1-20 of 36 items from 2013 « Prev | Next »
Coming fast on the heels of revelations confirming that the CIA indeed had a hand in shaping the script for Kathryn Bigelow's Zero Dark Thirty, here's documentarian Michael Singh's examination of the ways U.S. foreign policy in the Middle East is tightly tied to the images of Arabs and Muslims that appear in American and European media. A crash course in history, politics, and social science, Valentino's Ghost is both sobering and illuminating, and its execution is thrilling. Singh deftly weaves newspaper articles, interviews with academics (Harvard's Niall Ferguson, George Washington University's Melani McAlister), and archival newscasts, with clips from films including Rudolph Valentino's silent classic The Sheik, Otto Preminger's Exodus, and 2000's Rul »
Much has been made of Jay-z’s involvement with Baz Lurhmann’s epic adaptation of The Great Gatsby. The music mogul has never before lent his name or his talents to a project in this way before (we’re not counting his “inspired by” American Gangster album). Despite the hype, this soundtrack collaboration is fundamentally safe (if seemingly off to a fast start on the charts.). Not only is The Great Gatsby a tent-pole blockbuster with an above-the-title director and major A-list talent, it’s a grandiose celebration of New York jazz age glamour and excess — which in some ways, »
- Lindsey Bahr
Today's Google Doodle celebrates what would have been the 93rd birthday of famed graphic designer Saul Bass and the 81-second video, which you can watch in full directly above, pays tribute to Bass's legacy of film title sequence and poster work all set to the tune of "Unsquare Dance" by Dave Brubeck. Below I have included the films referenced in the video and they include Alfred Hitchcock's Psycho, Vertigo and North by Northwest and another two films from Otto Preminger in The Man With the Golden Arm and Anatomy of a Murder. Also included is a tribute to the poster art for Stanley Kubrick's Spartacus as well as tributes to West Side Story and Around the World in 80 Days. The work done here was completed by Matt Cruickshank, an artist who worked on the upcoming Golden Book for Pixar's Monsters University and it was created entirely in Adobe's Illustrator and After Effects programs. »
- Brad Brevet
Saul Bass trained as a graphic designer, and was commissioned by director Otto Preminger to put together a poster for his 1954 opera/musical Carmen Jones. Preminger was so impressed he asked him to create a title sequence too, and Bass went on to specialise in the area, resulting in memorable collaborations with Preminger, Alfred Hitchcock and Martin Scorsese.
Reading on mobile? Click here to watch video
Bass made a splash with the 1955 Preminger study of heroin addiction, moving paper cutouts around to suggest needles, veins and arms. The stonking theme, composed by Elmer Bernstein, helped.
Reading on mobile? Click here to watch video
- Andrew Pulver
When you embark on your morning internet queries today you may notice the option to press play where the traditional Google symbol usually lies. That is because the always festive Google doodle is honoring Saul Bass, the iconic American graphic designer who punctuated film titles with raw images and fragmented text. The design visionary would turn 93 if he were still alive today.
Bass, who was born and raised in the Bronx, moved to Hollywood in his twenties to pursue creating film ads. For his first big gig, designing the opening sequence for Otto Preminger's "The Man with the Golden Arm," Bass shocked filmgoers with his edgy paper-animated interpretation of the film's themes of drug addiction. Soon Hollywood's greatest filmmakers were clamoring for Bass' innovative touch.
Bass, whose motto was "symbolize and summarize," incorporated 1920s Soviet design into his aesthetics, adding a distinctly American flavor and a predilection for jagged edges. »
- Priscilla Frank
The 10 best Saul Bass title sequences
Google has marked the birthday of Saul Bass with one of the search engine's most elaborate "doodles" yet – an animated sequence based on his designs for film title credits, film posters and corporate logos.
Bass, who died in 1996, worked with film-makers including Alfred Hitchcock, Billy Wilder, Stanley Kubrick and Martin Scorsese over the course of a 40-year career, approaching his commissions in the spirit of a graphic design problem to be solved.
Born into an immigrant family in New York's Bronx, he began working on print work for film adverts in Hollywood during the 1940s. A breakthrough came in the film industry when he was hired in 1954 by Otto Preminger to create an innovative title sequence for the credits of the film, Carmen Jones, which he did using an animated flaming rose. »
- Ben Quinn
Ohh, I'm sure Art of the Title is going to flip over this. Today's Google Doodle (for May 8th, 2013) on the Google homepage marks the 93rd birthday of the beloved Oscar winning graphic artist/title designer Saul Bass. Bass passed away in 1996, but would've been 93 today. The Doodle features an 80-second video with the Google logo recreated as various famous Bass' title designs, covering classics like Man with the Golden Arm, Anatomy of a Murder, Spartacus, Vertigo and North by Northwest. It's a smartly crafted, beautifully executed tribute to one of the greatest designers in cinema. Just visit Google.com or watch the video below. Saul Bass was born in the Bronx, New York on May 8th, 1920 and died in April of 1996. He first got noticed in Hollywood designing the titles for The Man with the Golden Arm (1955) and later went on to work with filmmakers including Alfred Hitchcock, Otto Preminger, »
- Alex Billington
Welcome back to my ongoing coverage of the Melbourne Cinematheque's fantastic program for 2013. Here I will be reviewing the first film per season (month). This month I took a look at The Man with the Golden Arm (1955), from the inescapable societal visionary Otto Preminger. For the month of April I introduced one of Godard's films in the program, which can be found here. I hope you saw something from this season! Running from April 24 to May 8, Preminger's retrospective of films shine through particularly troubled times, but do so with a unique style of objectivity and ambiguity that only Preminger can deliver. Preminger's lucid style is hypnotic in his distinct gaze of the issues he presents of the human condition. The program...
[Read the whole post on twitchfilm.com...]
Tinseltown is ready to greet film fans from around the world again for the 2013 TCM Classic Film Festival.
Beginning this Thursday, April 25 and running through Sunday, April 28 in Hollywood, the festival will open with a gala presentation of the newly restored musical classic Funny Girl (1968).
Over four big days, TCM will welcome legendary stars, award-winning filmmakers and classic movie fans for the cinematic celebration, which this year will center on the theme Cinematic Journeys: Travel in the Movies.
But first on the schedule is Funny Girl!
Legendary superstar Barbra Streisand demonstrates why she’s the greatest star in her Academy Award winning role (Best Actress, 1968) as “Fanny Brice” in the celebrated musical biography Funny Girl. Commemorating its 45th anniversary, the classic film was meticulously restored from the original negative by Sony Pictures Entertainment in 4K at Sony Pictures’ Colorworks.
- Melissa Thompson
While not a universally loved horror flick, The Taint got a nice little push from our own Rob Hunter last month when it hit DVD. Now I’d like to extend the support for one of its directors, Drew Bolduc. I don’t know him, I haven’t seen any of his films, but something tells me he could very well be the next guy associated with Troma Entertainment to wind up a big deal. Just don’t be surprised if he directs Guardians of the Galaxy 2 or anything. He’s already working with aliens in his next feature, Science Team, which is currently raising money by crowdfunding via Indiegogo. And the promo video Bolduc sent us this morning makes me think its not just “a bastard child of science fiction and horror” but also the illegitimate offspring of James Gunn and Wes Anderson. But I don’t have any idea what the end result will be »
- Christopher Campbell
An addendum to last week's news that a "re-envisioned" contemporary film version of Porgy And Bess is in development, with producers Mike Medavoy and Bobby Geisler at the helm, and the Gershwin family and estate of lyricist DuBose Heyward, directly involved, which they are hoping will be "a lot better" than the 1959 film starring Sidney Poitier and Dorothy Dandridge, directed by Otto Preminger. No writer and director have been announced yet, with Marc George Gershwin, nephew of the Gershwin brothers, stating that “We’re confident that [producer Mike Medavoy] is going to able to find the right director and writer.” What I failed to report at that time is »
- Tambay A. Obenson
Well, well, well! Variety is reporting exclusively that a "re-envisioned" contemporary film version of Porgy And Bess is in development, with producers Mike Medavoy and Bobby Geisler, at the helm. The Gershwin family and the estate of lyricist DuBose Heyward, are said to be directly involved in the project, which they are hoping will be "a lot better" than the 1959 film which starred Sidney Poitier and Dorothy Dandridge, directed by Otto Preminger. Apparently, the Gershwin family wasn't too happy with that film. “We get approached a lot with ideas that aren’t very good but Mike has a great track record,” Marc George Gershwin, nephew of the Gershwin »
- Tambay A. Obenson
Working with the Gershwin family and the estate of lyricist DuBose Heyward, those involved seem keen on delivering a fresh version of the classic 1935 work. The film will include the famous music from the production, such as the song "Summertime".
Source: Variety »
- Garth Franklin
The duo is working with the Gershwin family and the estate of lyricist DuBose Heyward to develop the project. Marc George Gershwin, nephew of the Gershwin brothers, told Variety that he’s optimistic that Medavoy and Geisler will be able to produce a fresh take on the 1935 work.
“We get approached a lot with ideas that aren’t very good but Mike has a great track record,” Gershwin noted. “We’re confident that he’s going to able to find the right director and writer. And we already have the music.”
“Porgy and Bess” premiered in New York in 1935 with a cast of African-American singers, featuring the songs “Summertime,” “It Ain’t Necessarily So,” “Bess You Is My Woman Now,” “I Loves You Porgy” and “I Got Plenty of Nuttin. »
- Dave McNary
A research project from Btk (Berliner Technische Kunsthochschule/Berlin Technical Art University) students Nora Thoes and Damian Pérez examines the history of opening-title sequences in cinema. The Film Before the Film documents the art of opening credits from King Kong to Barbarella to The Avengers. Ian Albinson's website Art of the Title has been doing the same thing for some time now and notes that titles first became a legitimate draw for audiences during a screening of Otto Preminger's The Man with the Golden Arm in 1955. "Preminger knew that his collaboration with graphic designer Saul Bass had produced something interesting. And he wanted his audience, who were normally spared the dull roll of credits, to see it. That simple cutout of...
- Alison Nastasi
Viola director Matías Piñeiro discusses the fluidity of Shakespeare, when Jean-Luc Godard's Alphaville morphs into Fritz Lang's Metropolis, how European directors in America like Otto Preminger, Ernst Lubitsch, and Billy Wilder influence an Argentine director. His beguiling film sees a bike courier embraced by an all-female Shakespeare troupe. The morning before its Us premiere at New Directors/New Films, we met at a café to tackle what Paul Mazursky, Gus Van Sant, Orson Welles and Laurence Olivier have in common that Kenneth Branagh does not.
Anne-Katrin Titze: In Viola, the Shakespeare text moves almost imperceptibly into the everyday speech. Is it all planned out word for word by you? Is it completely scripted?
Matías Piñeiro: Pretty much scripted, except for the last song, which wasn't scripted at all. I write the script very close to the shooting. It's not that I write it and then eight »
- Anne-Katrin Titze
About a month ago I came across a stunning piece of decorative art masquerading as a 1960s East German poster for the 1940 Thief of Bagdad (see below) which soon became one of the most popular posters on my daily Tumblr. I’d seen the artist’s signature “Gottsmann” before on a poster for Tarkovsky’s Ivan’s Childhood and so I dug a little deeper and came up with a small treasure trove of little-known posters.
I discovered that the artist, Werner Gottsmann, died nine years ago at the age of 79. He was born in 1924 in the Ore Mountains on the border of Czechoslovakia, which, after WWII, became part of the German Democratic Republic or East Germany. After the war (during which he was a P.O.W.) he studied painting at the Robert-Schumann-Akademie Zwickau, and graphic design at the Meisterschule für Grafik Berlin »
- Adrian Curry
Directed by Otto Preminger
A detective’s work is challenging enough already without the complications that arise when he or she is involved with one of the suspects of a crime. Determining the innocence or guilt of an individual or party would be a lot simpler were it not for the mind games suspects so often play with investigators, evading conviction with lies and half truths. The sudden emotional attachment to one of the targets of police suspicion could send everything into a tailspin, provided the assigned investigator is capable of keeping a lid on his or her emotions. However, what if a detective grew attached to a person he could not physically relate to, such as the victim of a murder? What if, after believing the object of one’s desire was unattainable, a new reality »
- Edgar Chaput
The 2013 TCM Classic Film Festival continues to expand, with newly added appearances by legendary stars at screenings of some of their most memorable films, including Mel Brooks, Carl Reiner, Mickey Rooney, Jonathan Winters, Marvin Kaplan, Barrie Chase, Polly Bergen,Coleen Gray, Theodore Bikel and Norman Lloyd, as well as producer Stanley Rubin, Clara Bow biographer David Stenn, Museum of Modern Art (MoMA) film collections manager Katie Trainor and director Nicholas Ray’s widow, Susan Ray. In addition, TCM’s Essentials Jr. host and Saturday Night Live star Bill Hader will present screenings of Shane (1953) and The Ladykillers(1955).
And The Film Forum’s Bruce Goldstein will present a special screening of Frank Capra’s The Donovan Affair (1929), complete with live voice actors and sound effects to replace the film’s long-lost soundtrack.Mel Brooks is slated to talk about his comedy The Twelve Chairs (1970). Carl Reiner, Mickey Rooney, Jonathan Winters, Marvin Kaplan »
- Melissa Thompson
There are people who love (and I mean Love) Carmen Jones, 20th Century Fox's 1954 film with Dorothy Dandridge and Harry Bellafonte (with Pearl Bailey and a very very young Diahann Carroll as well) and directed by the great Otto Preminger So I'm sure it's going to be wonderful news to a lot of people's ears that word came out today that a restored and remastered version of the film will be released on blu-ray from Fox Home Video. But don't get too excited yet. I'll to that in a minute Based on the hit Broadway play from the early 1940's, Carmen Jones has a clever concept. Take George Bizet's classic 1874 French opera Carmen make the characters black and set in mainly in the South among »
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