6 items from 2017
Although François Truffaut has written that the New Wave began “thanks to Jacquette Rivette,” the films of this masterful French director are not well known. Rivette, like his “Cahiers du Cinéma” colleagues Truffaut, Jean-Luc Godard, Claude Chabrol and Éric Rohmer, did graduate to filmmaking but, like Rohmer, was something of a late bloomer as a director.
In 1969, he directed the 4-hour L’amour fou (1969), the now legendary 13-hour Out 1 (1971) (made for French TV in 1970 but never broadcast; edited to a 4-hour feature and retitled Out 1: Spectre (1972)), and the 3-hour Celine and Julie Go Boating (1974), his most entertaining and widely seen picture. In these three films, Rivette began to construct what has come to be called his “House of Fiction”–an enigmatic filmmaking style involving improvisation, ellipsis and considerable narrative experimentation.
- Tom Stockman
No one loves a great scene more than the person who first dreamed it up -- the writer. We're asking iconic shows' creators and writers to tell Et all about getting to see their most cherished moment on their series make it from script to screen.
On Wednesday, Feb. 8, Law & Order: Special Victims Unit will reach a major TV milestone when it airs its 400th episode, a feat only previously achieved by eight scripted series over the past four decades. While a lot of credit for the show’s success and stamina is given to the cast led by Mariska Hargitay, who has won an Emmy for playing Det. Olivia Benson, it’s hard to ignore the writing, which has earned several Edgar Allen Poe Award nominations over the course of its run.
At its core, creator Dick Wolf tells Et the show has always been about »
1957 / B&W / 1:85 widescreen / 130 min. / Street Date February 7, 2017 / available through the WBshop / 21.99
Cinematography: William C. Mellor
Film Editor: Leonid Azar
Art Direction: Alexandre Trauner
Adapted Music: Franz Waxman
Produced and Directed by Billy Wilder
A favorite of Billy Wilder-philes, Love in the Afternoon is a strong expression of the ‘romantic-Lubitsch’ vein in Wilder’s work. It’s essentially a return to the early ’30s Lubitsch comedies with Maurice Chevalier, but played in a more bittersweet Viennese register. It’s also Wilder’s first collaboration with the comedy screenwriter I.A.L. Diamond. Together they fashion the predominantly verbal comedy machine that will carry them through three or four big hits, and a few losers that have become classics anyway. »
- Glenn Erickson
Robin Bell Feb 2, 2017
"Why do all the best things in life belong to the past?"
It seems a strange thing to be obsessed about, it wasn't a franchise, and didn't come with much buzz, but when Peter Chelsom's Funny Bones was released in 1995 I instantly latched on to it. It didn't even receive a general release in the cinemas around my area. It was released during that period when you had to check the local newspaper adverts to discover the cinema times. Disappointingly it didn't appear, not until a few weeks later when it had just one showing, on a Thursday night. I'd been talking about the film for ages to my brother, who was now at university, and once I found that it was screening I practically begged »
A friend of mine told me this story about her memories of Debbie Reynolds, and I was so touched that I am writing it here:
Of course I saw “Singing in the Rain”, Debbie Reynolds’ first film. I don’t think anyone could ever forget that movie. And I loved “Tammy and the Bachelor” and can still sing “Tammy’s in Love” by heart. But the one that I loved the most was the one I most identified with when I was 10 and saw “Susan Slept Here”. I was struggling with my own pre-teen “jv” secret wishes. Growing up in what was a pretty anti-semitic Culver City neighborhood, I really wanted to be a “pachuca.” And with my own lack of a father-figure since my father died when I was eight, I fell in love with Dick Powell. And I fell in love with the green dress Tammy wore as »
- Sydney Levine
William Peter Blatty, the novelist and Oscar-winning screenwriter most famous for landmark horror film “The Exorcist” as well as the director of two films, “The Ninth Configuration” and “The Exorcist III,” has died. He was 89.
Blatty’s 1970 novel “The Exorcist” remained on the New York Times bestseller list for 57 weeks, and he subsequently adapted it for the 1973 bigscreen version directed by William Friedkin. That film was not only an enormous box office success, playing in theaters for months, but was Oscar nominated for best picture (becoming the first horror film ever so nominated) and won for Blatty’s adapted screenplay.
The film won several polls for scariest horror movie ever, and the Library of Congress designated “The Exorcist” for preservation as part of »
- Carmel Dagan
6 items from 2017
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