Graham Greene (I) - News Poster


Le Samouraï

Jean-Pierre Melville’s tale of an emotionless killer is distilled to a narrative minimum. Alain Delon stars as Jef Costello, an imperturbable, ultra- slick hit man who follows a strict personal code. When a contract goes bad, he’s caught between irreconcilable compulsions. Following this Zen-like assassin through the mean streets of Paris never seems to get old.

Le samouraï


The Criterion Collection 306

1967 / Color / 1:85 widescreen / 105 min. / available through The Criterion Collection / Street Date November 14, 2017 / 39.95

Starring Alain Delon, Francois Périer, Nathalie Delon, Cathy Rosier, Jacques Leroy.

Cinematography Henri Decaë

Production Designer Francois de Lamothe

Film Editor Monique Bonnot, Yo Maurette

Original Music Francois de Roubaix

Written by Jean-Pierre Melville, Georges Pellegrin from a novel by Joan McLeod

Produced by Raymond Borderie, Eugène Lépicier

Directed by Jean-Pierre Melville

Le samouraï has survived the Quentin Tarantino years Looking better than ever, and with its reputation intact, which is not a minor
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Reel dilemma: are we condoning the conduct of Hollywood's tyrants by watching their films?

Dustin Hoffman, Harvey Weinstein, Kevin Spacey … as the list of harassment allegations in Hollywood grows, can we any longer separate cinema from the morality of its makers?

The 1949 film The Third Man casts Orson Welles in the role of smirking Harry Lime, a black-market racketeer who sees himself as an artist. War-torn Vienna is his canvas; its desperate people his oils. He needs a climate of fear and darkness in order to paint his masterpiece. “In Italy for 30 years under the Borgias, they had warfare, terror, murder and bloodshed, but they produced Michelangelo, Leonardo da Vinci and the Renaissance,” Lime explains. “In Switzerland they had brotherly love, 500 years of democracy and peace, and what did that produce? The cuckoo clock.”

The Third Man was scripted by Graham Greene, but its most famous speech was improvised on the spot. Welles would later say he’d pilfered it from “an old Hungarian
See full article at The Guardian - Film News »

Molly Ringwald: 'I Have Had Plenty of Harveys of My Own'

Molly Ringwald: 'I Have Had Plenty of Harveys of My Own'
Molly Ringwald opened up about the numerous times she's contended with the pervasive culture of sexual harassment in Hollywood in an essay for The New Yorker titled, "All the Other Harvey Weinsteins." The piece arrives amidst the ongoing Harvey Weinstein scandal and as numerous women begin to detail their own experiences with sexual harassment and assault in the film and television industry.

Ringwald called the Weinstein scandal "a thread that has tangled its way through Hollywood, connecting women, mostly actresses, in a depressingly common way. We all seem to have a Harvey story,
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Casting-Couch Tactics Plagued Hollywood Long Before Harvey Weinstein

Casting-Couch Tactics Plagued Hollywood Long Before Harvey Weinstein
Whether producing “The Artist,” “Shakespeare in Love” or “The English Patient,” Queens-born serial predator Harvey Weinstein has always had a knack for making powerful period pictures. Maybe, between the best picture Oscars that those movies scored, he should have brushed up on his Hollywood history. His penchant for the casting couch — the practice of powerful white men exploiting young actresses trying to break into the movie business — has a historical precedent as old as the movie business itself.

“The perils for women in Hollywood are embedded, like land mines, from an actress’s debut to her swan song,” says film critic and historian Carrie Rickey, “where moguls like Harry Cohn reputedly wouldn’t cast starlets like Marilyn Monroe and Kim Novak unless they auditioned in bed.”

Long before Weinstein there was Louis B. Mayer, who co-founded Metro-Goldwyn-Mayer studios in 1924. Mayer, the ground zero of this kind of abuse, had means, motive, opportunity
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The Quiet American (1958)

There appear to be no rules governing tricky politics in movies — Joseph L. Mankiewicz’s adaptation of Graham Greene’s novel about terrorism in French-held Vietnam completely reverses the author’s message. Does a conspiracy theory about a movie still carry any weight, when our daily political life now plays like one giant conspiracy?

The Quiet American


Twilight Time

1958 / B&W / 1:66 widescreen / 122 min. / Street Date June 13, 2017 / Available from the Twilight Time Movies Store 29.95

Starring: Audie Murphy, Michael Redgrave, Claude Dauphin, Giorgia Moll,

Bruce Cabot, Fred Sadoff, Kerima, Richard Loo.

Cinematography: Robert Krasker

Film Editor: William Hornbeck

Original Music: Mario Nascimbene

Written by Joseph L. Mankiewicz from a novel by Graham Greene

Produced and Directed by Joseph L. Mankiewicz

Fans of author Graham Greene know him for his political sophistication and his adherence to Catholic themes; he’s found holy values in a razor-wielding Spiv in Brighton Rock and
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Brendan Fraser: the lost movie star?

Simon Brew Jun 15, 2017

Brendan Fraser seemed on the verge of being a major movie star in the late 1990s. But it never came to be. We look at why…

I remember going in to watch 1994’s Airheads at the cinema, at the time tempted to do so more by the name of Michael Lehmann on the end credits than Adam Sandler and Brendan Fraser above the title. Steve Buscemi’s presence helped too, of course. But Lehmann had, after all, come to the project off the back of the unfairly maligned Hudson Hawk, and also, this is the man who gave the world Heathers. Can’t grumble with that.

I’d not seen Brendan Fraser on the big screen before, although even by this stage, he’d earned some currency. Encino Man – California Man in the UK – had overcome savage reviews to prove a decent hit. School Ties, that I
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Our Man in Havana, Edge of Eternity and Streets of Fire: Jim Hemphill’s Home Video Picks

Given the (justly) hallowed place that Carol Reed’s 1949 thriller The Third Man occupies in the hearts and minds of most cineastes, I’ve always been a little mystified by the comparative obscurity of his subsequent collaboration with screenwriter Graham Greene, the delightful satire Our Man in Havana (1959). I can only assume that the bleak, wintry setting of postwar Vienna that gives The Third Man its haunting effects also gives it a slight edge in the critical consciousness over Havana’s sunny, tropical effervescence. Yet in Reed and Greene’s skilled hands, the breezy charm of Havana just before the revolution only […]
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Always in Style – The Forgotten Roles of Michael Caine

  • HeyUGuys
Author: Zehra Phelan

“You’re were only supposed to blow the bloody doors off” is and will always be Michael Caine’s most iconic line of all time, uttered in the 1969 British Caper The Italian Job. With a career spanning a hefty 64 years between 1953 and 2017, Caine hits our screens yet again this week starring opposite Morgan Freeman and Alan Arkin in Going in Style, a remake of the 1979 heist comedy directed by Zach Braff. It tells the story of a trio of retirees who plan to rob a bank after their pensions are cancelled, proving he isn’t quite ready to hang up his acting shoes to start drawing his own pension.

At the tender age of 84 the man previously known as Maurice Joseph Micklewhite, now known as Sir Michael Caine after being knighted by the queen in 2000, has starred in a staggering 125 films in his career to date. His
See full article at HeyUGuys »

Graham Greene’s last novel to get film adaptation by William Boyd

  • ScreenDaily
Graham Greene’s last novel to get film adaptation by William Boyd
Chaplin writer to adapt novel for Wild Tales and Mad To Be Normal producers.

Bad Penny Productions has picked up rights to Graham Greene’s last published novel The Captain And The Enemy, which is being adapted for the big screen by screenwriter and novelist William Boyd (Chaplin).

The novel tells the story of a young boy named Victor Baxter taken away from his boarding school by a stranger to live in London. The mysterious stranger is simply known as “the Captain”.

In London Victor companions a sweet but withdrawn woman named Liza, serving as her conduit to the outside world. When Victor reaches manhood, he finally learns the secrets of the Captain.

The thriller includes smuggling, jewel theft and international espionage and culminates in a dramatic showdown in Panama.

In addition to Bad Penny’s Phin Glynn (Mad To Be Normal), other producers are Victor Glynn (That Good Night) and Axel Kuschevatzky (Wild Tales).

The film will
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Review: I, Olga Hepnarova, A Study in the Absence of Empathy

At one point over the course of this haunting and difficult film, the lead character is reading the Graham Greene novel, The Quiet American. She highlights a passage from the novel that is the lynchpin to understanding the unanswerable questions left after the experience of watching the film. “Time has its revenges, but revenge seems so often sour. Wouldn’t we all do better not trying to understand, accepting the fact that no human being will ever understand another, not a wife with a husband, nor a parent a child?" One of the primary function of movies is to act as an empathy machine, a vehicle to allow us to understand and live in the skin of someone who we are not, or a situation so far...

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‘Classics In The Loop’ – Wednesday Night ‘Classic Crime & Noir’ Film Series at The Tivoli Begins April 5th

There’s nothing more fun than getting to watch classic movies the way they were intended–on the big screen!

Now, I understand plenty of people don’t want to go to a theater, spend a fortune on tickets, popcorn, and a drink just to see the glow of cell phones and hear people rudely talking while someone kicks your seat from behind, but that’s not the experience you’ll get at Landmark theaters affordable ‘Crime & Noir’ film series. St. Louis movie buffs are in for a treat as Landmark’s The Tivoli Theater will return with it’s ‘Classics on the Loop’ every Wednesday beginning April 5th at 7pm. This season, the Tivoli will screen, on their big screen (which seats 320 btw), eight crime and noir masterpiece that need to be seen in a theater with an audience. Admission is only $7.

One benefits of the big screen is
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Our Man in Havana

It’s Obi-Wan versus Fidel! Well, not really. The pre-Bond espionage genre lights up with cool intrigues and comic absurdities, as a Brit vacuum salesman in Havana is recruited to spy for Her Majesty’s Secret Service. The filmmakers and stars are all top caliber, and the location is legendary: Castro’s Cuba, immediately after the revolution.

Our Man in Havana


Twilight Time

1959 / B&W / 2:35 widescreen / 107 min. / Street Date March 14, 2017 / Available from the Twilight Time Movies Store 29.95

Starring: Alec Guinness, Burl Ives, Maureen O’Hara, Ernie Kovacs, Noël Coward, Ralph Richardson, Jo Morrow, Gregoire Aslan.

Cinematography: Oswald Morris

Music Score: Frank and Laurence Deniz

Art Direction: John Box

Film Editor: Bert Bates

Written by Graham Greene from his novel

Produced and Directed by Carol Reed

One of the best pre-James Bond spy pictures is this brilliant, yet lumpy adventure with an historically unique setting — it was filmed in Castro’s Cuba,
See full article at Trailers from Hell »

Letter: Michèle Morgan evoked the pain of a life fractured by war

Ronald Bergan’s fine obituary of Michèle Morgan shows how, like so many other of Europe’s creative people, her life was fractured by fascism and war in the 1930s and 1940s.

Her performance in The Fallen Idol (1948) throws clear light on this. With the writer Graham Greene and the director Carol Reed at the top of their form, this little masterpiece is set in the embassy of a French-speaking nation in postwar London. Morgan plays a typist in love with the embassy’s English butler, Baines, superbly played by Ralph Richardson.

Continue reading...
See full article at The Guardian - Film News »

Fantasia 2016 Review: I, Olga Hepnarova, A Meticulous And Confrontational Look At A Mass Murderer

At one point over the course of this haunting and difficult film, the lead character is reading the Graham Greene novel, The Quiet American. She highlights a passage from the novel that is the lynchpin to understanding the unanswerable questions left after the experience of watching the film. “Time has its revenges, but revenge seems so often sour. Wouldn’t we all do better not trying to understand, accepting the fact that no human being will ever understand another, not a wife with a husband, nor a parent a child?" One of the primary function of movies is to act as an empathy machine, a vehicle to allow us to understand and live in the skin of someone who we are not, or a situation so far...

[Read the whole post on]
See full article at Screen Anarchy »

Appointment with Crime

Most British crime films of the '40s and '50s have been slow crossing the pond, but Olive Films has a winner here, a gloss on Yank gangster pix from an earlier era. Just clear of prison, a tough criminal vows to punish the gang that abandoned him, and carries it out a ruthless revenge. But I think it was a mistake for him to involve that dance hall girl... Appointment with Crime Blu-ray Olive Films 1946 / B&W / 1:37 flat Academy / 91 min. / Street Date June 21, 2016 / available through the Olive Films website / 29.98 Starring William Hartnell, Herbert Lom, Joyce Howard, Robert Beatty, Raymond Lovell, Alan Wheatley. Cinematography Gerald Moss, James Wilson Film Editor Monica Kimick Original Music George Melachrino Produced by Louis H. Jackson Written and Directed by John Harlow

Reviewed by Glenn Erickson

Ask today's American film fan about old British crime films, and he'll probably not be able to
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Win The Fallen Idol on DVD

  • HeyUGuys
To mark the release of The Fallen Idol on 16th November, we’ve been given 3 copies to give away on DVD. Painstakingly restored to its former glory, The Fallen Idol is the critically acclaimed first collaboration between Oscar-Winning director Carol Reed and writer and novelist Graham Greene who, following the success of the film, would

The post Win The Fallen Idol on DVD appeared first on HeyUGuys.
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Interview: Gianni Bozzacchi on Cinephile-Oriented Doc “We Weren’t Just Bicycle Thieves. Neorealism”

To all cinephiles! This one is for you!

What a surprise was in store for us when we went to see “We Weren’t Just Bicycle Thieves. Neorealism” on its opening night of its qualifying run for Oscar submission in the documentary category.

The footage!

It took two and a half years to clear it all! The best scenes of Neorealistic cinema illustrate points on how Neorealism changed the lexicon and language of film in the same way that the Renaissance changed the visual language of art with linear perspective and its humanistic point of view.

The commentary!

Speaking about the influence of the Italian post-war Neorealism upon their filmmaking choices are Bertolucci, the Taviani Brothers, Scorsese, Olmi, Umberto Eco, Gabriel Garcia Marquez… the only reason Antonioni and Fellini did not speak was because they were no longer living when the movie was made. The interviews were not “talking heads”; they were conversations in which the great directors expressed their connections with Neorealism as they spoke to Carlo Lizzani.

Carlo Lizzani, the narrator and host of this documentary is an elegant 91 year old man who worked as scriptwriter, assistant director to every Neorealistic director and director in his own right. He starred in movies 1939-1954.

I loved him dancing in "Bitter Rice" (which he cowrote) with the women workers. That was the first Neorealistic movie I saw, dubbed on TV, when I was about eight. It was so puzzling to me, seeing this woman in a rice field with her skirt hiked up in a very provocative way, calling to someone with her words not matching her lips.

I really did not understand what sort of movie I was seeing… Similar to the first time I saw Chantal Akerman’s "Jane Dielman" which was rather Neorealistic too, though a product of the early ‘70s.

The production value!

The room, a fascinating “study” filled with objects of Neorealistic movies where the Lizzani seemed to belong was actually a room built from scratch by production designer Maurizio di Clemente within the walls of the oldest film school in Italy, Centro Sperimentale de Cine. When Lizzani opened windows, they looked out upon landscapes of these great Neorealistic movies. The technology of today was used in service of high art. Opening windows itself was a Neorealistic device.

The book!

You will want to read it all and show it off on your coffee table. Interviews, philosophic discussions, pictures and detailed listings of all the Neorealistic movies are splendidly displayed.

The education!

My view of cinema — both post war Italian cinema and today’s cinema shifted into an informed appreciation of how much Neorealism changed our vision of what a film could be.

Neorealism came to fruition with the rebirth of Italy after the war and lasted to 1954. Actually as Carlo Lizzani explains, it began in 1939 “with the first rumblings of an anti-fascist rebellion… as well as among many intellectuals and cineastes, increasingly unanimous in their refusal of so-called “White Telephone” cinema.”

“Before Neorealism, films were called ‘Bianchi Telefono’ after the white telephones that Hollywood movies showed in the so-called ‘White Telephone’ cinema for the way they featured Hollywood-style living rooms where that status symbol was invariably set center stage. It may have been a typical object in certain Hollywood mansions or Middle-European villa, but hardly in the average Italian home,” says Lizzani.

The interview!

Gianni Bozzacchi, the film’s director, writer and producer is a Renaissance man and his stories are funny, deeply moving and extremely interesting! This is someone you want to talk to for hours.

Watching this labor of love was an experience I will always treasure.

Rarely do we see a film about the art of film…Todd McCarthy’s "Visions of Light" comes to mind but others fade into PBS TV memories. This is a cinematic, highly technological and artistic feat. The Dp was Fabio Olmi the son of Ermanno Olmi.

After the screening, Bozzacchi stayed for a Q+A and the next day I continued to question him in the home of producer Jay Kanter where he was staying. After two and a half hours, I still wanted more. But the issue of condensing it all to a blog was weighing on me.

“Everything was planned and laid out in great detail, scripted and planned to the second so that filming 91 year old Lizanni for two hours a day took exactly 8 days to complete.”

Bozzacchi had previously made movies and in the ‘70s and ‘80s. He worked in Los Angeles with Greg Bautzer, who, for nearly 50 years, was one of the premier entertainment attorneys in Hollywood and with Kirk Kerkorian who needs no introduction. He wrote, directed and produced “I Love N.Y.” which was sold internationally by Walter Manley. It presold widely including to Australia where it played six weeks. But for the U.S. release, Manley edited it, and Bozzacchi moved away from it and took the DGA pseudonym, the credited name Alan Smithee.

Why did you leave filmmaking for so long?

I still remember that film, starring Christopher Plummer, Virna Lisi, Scott Baio, Jennifer O’Neill, but that was my last until “Neorealism”.

In 1986 I saw the industry was changing and I chose to step out in order to watch it as an outsider. What was ‘Show Business” was becoming a 'Business Show’. Marketing led to creating a show which led to creating a sales industry. “

“I decided to change direction and do only what I really wanted to do. I took ten years developing a big project ‘Oh Brave New World: The Renaissance’ for TV. It is now in pre-production. I thought of the Neorealism project and of The Enzo Ferrari story for which I now have a deal with Tribeca and Robert De Niro.

What did you do before you were a filmmaker?

I quit school at 13. From 1966 to 1974, at 20 I entered the jet set and became a photographer.

Elizabeth Taylor was shooting ‘The Comedians’ in Africa by Graham Greene. In Dahomy (today it’s Benin) they rebuilt part of Haiti. In the photo agency I worked no one wanted to go there, so I went. I knew Elizabeth Taylor’s face very well so I photographed her with light; no retouching was needed. After seeing a photo I took of her, Richard Burton said to me, ‘You want to join our family? Elizabeth needs you.’ I only spoke Roman, no English. I worked with her for 14 years and her two kids were my assistants. I also worked on 162 films as a special photographer, reading the scripts and shooting scenes for magazine layouts, working with “the making of the film” format.

It was when I stopped as a photographer in ‘75 that I began to think of producing films like the cult film “ China 9, Liberty 37” directed by Monte Hellman and starring Sam Peckinpah, Warren Oates and Fabio Testi and I wrote a book ExpoXed Memory about my life.

There is a relationship of all my projects to Neorealism, and of Neorealism to the Renaissance. All our projects are ready to go.

What are you doing in L.A.?

We have formed a new company with producer Jay Kanter and other partners who love film rather than the business of film. “We Weren’t Just Bicycle Thieves: Neorealismo” is the first to come out of the gate.

“The Listener” is the next project I will direct. It is based on the semi-autobiographical book, Operation Appia Way, by the Italian politician Giulio Andreotti. Andreotti served as Prime Minister of Italy seven terms since the restoration of democracy in 1946.

Yes he was the subject of Paolo Sorrentino’s film “Il Divo”. The book is about phone tapping, abuse of power and violations of personal privacy as is so often employed in politic, spying, etc. Andreotti had studied to be a priest but became a politician and this is about the birth of wire tapping which took place in the Roman catacombs and tapped the phones of Pope Pius Xii in conversations with Churchill, Churchill and the King of Italy, Mussolini and Hitler, Roosevelt and the Pope. The scenarios alternate between New York and Rome today and flashbacks to past times.

The production coordinator of “Neorealismo”, Julia Eleanora Rei, also has a project on Eleanora Duse and Gabriel D’Annunzio. Known as ‘Duse’, this Italian actress is known for her words of wit and wisdom, ‘The weaker partner in a marriage is the one who loves the most’ and ‘When we grow old, there can only be one regret – not to have given enough of ourselves’. She is also known for her long romantic involvement with the poet and writer, the controversial Gabriele D’Annunzio. They are now targeting a star for the film, although, says Bozzacchi, ‘Today the script is the star’.

What films are most important to you?

Those shown in this documentary, especially "Open City" where the scene of shooting down Anna Magnani still makes me feel angry.

Every week the Neorealistic filmmakers met in a café or restaurant. They did not have lots of money, had only one camera and not much film. But they created a way to tell a story very realistically, hiding the camera and shooting the people as they are.

Cary Grant pleaded De Sica to star in ‘The Bicycle Thief’, but he would have disrupted the Neorealist aspect; he was too recognizable. In the scene where three men stop the thief , other citizens joined in thinking it was real. If they saw it was Cary Grant, the scene never could have happened. The little boy in the film, played by Enzo Staiola, was scared the mob would turn on him.”

It was surprising to see Enzo Staiola in conversation during the movie. He said that ‘De Sica invented this whole story about how he made me cry. When I looked at him in surprise, he said: ‘Don’t worry, it’s just cinema…you’ll understand later’.

They also changed the way to shoot in sequence, called ‘piano sequenza’. Before a film was done in steps, with a storyboard, with cuts, three camera povs. Actors and the camera depended on the director. Now the camera follows the actor as he or she moves. This went from Rossellini to Fellini who always used the system; but Fellini, who shows a new reborn Italy, did not want direct sound. Fellini directs saying, ‘pick up drink’ or ‘turn right’ or ‘look left’ and then afterward he would add the sound. He showed Italy out of war time in ‘La Dolce Vita’.

What happened after ‘Neorealism’?

Pontecorvo was born in the time of Neorealism and he brought it to Algiers (‘Battle of Algiers’). He was going to make a doc there but then decided on fiction. He wrote notes on his hand.

Who were the French, German and U.S. adherents to Neorealism?

Truffaut and Melville, Wim Wenders with ‘American Friend’ and ‘Paris, Texas’, Coppola with ‘Apocalypse Now’. Cassavetes was a producer of Neorealism; he took it to his era. Scorsese did with ‘Taxi Driver’ and ‘Mean Streets’.

What do we see about Neorealism today?

If you really love movies, with all of today’s technology, you must bring in realism. With the new technology there will be a new wave of new realism. New filmmakers are very straight. Honesty and realism on the screen will come out. We’re at the sea floor now, coming back. Tell me a story that I can feel and see emotion…that is the legacy of Neorealism.

The final scene was great ...

There was a great sense of collaboration on this film.

What made that so related to Neorealism?

Neorealism also had the full participation of everyone. Directors heard and listened to the community. Clint Eastwood does this too. He would be great directing the Ferrari movie…depending on the script of course.

I love you story about the dog being an actor who allowed for transitions and covered discontinuities in film.

What about catering Italian style?

Take a look at the film's trailer Here.
See full article at Sydney's Buzz »

BFI London Film Festival 2015 Line-Up announced with Gala screenings of Steve Jobs, High-Rise, Trumbo, Black Mass, Carol & Suffragette

The 59Th BFI London Film Festival Announces Full 2015 Programme

You can peruse the programme at your leisure here.

The programme for the 59th BFI London Film Festival in partnership launched today, with Festival Director Clare Stewart presenting this year’s rich and diverse selection of films and events. BFI London Film Festival is Britain’s leading film event and one of the world’s oldest film festivals. It introduces the finest new British and international films to an expanding London and UK-wide audience. The Festival provides an essential platform for films seeking global success; and promotes the careers of British and international filmmakers through its industry and awards programmes. With this year’s industry programme stronger than ever, offering international filmmakers and leaders a programme of insightful events covering every area of the film industry‎ Lff positions London as the world’s leading creative city.

The Festival will screen a
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Blu-ray Review: 'Third Man'

  • CineVue
★★★★★ No cinematic genre can capture the inky morality of pernicious scavengers feeding on the carcass of post-war Europe like film noir. And no other noir manages it with quite the pervasive world-weariness and melancholy of The Third Man (1949). Beautifully penned by Graham Greene for Carol Reed's direction, it is one of cinema's true masterpieces: a labyrinthine search through the rubble of a defeated and desiccated Vienna; the tale of a wide-eyed American, exposed for the first time to the harsh, cruel realities of carving a bitter existence in the husk of a bombed-out continent. All the while, Reed and his cinematographer, Robert Krasker, craft an expressionistic landscape unlike any other.
See full article at CineVue »

Carol Reed’s The Third Man To Get 4K Restoration And Release

New York-based distributor Rialto Pictures will release Carol Reed’s Film Noir masterpiece The Third Man in a major 4K restoration – the first ever for the 1949 mega-classic.

The new restoration has its world premiere this month in the “Cannes Classics” section of the Cannes Film Festival, with U.S. openings at New York’s Film Forum on June 26 (2-week run) and L.A.’s Nuart on July 3. Engagements in San Francisco, Washington, DC, Seattle, Philadelphia and other major markets will follow.

A rare collaboration of legendary producers Alexander Korda and David O. Selznick, The Third Man was Reed’s second teaming with novelist/screenwriter Graham Greene. An instant critical and commercial sensation, it won the Palme D’Or at Cannes, the British Film Academy’s Best British Film award, and an Academy Award for Robert Krasker’s expressionist, now iconic b&w cinematography, and was also Oscar-nominated for Best Director.
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