10 items from 2017
Welcome to another installment of Movies to Show My Son. This is the blog series were I discuss movies I can’t wait to show my son in the future. I’ll be covering my own personal experience with the movie, movie lessons and life lessons I hope he will learn, and lastly my concerns about showing said film. This week’s film is The Bicycle Thief.
When I was growing up I never watched foreign films. It is not that I avoided them it is more so that I did not realize they existed. At that time I assumed everything was made at Hollywood and by Disney. As I grew older and wiser I realized that was not the case but still tended to stay away. The first time I ended up seeing a foreign film was around 2002 when I saw Yimou Zhang’s Hero in theaters. »
- Dan Clark
2017 / Color / 2.35 : 1 widescreen / Street Date March 22, 2017
Cinematography: Leonida Barboni
Film Editor: Russell Lloyd
Produced by John Bryan
Directed by Vittorio De Sica
After The Fox, a sunny mid-sixties farce about con-artists and movie-makers, boasts a powerhouse pedigree featuring leading men Peter Sellers and Victor Mature, a script by Neil Simon and Cesare Zavattini, music by Burt Bacharach, poster art from Frank Frazetta and the legendary director/actor/gambler Vittorio De Sica at the helm.
With such diverse talent on board, the film was somewhat misleadingly promoted as another in the line of 60’s screwball hipster comedies like Casino Royale and What’s New Pussycat. But the result is closer to De Sica’s laid back charmers from the ‘50s, Miracle in Milan and Gold of Naples (in fact, »
- Charlie Largent
Loneliness looms over “Wilson,” adapted from the graphic novel by Daniel Clowes (“Ghost World”) by Clowes and director Craig Johnson (“The Skeleton Twins”). In an early scene, it literally hangs over Wilson’s (Woody Harrelson) head as he walks past a movie theater showing Vittorio De Sica’s 1952 classic, “Umberto D.” In that sorrowful, Italian neo-realist masterpiece, the elderly Umberto is the embodiment of loneliness, and suffers a near thorough destitution, his only salve the companionship of a pet dog. Wilson, Umberto’s toxic heir, has a dog, too, but his loneliness is self-imposed: Wilson is an obnoxious jerk. Not that you’d know. »
- Dave White
Woody Harrelson is the life of this party, based on the graphic novel by Daniel Clowes, the indie-comics legend whose work has inspired one film landmark in 2001's Ghost World (forget Art School Confidential). Wilson is not in that movie's league by a long shot, though you couldn't imagine a better interpreter of Clowes' world than Harrelson. That mischief in the actor's eyes keeps us intrigued by the film's title character, a neurotic grouch who rails against the Internet and other plagues of the modern age. Wilson also hates people – his main enjoyment, »
Reel-Important People is a monthly column that highlights those individuals in or related to the movies that have left us in recent weeks. Below you'll find names big and small and from all areas of the industry, though each was significant to the movies in his or her own way. Katalin Berek (1930-2017) - Hungarian Actress. She stars in the Oscars-submitted film Adoption and appears in A Half Pint of Beer, Sacra Corona, The Upthrown Stone and Istvan, a Kiraly. She died on February 27. (Index) Brunella Bovo (1932-2017) - Italian Actress. She stars in Federico Fellini's The White Sheik (see below) and Vittorio De Sica's Miracle in Milan. She died on February 21. (Corriere di Rieti) Neil Fingleton...
- Christopher Campbell
If one is looking to experience a dose of astonishing beauty, now in theaters in the Oscar-nominated animation The Red Turtle. A co-production with Studio Ghibli, Michaël Dudok de Wit’s first feature-length film is a humble, patient drama with an emotionally rich finale. To celebrate its theatrical release here in the U.S., we’re highlighting the director’s all-time favorite films, which he submitted to BFI‘s latest Sight & Sound poll. Featuring classics from Kubrick, Cimino, Kurosawa, and more, on the animation side, he makes sure to recognize a Miyazaki masterwork, along with a seminal Disney film.
“Just before the team arrived, Studio Ghibli called me and said, ‘We’ve been thinking about the list of words that are supposed to be spoken in the film and we think you should drop the dialogue entirely,'” the director told us, speaking about the production process of his film. »
- Jordan Raup
Water And Sugar: Carlo Di Palma, The Colours Of Life premiered at last year’s Venice Film Festival.
Adriana Chiesa is selling Water And Sugar: Carlo Di Palma, The Colours Of Life, the new feature doc about the legendary cinematographer (and Chiesa’s late husband), at this week’s European Film Market (Efm) and has reported deals for the UK (Swipe Films) and Spain (Film Buro). Instituto Luce will release the film in Italy this spring.
Directed by Fariborz Kamkari, the documentary profiles Di Palma’s career from being focus puller on Vittorio de Sica’s Bicycle Thieves (1948) to his credits as a cinematographer on films including Blow-Up (1966) and 11 Woody Allen films.
The film screened recently at the Santa Barbara International Festival, which Chiesa reveals that Iranian-born director Kamkari wasn’t able to attend because of the Trump travel ban then in place.
At Efm, Adriana Chiesa Enterprises has also begun sales on They Called Her Maryam »
- email@example.com (Geoffrey Macnab)
With five such different cinematic visions represented, what do this year’s Oscar nominees for director have in common?
It depends on whom you ask. Kenneth Lonergan, nominated writer-director of “Manchester by the Sea,” links the final five this way: They each “focus on deep connective tissue on a human level, even though they are all very different stylistically and in subject matter,” he tells Variety.
Mel Gibson, director of “Hacksaw Ridge,” invokes the process itself. “What do we have in common?” he asks. “At some point, somebody asked each of us a thousand questions a day and we had to make snap decisions.”
Each shares a fierce inventiveness, necessitated by the time and budget constraints each faced mounting their creatively ambitious projects.
- Marshall Fine
Above: Soviet poster for The Ghost That Never Returns (Abram Room, Soviet Union, 1929). Designed by the Sternberg Brothers.Have you seen what’s playing on Mubi lately? Many of you who read my column may not often partake of the best of what Mubi has to offer, which is a beautifully curated, constantly changing selection of films which amounts to a top-notch repertory cinema on your laptop and in your living room. Now that Mubi is on the Roku app too there is even more reason to subscribe to the best film streaming deal on the internet. I know, I know, there is always too much to see and too little time, but for me what elevates Mubi over other streaming services—and I’m not just saying this because I write for them—is the 30-day model which offers you a new surprise every morning as well as the »
Close-Up is a column that spotlights films now playing on Mubi. Vittorio de Sica's Yesterday, Today and Tomorrow (1963) is playing January 8 - February 6, 2017 in the United States.Yesterday, Today and Tomorrow (1963), winner of the 1965 Oscar for Best Foreign Film, is a trio of stories directed by Vittorio De Sica in the omnibus fashion so popular at the time (just the year prior, he had contributed to the similarly structured Boccaccio ‘70, alongside Federico Fellini, Mario Monicelli, and Luchino Visconti). Spearheaded by international super-producer Carlo Ponti—helping to ensure global distribution and award-worthy prestige—the film is, first and foremost, a collaborative compendium of what partially defined the popular perception of its versatile director and its two leads, Sophia Loren and Marcello Mastroianni.The first short, “Adelina,” was written by Eduardo De Filippo and Isabella Quarantotti, the second, “Anna,” by Bella Billa, Lorenza Zanuso, and one of Italian neorealism’s founding fathers, »
10 items from 2017
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