Street Date December 13, 2016 / available through Kino Lorber / 29.95
Starring James Dunn, Sally Eilers, Minna Gombell, Sarah Padden, William Pawley, Billy Watson.
Cinematography Chester A. Lyons
Film Editor Margaret Clancey
Written by Viña Delmar, Brian Marlow, Edwin J. Burke
Directed by Frank Borzage
Reviewed by Glenn Erickson
Directors don’t come any more romantic than Frank Borzage. It is said that he was one of several Fox directors, including John Ford, who were heavily influenced by F.W. Murnau, whose Sunrise was a massive hit in...
- 12/6/2016
- by Glenn Erickson
- Trailers from Hell
With his three features — Aftershool, Simon Killer, and, most recently, Christine — director Antonio Campos has crafted a trilogy of tightly controlled character studies that put us in the scarred minds of our protagonists like few other emerging directors. To get a sense of the formative films in his life, as part of his submission to the latest Sight & Sound poll, the director revealed his 10 favorite films.
Including his “favorite film” A Clockwork Orange (as well as another Kubrick feature), there’s also classics from Francis Ford Coppola, Ingmar Bergman, and François Truffaut. Also popping up are films from Michael Haneke and Bruno Dumont, which should be no surprise if you’ve seen one of Campos’ films, and the oldest selection is King Vidor‘s The Crowd, a technically marvelous achievement from the silent era.
Check out this picks below, following a primer quote from his interview with Slant:
I grew up on narrative cinema.
Including his “favorite film” A Clockwork Orange (as well as another Kubrick feature), there’s also classics from Francis Ford Coppola, Ingmar Bergman, and François Truffaut. Also popping up are films from Michael Haneke and Bruno Dumont, which should be no surprise if you’ve seen one of Campos’ films, and the oldest selection is King Vidor‘s The Crowd, a technically marvelous achievement from the silent era.
Check out this picks below, following a primer quote from his interview with Slant:
I grew up on narrative cinema.
- 10/24/2016
- by Jordan Raup
- The Film Stage
By Patrick Shanley
Managing Editor
The Martian, which remained in the top three at the box office over the weekend in its sixth week at theaters, is a bonafide hit for legendary director Ridley Scott and will almost certainly earn multiple nominations from the Academy.
Scott is no stranger to nominations, having earned three best directing nods in his career, but the award itself still eludes the English director. 2000’s Gladiator may have earned a best actor Oscar for Russell Crowe and best picture, but Scott lost best director to Steven Soderbergh for Traffic. The very next year saw the same outcome for Scott as his directing nomination for Black Hawk Down lost out to Crowe-starring A Beautiful Mind‘s director, Ron Howard.
This year is shaping up to be different for Scott, however, as The Martian continues to rack up at the box office and resound with critics. A...
Managing Editor
The Martian, which remained in the top three at the box office over the weekend in its sixth week at theaters, is a bonafide hit for legendary director Ridley Scott and will almost certainly earn multiple nominations from the Academy.
Scott is no stranger to nominations, having earned three best directing nods in his career, but the award itself still eludes the English director. 2000’s Gladiator may have earned a best actor Oscar for Russell Crowe and best picture, but Scott lost best director to Steven Soderbergh for Traffic. The very next year saw the same outcome for Scott as his directing nomination for Black Hawk Down lost out to Crowe-starring A Beautiful Mind‘s director, Ron Howard.
This year is shaping up to be different for Scott, however, as The Martian continues to rack up at the box office and resound with critics. A...
- 11/11/2015
- by Patrick Shanley
- Scott Feinberg
First Best Actor Oscar winner Emil Jannings and first Best Actress Oscar winner Janet Gaynor on TCM (photo: Emil Jannings in 'The Last Command') First Best Actor Academy Award winner Emil Jannings in The Last Command, first Best Actress Academy Award winner Janet Gaynor in Sunrise, and sisters Norma Talmadge and Constance Talmadge are a few of the silent era performers featured this evening on Turner Classic Movies, as TCM continues with its Silent Monday presentations. Starting at 5 p.m. Pt / 8 p.m. Et on November 17, 2014, get ready to check out several of the biggest movie stars of the 1920s. Following the Jean Negulesco-directed 1943 musical short Hit Parade of the Gay Nineties -- believe me, even the most rabid anti-gay bigot will be able to enjoy this one -- TCM will be showing Josef von Sternberg's The Last Command (1928) one of the two movies that earned...
- 11/18/2014
- by Andre Soares
- Alt Film Guide
Hedy Lamarr: 'Invention' and inventor on Turner Classic Movies (photo: Hedy Lamarr publicity shot ca. early '40s) Two Hedy Lamarr movies released during her heyday in the early '40s — Victor Fleming's Tortilla Flat (1942), co-starring Spencer Tracy and John Garfield, and King Vidor's H.M. Pulham, Esq. (1941), co-starring Robert Young and Ruth Hussey — will be broadcast on Turner Classic Movies on Wednesday, November 12, 2014, at 7 p.m. and 9 p.m. Pt, respectively. Best known as a glamorous Hollywood star (Ziegfeld Girl, White Cargo, Samson and Delilah), the Viennese-born Lamarr (née Hedwig Eva Maria Kiesler), who would have turned 100 on November 9, was also an inventor: she co-developed and patented with composer George Antheil the concept of frequency hopping, currently known as spread-spectrum communications (or "spread-spectrum broadcasting"), which ultimately led to the evolution of wireless technology. (More on the George Antheil and Hedy Lamarr invention further below.) Somewhat ironically,...
- 11/2/2014
- by Andre Soares
- Alt Film Guide
Salon "Dear serial tweet-favoriter: you are a coward" lol. a must read for anyone with a Twitter account
The Uncool Cameron Crowe's agonizing search for a title for Almost Famous (2000)... in notepad form
Film School Rejects two members of the staff watched "the 50 best movies of all time" and here are their takeaways from that two year process
Antagony & Ecstasy on King Vidor's The Crowd (1928) at the great end of silent filmmaking
Kenneth in the (212) shares a pretty great X-Men related Graham Norton wherein Fassy & McAvoy see gay fan art of themselves
Mnpp tries to rekindle his love for George Clooney with his three favorite Clooneys. Good choices
Variety asks where the kids movies are this summer in the absence of Pixar
The Wire "Zac Efron hits bottom by accepting life advice from Tom Cruise" haha. I'm linking that for the title alone
i09 see what your favorite...
The Uncool Cameron Crowe's agonizing search for a title for Almost Famous (2000)... in notepad form
Film School Rejects two members of the staff watched "the 50 best movies of all time" and here are their takeaways from that two year process
Antagony & Ecstasy on King Vidor's The Crowd (1928) at the great end of silent filmmaking
Kenneth in the (212) shares a pretty great X-Men related Graham Norton wherein Fassy & McAvoy see gay fan art of themselves
Mnpp tries to rekindle his love for George Clooney with his three favorite Clooneys. Good choices
Variety asks where the kids movies are this summer in the absence of Pixar
The Wire "Zac Efron hits bottom by accepting life advice from Tom Cruise" haha. I'm linking that for the title alone
i09 see what your favorite...
- 5/8/2014
- by NATHANIEL R
- FilmExperience
Sunrise
Scenario by Carl Mayer, from an original theme by Hermann Sudermann
Directed by F.W. Murnau
USA, 1927
William Fox had seen Faust, Nosferatu, and The Last Laugh, and on the basis of these German masterworks, he brought their creator, F.W. Murnau, to Hollywood. What he got was a truly distinct cinematic vision, which was what he had in mind: something to set a few Fox features apart from the other studios’ output. What he probably didn’t expect was just how much of that “artsy” European touch he was going to get with Murnau on contract. Were American audiences going to go for this type of movie, with its symbolism, melodious structure, and overtly self-conscious style? At any rate, Murnau’s first picture at Fox was one to remember. Sunrise, from 1927, is one of the greatest of all films. It is a touching, beautiful, and artistically accomplished movie, one of the best ever made,...
Scenario by Carl Mayer, from an original theme by Hermann Sudermann
Directed by F.W. Murnau
USA, 1927
William Fox had seen Faust, Nosferatu, and The Last Laugh, and on the basis of these German masterworks, he brought their creator, F.W. Murnau, to Hollywood. What he got was a truly distinct cinematic vision, which was what he had in mind: something to set a few Fox features apart from the other studios’ output. What he probably didn’t expect was just how much of that “artsy” European touch he was going to get with Murnau on contract. Were American audiences going to go for this type of movie, with its symbolism, melodious structure, and overtly self-conscious style? At any rate, Murnau’s first picture at Fox was one to remember. Sunrise, from 1927, is one of the greatest of all films. It is a touching, beautiful, and artistically accomplished movie, one of the best ever made,...
- 1/17/2014
- by Jeremy Carr
- SoundOnSight
Think silent films reached a high point with The Artist? The pre-sound era produced some of the most beautiful, arresting films ever made. From City Lights to Metropolis, Guardian and Observer critics pick the 10 best
• Top 10 teen movies
• Top 10 superhero movies
• Top 10 westerns
• Top 10 documentaries
• Top 10 movie adaptations
• Top 10 animated movies
• More Guardian and Observer critics' top 10s
10. City Lights
City Lights was arguably the biggest risk of Charlie Chaplin's career: The Jazz Singer, released at the end of 1927, had seen sound take cinema by storm, but Chaplin resisted the change-up, preferring to continue in the silent tradition. In retrospect, this isn't so much the precious behaviour of a purist but the smart reaction of an experienced comedian; Chaplin's films rarely used intertitles anyway, and though it is technically "silent", City Lights is very mindful of it own self-composed score and keenly judged sound effects.
At its heart,...
• Top 10 teen movies
• Top 10 superhero movies
• Top 10 westerns
• Top 10 documentaries
• Top 10 movie adaptations
• Top 10 animated movies
• More Guardian and Observer critics' top 10s
10. City Lights
City Lights was arguably the biggest risk of Charlie Chaplin's career: The Jazz Singer, released at the end of 1927, had seen sound take cinema by storm, but Chaplin resisted the change-up, preferring to continue in the silent tradition. In retrospect, this isn't so much the precious behaviour of a purist but the smart reaction of an experienced comedian; Chaplin's films rarely used intertitles anyway, and though it is technically "silent", City Lights is very mindful of it own self-composed score and keenly judged sound effects.
At its heart,...
- 11/22/2013
- The Guardian - Film News
The top stories of the week from Toh! Awards:Oscar Talk: Where Are We Now?Shifting Oscar Lineup: Who Comes Out Ahead? UPDATEDBox Office:This Weekend: Must-See "Blue Is the Warmest Color"; Plus, Claire Denis Returns with "Bastards," Ridley Scott's "Counselor" and More As "Gravity" and "Captain Phillips" Hit and "Fifth Estate" Bombs, Who's a Movie Star, Anyway?Top Ten Box Office: "Gravity" Force Squashes Newbies "Fifth Estate," "Carrie" and "Escape Plan," Young Audiences Are MIAFeatures:tv Is the New Cinema: "Homeland" Takes Off, Leaving Clueless Critics in the Dust Academy and Historian Kevin Brownlow Present King Vidor's Striking Silent Classic "The Crowd" (Video)Your Week in Streaming: "The Heat" Hits VOD and Six Other Weird and Wonderful Female "Buddy" MoviesFestivals:Morelia Film Festival: Too Many Mexican Movies Day, Plus John Sayles' "Go For Sisters"Review: Thompson Triumphs in "Saving Mr. Banks," which Adds Spoonful of Sugar to Backstage "Mary Poppins...
- 10/26/2013
- by TOH!
- Thompson on Hollywood
Death did not come to silent movies on little cat feet. He burst in singing on October 6, 1927 when Warner Bros. released “The Jazz Singer.” The irony is that silent movies reached their artistic peak in 1928, something that was strikingly demonstrated Tuesday night when the Academy of Motion Picture Arts and Science and the Mary Pickford Foundation presented King Vidor’s drama about one common man, “The Crowd.”As funny as it is sad, “The Crowd” had the audience at the half-filled Academy theatre laughing in all of the right places and none of the wrong ones. And the acting, particularly by Eleanor Boardman as the wife of a man fruitlessly trying to climb above the crowd (“One of the Mob” was Vidor’s original title) has nothing in common with the oversized gestures and dramatic poses that have made some silent films a modern joke. Boardman, Vidor’s wife, expresses...
- 10/24/2013
- by Aljean Harmetz
- Thompson on Hollywood
Doris Day movies: TCM’s ‘Summer Under the Stars 2013′ lineup continues (photo: Doris Day in ‘Calamity Jane’ publicity shot) Doris Day, who turned 89 last April 3, is Turner Classic Movies’ 2013 “Summer Under the Stars” star on Friday, August 2. (Doris Day, by the way, still looks great. Check out "Doris Day Today.") Doris Day movies, of course, are frequently shown on TCM. Why? Well, TCM is owned by the megaconglomerate Time Warner, which also happens to own (among myriad other things) the Warner Bros. film library, which includes not only the Doris Day movies made at Warners from 1948 to 1955, but also Day’s MGM films as well (and the overwhelming majority of MGM releases up to 1986). My point: Don’t expect any Doris Day movie rarity on Friday — in fact, I don’t think such a thing exists. Doris Day is ‘Calamity Jane’ If you haven’t watched David Butler’s musical...
- 8/1/2013
- by Andre Soares
- Alt Film Guide
The Crowd
Directed by King Vidor
Written by King Vidor and John V.A. Weaver
USA, 1928
The Crowd is that rarest of all Hollywood productions – a studio-made film that was never intended to make money. Released by industry leader MGM in March 1928, this magnificent cinematic treatise on the pitfalls of American Dreaming was greenlit by F. Scott Fitzgerad’s “Last Tycoon” himself, wunderkind Irving Thalberg, who believed that true success in the entertainment industry entailed tossing the occasional “pure prestige” production at the public, whether they wanted it or not. Made at the height of America’s dizzying 1920s business boom, The Crowd is perhaps even more timely today than it was 85 years ago, and Saturday’s Tsff screening (endlessly enhanced by the improvisational piano work of accompanist Laura Silberberg) proved that it has lost none of its capacity to dazzle and unsettle contemporary viewers, in equal measure.
King Vidor’s...
Directed by King Vidor
Written by King Vidor and John V.A. Weaver
USA, 1928
The Crowd is that rarest of all Hollywood productions – a studio-made film that was never intended to make money. Released by industry leader MGM in March 1928, this magnificent cinematic treatise on the pitfalls of American Dreaming was greenlit by F. Scott Fitzgerad’s “Last Tycoon” himself, wunderkind Irving Thalberg, who believed that true success in the entertainment industry entailed tossing the occasional “pure prestige” production at the public, whether they wanted it or not. Made at the height of America’s dizzying 1920s business boom, The Crowd is perhaps even more timely today than it was 85 years ago, and Saturday’s Tsff screening (endlessly enhanced by the improvisational piano work of accompanist Laura Silberberg) proved that it has lost none of its capacity to dazzle and unsettle contemporary viewers, in equal measure.
King Vidor’s...
- 4/7/2013
- by David Fiore
- SoundOnSight
Tokyo Chorus
Directed by Yasujirô Ozu
Written by Kôgo Noda
Japan, 1931
After launching its 2013 schedule with one of the most unrelentingly somber works of art ever committed to celluloid, the Tsff took a more genial tack on the second night of its run. Revered for his celebrated series of post-World War Two family melodramas, Yasujirô Ozu actually began his career as a comedic filmmaker – and this rambunctious movie (which befited immensely from keyboardist Laura Silberberg’s jaunty live accompaniment) reflects that. As special guest speaker (and Shinsedai Cinema Festival co-programmer and co-director) Chris MaGee argued during his introductory remarks, Tokyo Chorus occupies a crucial place in Ozu’s oeuvre, announcing a “familial turn” that would eventually produce masterpieces like Late Spring (1949) and Tokyo Story (1953).
The intense dramatics of those later efforts are mostly absent from Tokyo Chorus, but that does not mean that this isn’t a serious film. In fact,...
Directed by Yasujirô Ozu
Written by Kôgo Noda
Japan, 1931
After launching its 2013 schedule with one of the most unrelentingly somber works of art ever committed to celluloid, the Tsff took a more genial tack on the second night of its run. Revered for his celebrated series of post-World War Two family melodramas, Yasujirô Ozu actually began his career as a comedic filmmaker – and this rambunctious movie (which befited immensely from keyboardist Laura Silberberg’s jaunty live accompaniment) reflects that. As special guest speaker (and Shinsedai Cinema Festival co-programmer and co-director) Chris MaGee argued during his introductory remarks, Tokyo Chorus occupies a crucial place in Ozu’s oeuvre, announcing a “familial turn” that would eventually produce masterpieces like Late Spring (1949) and Tokyo Story (1953).
The intense dramatics of those later efforts are mostly absent from Tokyo Chorus, but that does not mean that this isn’t a serious film. In fact,...
- 4/6/2013
- by David Fiore
- SoundOnSight
Looking back at 2012 on what films moved and impressed us, it is clear that watching old films is a crucial part of making new films meaningful. Thus, the annual tradition of our end of year poll, which calls upon our writers to pick both a new and an old film: they were challenged to choose a new film they saw in 2012—in theaters or at a festival—and creatively pair it with an old film they also saw in 2012 to create a unique double feature.
All the contributors were asked to write a paragraph explaining their 2012 fantasy double feature. What's more, each writer was given the option to list more pairings, with or without explanation, as further imaginative film programming we'd be lucky to catch in that perfect world we know doesn't exist but can keep dreaming of every time we go to the movies.
How would you program some...
All the contributors were asked to write a paragraph explaining their 2012 fantasy double feature. What's more, each writer was given the option to list more pairings, with or without explanation, as further imaginative film programming we'd be lucky to catch in that perfect world we know doesn't exist but can keep dreaming of every time we go to the movies.
How would you program some...
- 1/9/2013
- by Daniel Kasman
- MUBI
The man who we will refer to as Monsieur Oscar (Denis Lavant) is a shape-shifting chameleon being shuttled around Paris in a sleek white limousine. At each stop, Oscar adopts a new disguise and persona, like an over-booked character actor tirelessly bouncing from set to set. Holy Motors might be a film about playing roles and fulfilling the fantasies of others, but there is so much more to it than that... Even before we meet Oscar, the opening scene of Holy Motors puts everything in motion. A recently awoken man (Leos Carax) -- or is he sleepwalking? -- opens a secret door in his apartment only to enter a theater in which a mannequin-like audience watches King Vidor's The Crowd. By casting himself in the singular role that delivers us into the surreal world of Holy Motors, Carax suggests the nonsensically dreamlike nature of the film that stands before us.
- 9/23/2012
- by Don Simpson
- SmellsLikeScreenSpirit
News.
Robert Koehler and Kent Jones are taking over Richard Peña's programming duties at the Film Society of Lincoln Center. As two of the hardest working and knowledgeable film critics working, this comes as exciting news. We here at Mubi offer them ecstatic congratulations. Tiff has run its course, and the awards have been divvied up accordingly. Those prolific cats over at Cinema Scope have a "Listomania" ripe for those keen on the less official accolades.
Finds.
The French Connection, Dir. William Friedkin (1971)
The Thomas Crown Affair, Dir. John McTiernan (1999)
Above: You may have already noticed a post about this amazing find on our Facebook page. It comes by way of Khoi Vinh, who brought this to our attention at his blog. The idea over at FILMography is simple but very cool: Christopher Moloney goes to the original shooting location of a film, armed with a still, and takes...
Robert Koehler and Kent Jones are taking over Richard Peña's programming duties at the Film Society of Lincoln Center. As two of the hardest working and knowledgeable film critics working, this comes as exciting news. We here at Mubi offer them ecstatic congratulations. Tiff has run its course, and the awards have been divvied up accordingly. Those prolific cats over at Cinema Scope have a "Listomania" ripe for those keen on the less official accolades.
Finds.
The French Connection, Dir. William Friedkin (1971)
The Thomas Crown Affair, Dir. John McTiernan (1999)
Above: You may have already noticed a post about this amazing find on our Facebook page. It comes by way of Khoi Vinh, who brought this to our attention at his blog. The idea over at FILMography is simple but very cool: Christopher Moloney goes to the original shooting location of a film, armed with a still, and takes...
- 9/19/2012
- MUBI
A welcome return to the big screen of Wilder's masterly Brechtian fable on his recurrent theme of pimping, in this case a dim insurance company clerk (Jack Lemmon) lending his squalid Manhattan flat to his exurban seniors to conduct their affairs. Written in collaboration with Ial Diamond it won three Oscars in 1960 (best film, director, screenplay). Fred MacMurray is chilling as Lemmon's departmental boss, reprising his Double Indemnity insurance salesman 17 years on. Alexander Trauner's sets pay homage to King Vidor's The Crowd.
DramaBilly WilderShirley MacLaineComedyRomancePhilip French
guardian.co.uk © 2012 Guardian News and Media Limited or its affiliated companies. All rights reserved. | Use of this content is subject to our Terms & Conditions | More Feeds...
DramaBilly WilderShirley MacLaineComedyRomancePhilip French
guardian.co.uk © 2012 Guardian News and Media Limited or its affiliated companies. All rights reserved. | Use of this content is subject to our Terms & Conditions | More Feeds...
- 6/16/2012
- by Philip French
- The Guardian - Film News
Bérénice Bejo, Michel Hazanavicius Michel Hazanavicius, Bérénice Bejo Photo; Hazanavicius' Oscar 2012 Q&A Pt.1 Q. [Speaks in French ] Hollywood, next step Hollywood. A. It's not next step. I mean, this movie brings me some opportunities to meet people and some of them propose me send scripts, or told me that they wanted to work with me. And if there's a chance to make a good movie I will do it … with honor and great pleasure because people know how to make movies here. So, there's some beautiful actors, beautiful scriptwriters and, yes, I hope I will make a movie here once. It won't be the next one. And also, I have a wonderful producer who is French and I want to work with him again. And when you have that kind of producer you don't drop him off. You stay — you stuck to him. You stick to him. That's better I think. Q.
- 3/6/2012
- by Andre Soares
- Alt Film Guide
Intrigued by The Artist but don't know where to start exploring the silent film archives? Try these five classics, which lead to plenty more…
It doesn't take long for a novelty to be hailed as a trend. Internet film rental service Lovefilm reports that the buzz around The Artist has sparked a boom in curiosity about early cinema, with a 40% rise in the number of people streaming silent films on its site in the week leading up to the Oscars.
The top 10 most-streamed silents include a clutch of Buster Keaton's ingenious comedies, some heady Hollywood melodrama (A Fool There Was, starring Theda Bara, and The Son of the Sheikh, with Rudolph Valentino) and creepy Swedish horror The Phantom Carriage. There are only two films on the list that seem to bear any relation to Michel Hazanavicius's surprise hit: Frank Borzage's mournful romance Seventh Heaven (which inspired the...
It doesn't take long for a novelty to be hailed as a trend. Internet film rental service Lovefilm reports that the buzz around The Artist has sparked a boom in curiosity about early cinema, with a 40% rise in the number of people streaming silent films on its site in the week leading up to the Oscars.
The top 10 most-streamed silents include a clutch of Buster Keaton's ingenious comedies, some heady Hollywood melodrama (A Fool There Was, starring Theda Bara, and The Son of the Sheikh, with Rudolph Valentino) and creepy Swedish horror The Phantom Carriage. There are only two films on the list that seem to bear any relation to Michel Hazanavicius's surprise hit: Frank Borzage's mournful romance Seventh Heaven (which inspired the...
- 3/2/2012
- by Pamela Hutchinson
- The Guardian - Film News
Turner Classic Movies (TCM) has unveiled its list of 10 Most Influential Silent Films in celebration of Michel Hazanavicius’ ode to the silent era, The Artist, which won three Golden Globes® Sunday night, including Best Picture . Musical or Comedy, Best Actor . Musical or Comedy for Jean Dujardin and Best Original Score. The Artist also picked up 12 British Academy Film Award nominations. The Weinstein Company will expand its release of The Artist nationwide on Friday.
TCM’s list of 10 Most Influential Silent Films spans from the years 1915 to 1928 and features such remarkable films as D.W. Griffith’s groundbreaking (and controversial) The Birth of a Nation (1915), which revolutionized filmmaking techniques; Nanook of the North (1922), a film frequently cited as the first feature-length documentary; Cecil B. DeMille’s epic silent version of The Ten Commandments (1923); Sergei Eisenstein’s oft-imitated Battleship Potemkin (1925), which took montage techniques to an entirely new level; and Fritz Lang’s...
TCM’s list of 10 Most Influential Silent Films spans from the years 1915 to 1928 and features such remarkable films as D.W. Griffith’s groundbreaking (and controversial) The Birth of a Nation (1915), which revolutionized filmmaking techniques; Nanook of the North (1922), a film frequently cited as the first feature-length documentary; Cecil B. DeMille’s epic silent version of The Ten Commandments (1923); Sergei Eisenstein’s oft-imitated Battleship Potemkin (1925), which took montage techniques to an entirely new level; and Fritz Lang’s...
- 1/18/2012
- by Michelle McCue
- WeAreMovieGeeks.com
In the first part of a new series, Zoe takes a look back at the history of MGM, one of Hollywood’s oldest and most notable studios...
Studios have come and gone since the birth of cinema, and the film business is an unpredictable one, as the history of Metro-Goldwyn-Mayer reveals. Founded in 1924, its name conjures up images of lavish musicals, sweeping historical epics, glamorous stars and its mascot, Leo the lion.
It’s fair to say that MGM is one of the most famous and influential studios in Hollywood, and certainly one of the most iconic studios to come out of American film industry. But where did it all begin?
The story begins in the early 1920s. Vaudeville, previously one of the most popular forms of entertainment, is beginning to dwindle, as movies capture the public’s imagination. Enter Marcus Loew, a theatre chain owner. What Loew wanted was...
Studios have come and gone since the birth of cinema, and the film business is an unpredictable one, as the history of Metro-Goldwyn-Mayer reveals. Founded in 1924, its name conjures up images of lavish musicals, sweeping historical epics, glamorous stars and its mascot, Leo the lion.
It’s fair to say that MGM is one of the most famous and influential studios in Hollywood, and certainly one of the most iconic studios to come out of American film industry. But where did it all begin?
The story begins in the early 1920s. Vaudeville, previously one of the most popular forms of entertainment, is beginning to dwindle, as movies capture the public’s imagination. Enter Marcus Loew, a theatre chain owner. What Loew wanted was...
- 1/10/2012
- Den of Geek
I’ve finally made it to the grand master of the bravura sequence, or, more specifically, of the ending bravura sequence, King Vidor.
It isn’t surprising that a producer as knowledgeable as Selznick often ran to the services of the two major champions of “slice of cake” cinema and strong sequences, Hitchcock (Rebecca, Spellbound, Notorious, The Paradine Case) and Vidor (Bird of Paradise, Duel in the Sun, Light’s Diamond Jubilee, even Ruby Gentry), who, without a doubt, made the best films for Selznick.
Love Never Dies, Wild Oranges, Hallelujah, Our Daily Bread, Comrade X, Duel in the Sun, The Fountainhead, Ruby Gentry and their terrific denouements once made me write that Vidor was a director of film endings. No doubt I was exaggerating, but it isn’t for nothing that he hesitated for a long time between several different endings for The Crowd. I was also exaggerating because...
It isn’t surprising that a producer as knowledgeable as Selznick often ran to the services of the two major champions of “slice of cake” cinema and strong sequences, Hitchcock (Rebecca, Spellbound, Notorious, The Paradine Case) and Vidor (Bird of Paradise, Duel in the Sun, Light’s Diamond Jubilee, even Ruby Gentry), who, without a doubt, made the best films for Selznick.
Love Never Dies, Wild Oranges, Hallelujah, Our Daily Bread, Comrade X, Duel in the Sun, The Fountainhead, Ruby Gentry and their terrific denouements once made me write that Vidor was a director of film endings. No doubt I was exaggerating, but it isn’t for nothing that he hesitated for a long time between several different endings for The Crowd. I was also exaggerating because...
- 12/12/2011
- MUBI
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Near silent and shot entirely in black and white, The Artist is a captivating and irresistibly romantic vision of old Hollywood. With international and hopefully Oscar success on the horizon, we talk exclusively to the film’s supremely talented costume designer, Mark Bridges.
Seemingly specialising, though perhaps not intentionally, in bringing to life period stories that are culturally defined by their era (Boogie Nights, There Will Be Blood), Bridges has again expertly recreated another, almost mythical bygone world. Here he explains to Clothes on Film his thought process behind costume design in The Artist, his passion for the silent era and how he managed to get every outfit ready to shoot in just eight weeks.
Jean Dujardin as silent movie star, George Valentin and Bérénice Bejo as up and coming actress,...
Near silent and shot entirely in black and white, The Artist is a captivating and irresistibly romantic vision of old Hollywood. With international and hopefully Oscar success on the horizon, we talk exclusively to the film’s supremely talented costume designer, Mark Bridges.
Seemingly specialising, though perhaps not intentionally, in bringing to life period stories that are culturally defined by their era (Boogie Nights, There Will Be Blood), Bridges has again expertly recreated another, almost mythical bygone world. Here he explains to Clothes on Film his thought process behind costume design in The Artist, his passion for the silent era and how he managed to get every outfit ready to shoot in just eight weeks.
Jean Dujardin as silent movie star, George Valentin and Bérénice Bejo as up and coming actress,...
- 11/22/2011
- by Chris Laverty
- Clothes on Film
Chicago – The sheer craft of the actor’s expression is what drove the early “silent” film industry, before syncing up the “talking.” Director Michel Hazanavicius has a new film opening called “The Artist,” in which he explores the expression of early moviemaking, during the era of its transition to talking, and it is rendered as a silent film.
“The Artist” is beautiful, and essential viewing as a glimpse into that passionate era of moviemaking, approximately from 1927 to 1932. Stylistically, it borrows from the canon of that era, where the flappers and film studios joined forces creatively to produce what was best described by by Norma Desmond (Gloria Swanson) in “Sunset Blvd,” – “We didn’t need dialogue, we had faces!”
We Had Faces: Jean Dujarin (George) and Bérénice Bejo (Peppy) in Michel Hazanavicius’s ‘The Artist’
Photo credit: The Weinstein Company
Director Hazanavicius first made his mark brilliantly aping another era of filmmaking,...
“The Artist” is beautiful, and essential viewing as a glimpse into that passionate era of moviemaking, approximately from 1927 to 1932. Stylistically, it borrows from the canon of that era, where the flappers and film studios joined forces creatively to produce what was best described by by Norma Desmond (Gloria Swanson) in “Sunset Blvd,” – “We didn’t need dialogue, we had faces!”
We Had Faces: Jean Dujarin (George) and Bérénice Bejo (Peppy) in Michel Hazanavicius’s ‘The Artist’
Photo credit: The Weinstein Company
Director Hazanavicius first made his mark brilliantly aping another era of filmmaking,...
- 11/21/2011
- by adam@hollywoodchicago.com (Adam Fendelman)
- HollywoodChicago.com
“You are not a director,” actor-director Vittorio De Sica once said, “until you have directed a child.” De Sica had proved himself memorable in this area with three of his post-war Italian neo-realist films, The Children Are Watching Us (1944), Bicycle Thief (1948) and Shoeshine (1946). Two other films that come immediately to mind for extraordinary child performances are Jackie Coogan in Charlie Chaplin’s first feature-length Tramp picture, The Kid (1921), and another Jackie—-Jackie Cooper in the powerful four-handkerchief 1931 King Vidor production co-starring ever-popular Wallace Beery as The Champ (available on DVD). Of course, Vidor had already distinguished himself with a touching child performance in his classic humanist drama of three years before, The Crowd, a silent picture I couldn’t recommend more highly (though it is currently not available on DVD).
- 10/13/2011
- Blogdanovich
Have you ever wondered what are the films that inspire the next generation of visionary filmmakers? As part of our monthly Ioncinephile profile (read here), we ask the filmmaker the incredibly arduous task of identifying their top ten list of favorite films. This month we get not ten, but 15 and styled in a countdown manner from David Robert Mitchell, the filmmaker behind The Myth of the American Sleepover. This is what he said about the task at hand. "My Top Fifteen Favorite Movies at the Moment (7/10/2011). Breaking this down to 10 movies sucks. It's impossible. I'm cheating and including 15. This list is still missing so many things that are important to me and the order is a jumbled mess. Oh well. Here's my top 15 at this moment in time. Tomorrow it might be a bit different. My number 32 film might just be my number 5." 15. L'Eclisse - Michelangelo Antonioni (1962) "Monica Vitti has...
- 7/13/2011
- IONCINEMA.com
As Al Jolson jazz-handed in the new age of talkies, Metropolis proved that silent films were still valid. John Patterson enjoys some quiet time
The silent cinema that died in 1927 on the introduction of sound with The Jazz Singer always reminds me of the sunken city of Atlantis. Each was glorious, sophisticated, inventive, and each had reached the apogee of its greatness – until everything was pulled under by the deluge and an entire culture, a highly developed civilisation coherent unto itself, was lost forever in a single night.
When I say the apogee of its greatness, the proof is in the names of the myriad masterpieces released just at the moment when silence stopped being golden: Fritz Lang's Metropolis, the most expensive movie yet made, and Gw Pabst's Pandora's Box, from Germany's gigantic Ufa Studios; Fw Murnau's Sunrise, considered by many the poetic peak of silent cinema; Victor Seastrom's The Wind,...
The silent cinema that died in 1927 on the introduction of sound with The Jazz Singer always reminds me of the sunken city of Atlantis. Each was glorious, sophisticated, inventive, and each had reached the apogee of its greatness – until everything was pulled under by the deluge and an entire culture, a highly developed civilisation coherent unto itself, was lost forever in a single night.
When I say the apogee of its greatness, the proof is in the names of the myriad masterpieces released just at the moment when silence stopped being golden: Fritz Lang's Metropolis, the most expensive movie yet made, and Gw Pabst's Pandora's Box, from Germany's gigantic Ufa Studios; Fw Murnau's Sunrise, considered by many the poetic peak of silent cinema; Victor Seastrom's The Wind,...
- 9/6/2010
- by John Patterson
- The Guardian - Film News
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