6 items from 2013
Above: 1979 poster for Those Wonderful Movie Cranks (Jiri Menzel, Czechoslovakia, 1979).
I recently discovered the posters of Polish artist Andrzej Krajewski, or I should say that I recently discovered his best work. I had seen some of his work before (and had featured one terrific 1970 design on my Tumblr) but its cartoony style—reminiscent of, and possibly influenced by, the 1960s work of Push Pin Studio in New York—wasn’t really my thing. But I obviously wasn’t looking in the right places or at the right posters.
Around the same time I came across the London-based Polish poster webstore Eye Sea Posters which may not be the most comprehensive Polish poster site on the web (that would be this one) but is certainly the most elegantly designed. Set up by James Dyer two years ago, the site allows you to browse by artist as well as by genre or subject matter, »
- Adrian Curry
The first of two crowd-funding projects to notify you of: Libbie D. Cohn (co-director of People's Park) is trying to Kickstart a feature film entitled Bad As Me described as "a wild romp through San Francisco tracing the misadventures of two lovers struggling with depression and Ptsd." Next up: via Kiss Kiss Bank Bank, Emilie Lamoine is looking to secure funding for her debut feature, Nevers. Starring Jean-Christophe Folly of Claire Denis' 35 Shots of Rum (and forthcoming feature, Bastards), the film is "a road movie by foot" about two African lovers lost in the French countryside. Vimeo is now streaming Don Hertzfeldt's It's Such a Beautiful Day on demand for a limited time. From Vimeo: "Hertzfeldt has seamlessly combined his three short films about a man named Bill (Everything will be Ok (2006), I Am So Proud of You (2008), and It's Such a Beautiful Day (2011)), into a darkly comedic, »
- Adam Cook
When they say, "They don't make 'em like that anymore," this is what they're talking about. "How the West Was Won," released in America 50 years ago this week (on February 20, 1963) was probably the most ambitious western ever made, an epic saga spanning four generations, 50 years, two-and-a-half hours, five vignettes, three directors (well, actually four), the widest possible screen, and an enormous cast of A-listers, including James Stewart, Debbie Reynolds, Gregory Peck, George Peppard, Henry Fonda, John Wayne, Karl Malden, Carroll Baker, and Spencer Tracy. It's hard to imagine any movie, let alone a western, being made on such a grand scale today, when it would cost hundreds of millions of dollars. Naturally, in a production that massive, there was a lot of chaos behind the scenes. Even fans of the movie may not be aware of the off-camera feud between Peck and his director, the technical challenges imposed by the untried widescreen format, »
- Gary Susman
The Oscars is that beast we find ourselves criticising year in and year out for the films it wrongly nominates and masterpieces it snubs, and though every year I vow to swear off the back-patting awards ceremony, I must confess that I just can’t stop discussing it.
Regardless of whether you agree with the nominees and eventual winners of any given year, there’s no denying the career boost a mere nomination will give a writer, director, actor, or crew member.
While not all of these performances were outright terrible, it’s clear to me that they absolutely weren’t deserving of an Oscar nomination, nor the wins that half of them managed to attain.
We’re all aware that the Oscars are essentially a political popularity contest that’s far too sentimental and keen to pat themselves on the back for rewarding “deserving” talent despite so often failing »
- Shaun Munro
It is strange to think that one genre can be closely connected to just one actor. When someone mentions silent cinema, people think Charlie Chaplin; martial arts, Bruce Lee and Westerns? It seems that the poster boy for many Western films is John Wayne. Even though his career included over 140 films, he received his only Academy Award for Best Actor for his portrayal as Us Marshal ‘Rooster’ Cogburn in True Grit, the 1969 adaptation of Charles Portis’ novel, directed by Henry Hathaway. The film follows young Mattie Ross (played by Kim Darcy), as she recruits Cogburn to avenge »
- Katie Wong
Curiously, with all the bold, ambitious, fresh talent storming into Hollywood in the 1960s/1970s – directors who’d cut their teeth in TV like Sidney Lumet and John Frankenheimer; imports like Roman Polanski and Peter Yates; the first wave of film school “film brats” like Francis Ford Coppola and Martin Scorsese — one of the most popular genres during the period was one of Old Hollywood’s most traditional: the Western. But the Western often wrought at the hands of that new generation of moviemakers was rarely traditional.
During the Old Hollywood era, Westerns typically had been B-caliber productions, most of them favoring gunfights and barroom brawls over dramatic substance, and nearly all adhering to Western tropes which ran back to the pre-cinema days of dime novelist Ned Buntline. With the 1960s, however, the genre began to change; or, more accurately, expand, twist, and even invert.
To be sure, there would »
- Bill Mesce
6 items from 2013
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