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The Village Voice has polled of 85 critics who've voted in thirteen categories. Once again, Richard Linklater and Boyhood come out on top. Meantime, the Library of Congress has announced its annual selection of 25 films to be named to the National Film Registry. Among the titles slated for preservation: James Benning's 13 Lakes, Joel Coen and Ethan Coen's The Big Lebowski, John Hughes's Ferris Bueller’s Day Off, Busby Berkeley's The Gang’s All Here, André de Toth's House of Wax, Arthur Penn's Little Big Man, Howard Hawks's Rio Bravo, Roman Polanski's Rosemary’s Baby, Steven Spielberg's Saving Private Ryan and Mel Stuart's Willy Wonka and the Chocolate Factory. » - David Hudson »
Martin Scorsese, arguably one of the greatest living filmmakers, often gets unfairly branded as a guy who mainly makes “mafia” movies. While it’s true that Scorsese’s contributions to the genre (“Mean Streets,” “Goodfellas,” “The Departed”) are nothing to scoff at, it’s also an unfair and reductive generalization. The truth is that he has contributed to more cinematic genres then you can shake a bloody baseball bat at: from lavish period dramas to rock n’ roll documentaries, religious parables and children’s fantasies. Scorsese also peppers all his pictures with references to films that influenced him: for instance, his underrated “Shutter Island” is deeply indebted to Samuel Fuller’s “Shock Corridor." Of all the New Hollywood filmmakers that emerged in the 1970’s —those film-literate autodidacts who studied the visual language of forebearers Howard Hawks and John Ford and then radically rebelled against that selfsame establishment— Scorsese is almost certainly the most. »
- Nicholas Laskin
Each year, the Library of Congress selects 25 films to be named to the National Film Registry, a proclamation of commitment to preserving the chosen pictures for all time. They can be big studio pictures or experimental short films, goofball comedies or poetic meditations on life. The National Film Registery "showcases the extraordinary diversity of America’s film heritage and the disparate strands making it so vibrant" and by preserving the films, the Library of Congress hopes to "a crucial element of American creativity, culture and history.” This year’s selections span the period 1913 to 2004 and include a number of films you’re familiar with. Unless you’ve never heard of "Saving Private Ryan," "The Big Lebowski," “Rosemary’s Baby” or "Ferris Bueller's Day Off." Highlights from the list include the aforementioned film, Arthur Penn’s Western "Little Big Man," John Lasseter’s 1986 animated film, “Luxo Jr.," 1953’s “House of Wax, »
- Matt Patches
Spanning the years 1913-2004, the 25 films to be added to the Library of Congress’ National Film Registry for 2014 include Steven Spielberg’s Saving Private Ryan, Roman Polanski’s Rosemary’s Baby, Arthur Penn’s Little Big Man, John Hughes’ Ferris Bueller’s Day Off and the Coen brothers’ The Big Lebowski. The annual selection helps to ensure that the movies will be preserved for all time. This year’s list brings the number of films in the registry to 650.
Also on the list are John Lasseter’s 1986 animated film, Luxo Jr; the original Willy Wonka And The Chocolate Factory with Gene Wilder; and Howard Hawks’ classic 1959 Western Rio Bravo. Documentaries and silent films also make up part of the selection which represents titles that are “culturally, historically or aesthetically” significant; they must also each be at least 10 years old. Check out the rundown of all 25 movies below:
2014 National Film Registry »
- Nancy Tartaglione
“The Big Lebowski,” “Ferris Bueller’s Day Off,” “Rosemary’s Baby,” “Saving Private Ryan” and “Willy Wonka and the Chocolate Factory” are among the 25 films saluted by the National Film Registry of the Library of Congress in the organization’s annual selection of notable works.
The org says selection will help ensure preservation of these films. This year’s choices bring the registry total to 650, a small fraction of the Library’s vast collection of 1.3 million items. As always, the choices are eclectic, including Hollywood films, indies, documentaries, silent movies and student films.
“The National Film Registry showcases the extraordinary diversity of America’s film heritage and the disparate strands making it so vibrant,” said the Librarian of Congress James H. Billington. “By preserving these films, we protect a crucial element of American creativity, culture and history.”
Under the terms of the National Film Preservation Act, each year the Librarian »
- Tim Gray
It’s a great day to play hooky and go bowling! Ferris Bueller’s Day Off and The Big Lebowski have been selected for the National Film Registry. The 1986 John Hughes comedy about a day in the life of a Chicago kid (Matthew Broderick) who skips high school joins Joel and Ethan Coen’s trippy 1998 odyssey starring Jeff Bridges as abiding L.A. slacker “The Dude” among the 25 motion pictures selected this year by the Library of Congress to be preserved for future generations. Howard Hawks’ Rio Bravo (1959), starring John Wayne, Walter Brennan and Angie Dickinson, also makes the
- Mike Barnes
Cary Grant films on TCM: Gender-bending 'I Was a Male War Bride' (photo: Cary Grant not gay at all in 'I Was a Male War Bride') More Cary Grant films will be shown tonight, as Turner Classic Movies continues with its Star of the Month presentations. On TCM right now is the World War II action-drama Destination Tokyo (1943), in which Grant finds himself aboard a U.S. submarine, alongside John Garfield, Dane Clark, Robert Hutton, and Tom Tully, among others. The directorial debut of screenwriter Delmer Daves (The Petrified Forest, Love Affair) -- who, in the following decade, would direct a series of classy Westerns, e.g., 3:10 to Yuma, The Hanging Tree -- Destination Tokyo is pure flag-waving propaganda, plodding its way through the dangerous waters of Hollywood war-movie stereotypes and speechifying banalities. The film's key point of interest, in fact, is Grant himself -- not because he's any good, »
- Andre Soares
Mar Del Plata – Is Latin American cinema shifting mainstream? Art pics remain of course. Indeed, three standouts at Mar del Plata’s voluminous 22-title Work in Progress, which unspooled Thursday and Friday at the seaside resort – Daniel Rosenfeld’s “To the Center of the Earth,” Ana Pitarbarg’s “Alptraum” and Pablo Aguero’s “Madres de los Dioses,” which treated audiences Geraldine Chaplin’s latest challenging role, as God – would all fit into that category.
But the Mdp Wip also featured at least three genre movies and a bevy of titles that are – hopefully upscale – niche mainstream, rather than the artistic plays so common before.
One case in point: Fernando Cricenti’s Buenos Aires-set “Veredas,” also at Wip, which, the director said at Mar del Plata, drinks at the wells of both classic Hollywood screwball comedy – Howard Hawks, Preston Sturges, Cricenti said at Mar del Plata – and France’s Nouvelle Vague, »
- John Hopewell
Directed by Frank Capra
Written by Robert Riskin
When Frank Capra came upon the 1933 Samuel Hopkins Adams story “Night Bus,” he thought it would make a great film. He bought the property and took it to screenwriter Robert Riskin, with whom he had worked a few years prior on Platinum Blonde (1931). The script was set to be Capra’s next feature for Columbia, then a lower-rung studio where he was their preeminent director. The problem? Nobody wanted to make the film. Several top actors and actresses of the day turned down the picture, Robert Montgomery, Carole Lombard, and Myrna Loy among them. Clark Gable, not yet the caliber of star he would become, eventually accepted the male lead, and Claudette Colbert eventually (and reluctantly) took the female lead … under the condition that her $25,000 salary would be doubled, which it was. The film’s entire budget »
- Jeremy Carr
Soul Windows: Burton Returns to the Biopic with Flagging Interest
Long judged as a director clearly intent on recycling the same motif, themes, and styles, generally with the same few cast members, Tim Burton throws an interesting curveball with his latest film, Big Eyes, a reenactment of the art world Keane scandal of the 1960s. Scripted by Burton’s Ed Wood (1994) scribes, the title that remains the sole point of comparison with which his latest will be compared, many will be disappointed to find a rather basic film, devoid of Burton’s customary flourish or that earlier, celebrated title’s ingenuity. And though the film’s greatest challenge will be to breathe under the weight of its creators’ own reputations, it’s a likeable recapitulation of 1950s era America and the strange mutations that occur involving those humans attempting to buck the wrongly conditioned trappings of gender based social mores. »
- Nicholas Bell
The second entry in Howard Hawks’ "Rio Bravo" trilogy is a virtual remake, ostensibly more playful and less a riposte to "High Noon" than the (better, let’s face it) original. Still a fun ride with Wayne and Mitchum having an obviously swell time in their only screen pairing, despite the fact that Wayne had Mitchum fired off of "Blood Alley" a decade earlier. Filming began in late 1965 but the film wasn’t released until 1967. On the heels of the flops "Man’s Favorite Sport?" and "Red Line 7000," it was the hit Hawks needed to stay in the game. »
- Trailers From Hell
Copyright: George Eastman House, Rochester, © 2014 Warner Bros Ent. All Rights Reserved.
The Retrospective of the 65th Berlin International Film Festival will celebrate the centenary of Technicolor. The Retrospective will present around 30 magnificent Technicolor films, some of which have been elaborately restored. They were made in the early years between the dawn of Technicolor and 1953 – and include six British films.
“The blazing red of Southern skies in Gone with the Wind or the ecstatic yellow of the raincoats in Singin’ in the Rain – in those days, the play of dramatically intensified colours was a sensation. The Technicolor process combined with cultural and economic trends to produce great cinematic works of art that still thrill audiences today,” says Berlinale Director Dieter Kosslick.
As of 1915, inventors Herbert T. Kalmus, Daniel Comstock and W. Burton Wescott developed the two-colour process Technicolor No. »
The famous example of the whodunit where none of the prestigious writers, including Raymond Chandler, William Faulkner and Howard Hawks, could ever really account for who did what to whom. A year after the film wrapped the studio added two new sequences to‚ expand the presence of Lauren Bacall, by then Bogart's inamorata, which entailed dropping some explanatory sequences. Both versions are now available on video. »
- Trailers From Hell
Retrospective strand to celebrate 100th anniversary of Technicolor.
The Retrospective of the 65th Berlin International Film Festival (Feb 5-15) is to celebrate the 100th anniversary of Color by Technicolor.
The strand will include around 30 Technicolor films, some of which have been restored, which were madebetween the dawn of Technicolor and 1953 – and include six British films.
Berlinale director Dieter Kosslick said: “The blazing red of Southern skies in Gone with the Wind or the ecstatic yellow of the raincoats in Singin’ in the Rain – in those days, the play of dramatically intensified colours was a sensation. The Technicolor process combined with cultural and economic trends to produce great cinematic works of art that still thrill audiences today.”
As well as those mentioned by Kosslick, titles to be screened include Richard Boleslawski’s drama The Garden of Allah (1936), George Sidney’s adventure film The Three Musketeers (1948) and Victor Fleming’s hit musical The Wizard of Oz (1939).
Other features will include »
- firstname.lastname@example.org (Michael Rosser)
Howard Hawks’ first western was a huge hit and marked what John Wayne had feared might turn out to be his swan song, at the age of 41. He later said John Ford “never respected me as an actor until I made 'Red River.'” During the shoot Wayne came to greatly appreciate the talents of debuting co-star Montgomery Clift after initial skepticism. Despite its popularity Clift disliked his own performance. John Ireland’s part was reduced in editing due to his interest in co-star and Hawks protege Joanne Dru, who he later married. Oddly, Hawks had sought Cary Grant (!) for the same role. Final film appearance of veteran western star Harry Carey. »
- Trailers From Hell
Numerous filmmakers have made their influences into mentors. Paul Thomas Anderson’s ’90s films were deeply indebted to the work of Robert Altman, with whom he developed a personal friendship, and even worked as an uncredited “backup director” for The Prairie Home Companion. And the well-publicized friendships between Peter Bogdanovich and titans of classic cinema (Howard Hawks, John Ford, Orson Welles) have threatened to obscure the notable films Bogdanovich actually made as his primary contribution to the world of movies. Many filmmakers hew themselves close to those whom they give homage, either personally or aesthetically. Yet this relationship typically produces a sort of third party amongst a collision of influences, a meeting of minds and personalities that shapes films which, while heavily indebted to what came before, use the past as a platform for expressing something notable on its own. That’s what makes A.J. Edwards’ debut work, The Better Angels, such »
- Landon Palmer
John Carpenter keeps his office in a converted hillside Hollywood home, on a quiet tree-lined street evocative of the sleepy suburb Michael Myers terrorized in 1978’s Halloween. Inside, the walls are lined with memories marking Carpenter’s four decades in film: original prints, awards, figurines of Kurt Russell as Snake Plisskin and the Creature From The Black Lagoon movie Carpenter spent years trying to make at Universal, a sculpture commemorating the prankster goosings on the set of his Big Trouble In Little China. Carpenter, 67, chain smokes as we revisit the films that made his career — starting with Halloween, a film originally titled The Babysitter Murders that the hungry young director took after making his debut with 1974 sci-fier Dark Star and honing his chops with 1976’s Assault On Precinct 13.
Carpenter speaks candidly of his successes and failures, and of the health issues that required emergency eye surgery in recent years »
- Jen Yamato
In David Cronenberg’s world, sex hurts so good; it’s innately disgusting and primeval but at the same time beautiful and becoming. (Kind of like sex in the real world, when you think about it.) Bodies degenerate and mental states corrode under the influence of lust, and yet something new is engendered by the collision of bodies, bodily fluids, the ripping of flesh and the mangling of organs. Through the carrion of ugly comes the attractive flesh, the new flesh. Videodrome, as Jonathan Lethem once quipped, remains Cronenberg’s most penetrative film; he creates a world at once rooted in modernity circa 1983–a world afraid of the advent of television usurping our humanity, over-stimulated times ushering in the end times–and existing in a timeless, placeless vacuum. It’s vast and claustrophobic, prescient and paranoid, of the same lineage as early James Cameron »
- Greg Cwik
L.M. Kit Carson, the Texan film legend best known for David Holzman's Diary, has passed away at the age of 73. For Filmmaker Magazine, Vadim Rizov gathers some valuable insight from Fabrice Aragno, the cinematographer of Jean-Luc Godard's Adieu au langage. Eric Hynes provides an excellent and authentic New Yorker take on Gangs of New York for Reverse Shot's Martin Scorsese Symposium. Above: we're disappointed to hear that Paul Schrader's latest film has been essentially taken out of his hands—in response the filmmaker has disowned the picture. For Film Comment, Violet Lucca interviews Ruben Östlund about his acclaimed film, Force majeure:
"Lucca: Like your previous work, Force Majeure is intended to foster a philosophical debate about what human behavior means or implies. Do you envision that being more of an internal process, or do you want people to talk it out?
ÖStlund: Yeah, in a group. »
In John Ford’s The Man Who Shot Liberty Valance (1962), it is remarked that, “When the legend becomes fact, print the legend.” This seems especially apt when it comes to the treatment of the Arizona city Tombstone and the historic western yarn of the gunfight at the O.K. Corral, the renowned confrontation between the Clantons on one side and the Earps with John “Doc” Holliday on the other. This famous battle, lasting all of about 30 seconds, took place the afternoon of Oct. 26, 1881, and in recalling this skirmish, multiple variations and interpretations have resulted in a cinematic legend in the making, with repeated appearances of its setting, characters, and actions. When the dust settles, one of the greatest depictions of the event, its decisive individuals, and the surrounding area and occurrences (true or false »
- Jeremy Carr
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