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The Little Black Dress—From Mourning to Night is a free exhibit currently at The Missouri History Museum (Lindell and DeBaliviere in Forest Park, St. Louis, Missouri). The exhibit runs through September 5th.
The Little Black Dress – a simple, short cocktail dress—is a sartorial staple for most contemporary women. Prior to the early 20th century, simple, unadorned black garments were limited to mourning, and strict social rules regarding mourning dress were rigidly observed.Featuring over 60 dresses from the Missouri History Museum’s world-renowned textile collection, this fun yet thought-provoking exhibit explores the subject of mourning, as well as the transition of black from a symbol of grief to a symbol of high fashion. You’ll also see fascinating artifacts—from hair jewelry to tear catchers—that were once a regular part of the mourning process. Plus, you’ll have the chance to share your own memories of your favorite »
- Tom Stockman
By Lee Pfeiffer
It's probably a safe bet that most adults have seen at least some of the notorious film footage shot during the liberation of Nazi concentration camps. However, no one has ever seen the definitive denouncement of these camps for genocidal practices because the project was stopped in its tracks in the immediate aftermath of WWII. When British, American and Soviet troops stumbled upon the seemingly endless number of concentration camps in the final days of the war, they were not prepared for what they saw. There had been frantic warnings from the Jewish community about the barbaric nature of what was occurring in these hell holes but they were generally thought to be overstated, if not impossible to believe. Such were the mind-boggling horrors that greeted them that the Allied high command ordered that the places be filmed in order to capture for posterity the types of »
- firstname.lastname@example.org (Cinema Retro)
An Early Clue to the New Direction: Queer Cinema Before Stonewall, a series opening today at the Film Society of Lincoln Center and running through May 1, is "an unapologetic, unmitigated, mesmerizingly diverse assembly of 23 feature-length movies and 25 shorts that constitutes a kaleidoscopic portrait of self-discovery and shame," writes Wesley Morris in the New York Times. "This gamut covers a lot of ground, too: the winking mannerism of Alfred Hitchcock (Rope), the dimensional experimentalism of Gregory Markopoulos (Twice a Man, with a young Olympia Dukakis), the serene classicism of Vincente Minnelli (Tea and Sympathy), the icebox psycho-expressionism of Ingmar Bergman (Persona)." We're gathering previews. » - David Hudson »
Patricia Highsmith’s novels have been the go-to for complex, urbane thrillers since Alfred Hitchcock made the first Strangers on a Train adaptation in 1951. A Kind of Murder is the latest in the Highsmith subgenre – it’s based on the novel The Blunderer from 1954, and directed by Andy Goddard from a screenplay by Susan Boyd.
The film tells the story of Walter Stackhouse (Patrick Wilson), a successful architect living in the suburbs of New York City with his real-estate agent wife Clara (Jessica Biel). But, as with all Highsmith’s works, things are not well in the paradise of American suburbia. Clara is a neurotic with overtones of paranoia and her unwillingness to seek help has set her husband on edge and her marriage on the rocks.
Then comes the news of a murder of a woman at a roadside café near Saratoga Springs, with the husband Kimmel (Eddie Marsan) as the prime suspect. »
- Lauren Humphries-Brooks
Guns! Guns! Guns! John Milius' rootin' tootin' bio of the most famous of the '30s bandits has plenty of good things to its credit, especially its terrific, funny cast, topped by the unlikely star Warren Oates. The battles between Dillinger's team of all-star bank robbers and Ben Johnson's G-Man aren't neglected, as Milius savors every gun recoil and Tommy gun blast. Dillinger Blu-ray + DVD Arrow Video U.S. 1973 / Color / 1:85 widescreen / 107 min. / Street Date April 26, 2016 / 39.95 Starring Warren Oates, Ben Johnson, Michelle Phillips, Cloris Leachman, Harry Dean Stanton, Geoffrey Lewis, John Ryan, Richard Dreyfuss, Steve Kanaly, John Martino, Roy Jenson, Frank McRae. Cinematography Jules Brenner Special Effects A.D. Flowers, Cliff Wenger Edited by Fred R. Feitshans, Jr. Original Music Barry De Vorzon Produced by Buzz Feitshans Written and Directed by John Milius
Reviewed by Glenn Erickson
There it was in the dentist's office, an article in either »
- Glenn Erickson
Like all classic movies, Alfred Hitchcock’s Psycho has had its fair share of copycats over the years. One of them is the 1995 film Let’s Say It’s Fate (original title: Kader Diyelim), which came from Turkey. It predates Gus Van… Continue Reading →
The post Learn the History of 1995’s Turkish Musical Psycho Remake appeared first on Dread Central. »
- David Gelmini
To mark the release of Hitchcock/ Truffaut on 25th April, we’ve been given 3 copies to give away on DVD. In 1962, critic-turned director Francois Truffaut persuaded Alfred Hitchcock to sit with him for a week long interview in which Hitchcock would share his insights and experiences in cinema. Fifty years on, the resulting book
The post Win Hitchcock/ Truffaut on DVD appeared first on HeyUGuys. »
One entry point into the rich new issue of Cinema Comparat/ive Cinema would be the survey of ten "founding filmmakers of serial television": Alfred Hitchcock, Roberto Rossellini, Frederick Wiseman, Ingmar Bergman, Jean-Luc Godard, Rainer Werner Fassbinder, Edgar Reitz, Krzysztof Kieslowski, David Lynch and Lars von Trier. Then you might move to the "Documents" section, collecting texts by or about Gilles Deleuze, Alexander Kluge, Marguerite Duras and Serge Daney, Chris Marker and others. There's also an interview Lodge Kerrigan, who's currently "[splitting] directing duties," as he puts it, with Amy Seimetz on Steven Soderbergh's The Girlfriend Experience. And that's just the top of today's roundup of news and views. » - David Hudson »
Tony Black on Indiana Jones and the future of the franchise…
Ask almost anyone what they thought of Indiana Jones and the Kingdom of the Crystal Skull, the 2008 long-gestated sequel known forever and a day simply as ‘Indy IV’, and you’ll probably get much the same answer. “Awful!” “Rotten!” “Should never have made it!” “Nuke the fridge???!” You get the drift. It’s about as popular a sequel as World War Two, the fourth in, to many, a near-perfect trilogy of adventure films that helped define their decade, and the childhoods of millions. Indeed many try and revise history to erase it from their minds, considering Last Crusade the last hurrah. Like it or not, however, Disney know Indy = money given the near $800 million the fourth movie made on just shy of a $200 million budget. Almost nobody liked it, yet almost everybody went to see it. Therefore, after Disney’s epic purchase of LucasFilm, »
- Tony Black
Every week we dive into the cream of the crop when it comes to home releases, including Blu-ray and DVDs, as well as recommended deals of the week. Check out our rundown below and return every Tuesday for the best (or most interesting) films one can take home. Note that if you’re looking to support the site, every purchase you make through the links below helps us and is greatly appreciated.
Electrified by crackling dialogue and visual craftsmanship of the great Howard Hawks, Only Angels Have Wings stars Jean Arthur as a traveling entertainer who gets more than she bargained for during a stopover in a South American port town. There she meets a handsome and aloof daredevil pilot, played by Cary Grant, who runs an airmail company, staring down death while servicing towns in treacherous mountain terrain. Both attracted to and repelled »
- TFS Staff
Welcome back to This Week In Discs where we check out tomorrow’s new releases today! Suspicion (Warner Archive Collection) What is it? Lina (Joan Fontaine) is worried. It’s bad enough she impulsively married Johnnie (Cary Grant) mere days after meeting him, but now she suspects the love he professes is more interested in her bank account than her heart. Why buy it? In a single word, JoanFontaine. She’s my only b&w crush, but perhaps more relevant to you is the fact that she won an Oscar for her performance — the only one for an Alfred Hitchcock film — and she makes you feel the weight of Lina’s paranoia. Grant is equally memorable here and brings a far darker character to the screen than he’s used to. The movie takes some twisty turns as we move between thinking he’s murderous and she’s nuts. I’m not fully on board with the »
- Rob Hunter
This horror almost-classic has Christopher Lee and great atmosphere. Keep a sharp lookout for All Them Witches: they're not easy to spot... if you're as unobservant as Venetia Stevenson's sexy grad student. Were she studying sharks, this girl would wrap herself in fresh meat and jump into the middle of a mess of 'em. The City of the Dead Blu-ray Vci 1960 / B&W /1:78 widescreen / 78 min. / Horror Hotel / Street Date March 29, 2016 / 24.99 Starring Patricia Jessel, Dennis Lotis, Christopher Lee, Tom Naylor, Betta St. John, Venetia Stevenson, Valentine Dyall, Ann Beach, Norman Macowan. Cinematography Desmond Dickinson Production Designer John Blezard Film Editor John Pomeroy Original Music Douglas Gamley, Kenneth V. Jones Written by George Baxt from a story by Milton Subotsky Produced by Max Rosenberg, Milton Subotsky, Donald Taylor Directed by John Moxey
Reviewed by Glenn Erickson
Interest has been high for Vci's new The City of the Dead, a movie »
- Glenn Erickson
"This land is mine, God made this land for me." Those are just song lyrics, while Otto Preminger's politically daring 70mm mega-production is a lot more subtle in its presentation of the 'Palestinian problem' that led to the formation of the State of Israel. It's a bit ponderous, but Dalton Trumbo's screenplay avoids the pitfalls -- 56 years later, the story is still relevant. Exodus Blu-ray Twilight Time Limited Edition 1960 / Color / 2:35 widescreen / 208 min. / Ship Date March 15, 2016 / available through Twilight Time Movies / 29.95 Starring Paul Newman, Eva Marie Saint, Ralph Richardson, Peter Lawford, Lee J. Cobb, Sal Mineo, John Derek, David Opatoshu, Jill Haworth, Hugh Griffith, Gregory Ratoff, Felix Aylmer, Marius Goring, Alexandra Stewart, Martin Benson, Paul Stevens, George Maharis, John Crawford, Victor Maddern, Paul Stassino, John Van Eyssen Cinematography Sam Leavitt Art Direction Richard Day Film Editor Louis R. Loeffler Original Music Ernest Gold Written by Dalton Trumbo from »
- Glenn Erickson
Alfred Hitchcock assembles all the right elements for this respected mystery thriller. Joan Fontaine is concerned that her new hubby Cary Grant plans to murder her. But Hitch wasn't able to use the twist ending that attracted him to the story in the first place! Suspicion Blu-ray Warner Archive Collection 1941 / B&W / 1:37 flat Academy / 99 min. / Street Date , 2016 / available through the WBshop / 21.99 Starring Joan Fontaine, Cary Grant, Cedric Hardwicke, Nigel Bruce, Dame May Whitty, Auriol Lee, Leo G. Carroll Cinematography Harry Stradling Art Direction Van Nest Polglase Film Editor William Hamilton Original Music Franz Waxman Written by Samson Raphaelson, Joan Harrison, Alma Reville from the novel Before the Fact by Francis Iles (Anthony Berkeley) Produced and Directed by Alfred Hitchcock
Reviewed by Glenn Erickson
Some movies don't get better as time goes on. Alfred Hitchcock got himself painted into a corner on this one, perhaps not realizing that in America, »
- Glenn Erickson
Jimmy Stewart collaborated with Alfred Hitchcock four times, but their first endeavor together was 1948’s “Rope,” based on the play by Patrick Hamilton. Inspired by the notorious killing of a 14-year-old boy by Leopold and Loeb in the 1920s, “Rope” is the second of Hitch’s “limited setting” films (after 1944’s “Lifeboat”) and takes place largely in the same apartment. It also sees Stewart as a dark, manipulative college professor (the ubiquitous good guys always make the best villains, don’t they?) who pushes two of his students (the terrific Farley Granger and John Dall) against each other, which leads them to do the unthinkable and commit murder. Read More: Watch: 9-Minute Video Essay Examines How Alfred Hitchcock Brilliantly Blocks A Scene In an experimental turn, “Rope” is Hitchcock’s first Technicolor film, and, for those who haven’t seen it, gives off the illusion that it is all shot »
- Samantha Vacca
He’s only been making features for the last decade, but Joachim Trier is the rare example of a director whose voice felt fully formed upon his debut (Reprise). That’s, of course, not to discredit room for growth — his follow-up, Oslo, August 31st was proof enough that he can expand and deepen his skills. This week sees the release of his third feature, the impressive drama Louder Than Bombs, which premiered in competition at Cannes last year. For the occasion we’ve dug up his ballot for the 2012 Sight & Sound poll (taken around the release of his second feature).
Featuring some of the more obvious touchstones by Kubrick, Fellini, and Hitchcock, a few picks display where he clearly borrows influence for his dramatically piercing work, including Resnais’ debut, and classics from Antonioni and Tarkovsky, as well as his sense of comedy, from Scorsese and Allen. Perhaps most noteworthy is »
- Jordan Raup
Title sequences don’t have to be boring. They can be just as exciting, creative, or innovative as the films they introduce. These are our picks for the 10 best opening title sequences of feature films.
Spring is upon us, and what better way to celebrate the beginning of brighter days than to celebrate the best film beginnings of all time! Check back all month long as we look at the films with the best beginnings.
The title sequence for a film is more than a bunch of letters spelling words on a screen. A title sequence is an opportunity for a filmmaker to grab the attention of his or her audience. It’s an ideal spot to introduce musical themes, set a stylistic tone, or establish a directorial style. During the opening titles a filmmaker has the opportunity to explain a backstory, show a flashback, or even dictate the setting to the audience. »
- email@example.com (G.S. Perno)
Legendary songstress and screen star Doris Day turns 92 on Sunday, but she tells People she doesn't think about her age. "I'm not really fond of birthdays anymore," she tells People in an exclusive statement. "Age is just a number. How you feel and live your life is more important." Day will spend the day surrounded by a few close friends and her beloved pets. While she spends her time quietly these days in Carmel, California, Day told People in a rare 2011 interview: "I love life. I have my pets around me and good friends. I'm young at heart and I love to laugh. »
- Liz McNeil and Jodi Guglielmi
Unbreakable Kimmy Schmidt, season two (available 15 April)
Ray-of-sunshine cult survivor Kimmy returns, and she’s as silly and brilliant and obsessed with Frasier as ever. She’s trying her darndest to pass her Ged test, but she’s got a job as an elf at a year-round Christmas shop, and she’s also being forced to work for free for Jackie, who’s penniless after getting a shamefully meagre $12m in the divorce. Meanwhile, sensational landlady and professional “stoop crone” Lillian is still railing against gentrification, and reveals she was once in a relationship with Robert Durst. And forget Peeno Noir – Titus looks set to have a new hit song: Pizza Party for One.
Continue reading »
- Kate Abbott
Captured in a continuous 138-minute shot, Sebastian Schipper’s stylish heist movie is carried along on a giant wave of adrenaline and logistical daring
Sebastian Schipper’s Victoria is a gripping heist drama set on the streets of Berlin that plays out in real time in one continuous, 138-minute camera shot, carried along on a giant skittery wave of adrenaline and logistical daring. Shooting this must have felt like pulling off an actual bank job, with the mind-boggling levels of planning and imposture it surely entailed. Like a bank robber, Schipper must have been terrified of some random passerby showing up and wrecking everything.
Now, there’s traditionally a fair bit of cinephile machismo involved in the continuous tracking shot, both doing it and praising it. No movie flourish draws attention to itself quite as emphatically as this, with its swaggering mastery of time and space. Despite murky nightclub scenes, »
- Peter Bradshaw
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