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William Friedkin on the Power of Film, Capital Punishment and his Recklessness on ‘The French Connection’

William Friedkin on the Power of Film, Capital Punishment and his Recklessness on ‘The French Connection’
Lyon — Director William Friedkin, maker of “The French Connection” and “The Exorcist,” in Lyon for a showcase of his work, proved his storytelling prowess at a master class on Thursday as he captivated the audience with anecdotes of his illustrious career.

Particularly moving was the account of his first work, the 1962 documentary “The People vs. Paul Crump.”

After meeting the chaplain of the Cook County jail and learning about a young black man on death row named Paul Crump that both the pastor and the warden believed to be innocent, Friedkin visited the inmate and likewise became convinced of his innocence. He set out to make a documentary about the case in the hope of saving his life.

“A confession was beaten out of him by the Chicago police, which was done routinely in those days. If there was an African American accused of a crime they would go into the African American community and round up the
See full article at Variety - Film News »

Meaning and Madness: Close-Up on Luis Buñuel's "Viridiana" and "The Exterminating Angel"

Close-Up is a column that spotlights films now playing on Mubi. Luis Buñuel's Viridiana (1961) is showing June 17 - July 17 and The Exterminating Angel (1962) is showing June 18 - July 18, 2017 in the United Kingdom.ViridianaIt’s impossible to avoid describing the films of Spanish director Luis Buñuel as “surreal,” and yet to do so is woefully insufficient. This is for two reasons. In the first place, Buñuel never made one kind of film. In the second place, even his strangest films deal with social reality.Early in his career Buñuel did associate himself with the Surrealist art movement. Among his first productions were the infamous Un chien Andalou (1929) and L'âge d'or (1930), experimental narratives co-written by Salvador Dali in which bizarre and violent psychosexual incidents connect via absurd dream logic. It’s worth bearing in mind that the Surrealists never meant “surreal” to act as a mere label for the uniquely strange.
See full article at MUBI »

Review: Orson Welles' "Chimes At Midnight" 1966); Criterion Blu-ray Special Edition

  • CinemaRetro
By Jeremy Carr

It’s easy to see why Orson WellesChimes at Midnight is generally regarded as his finest post-Touch of Evil achievement. This Shakespearean mélange is a dazzling showcase for Welles’ ingenuity, his evident appreciation for the film’s literary foundation, and his relentless aptitude for stylistic inventiveness. However, its haphazard production and its rocky release comprise a backstory as complicated as the movie’s multi-source construction (the script, based on the lengthy play “Five Kings,” written and first performed by Welles in the 1930s, samples scenes and dialogue from at least five of Shakespeare’s works, primarily “Henry IV,” parts one and two, “Richard II,” “Henry V,” and “The Merry Wives of Windsor”). Plagued by what were at this point familiar budgetary constraints, Welles shot Chimes at Midnight over the course of about seven months in Spain, with a break when the financial well went dry.
See full article at CinemaRetro »

Iggy Pop and Jim Jarmusch on Ultimate Stooges Doc 'Gimme Danger'

Iggy Pop and Jim Jarmusch on Ultimate Stooges Doc 'Gimme Danger'
When the Stooges split up in 1974, they had every reason to think they'd be completely forgotten by history. Their debut LP peaked at Number 106 in 1969 – and that was their best seller. They spent their final shows dodging beer bottles hurtled by angry bikers that had little interest in seeing a wild, shirtless singer named Iggy Pop screaming out songs like "Your Pretty Face Is Going to Hell" and "Open Up and Bleed." Soon after splitting, guitarist Ron Asheton and his brother, drummer Scott Asheton, moved back in with their parents.
See full article at Rolling Stone »

Chimes at Midnight

Fans that lament Orson Welles' many career frustrations will flip over this Spanish-filmed masterpiece. Not well distributed when new and Mia for decades, its serious audio problems have now mostly been cleared up. It's great -- right up there with Kane and Touch of Evil, and it features what is probably Welles' best acting. Chimes at Midnight Blu-ray The Criterion Collection 830 1966 / B&W / 1:66 widescreen / 116 min. / available through The Criterion Collection / Falstaff, Campanadas a medianoche / Street Date August 30, 2016 / 39.95 Starring Orson Welles, Keith Baxter, Jeanne Moreau, Margaret Rutherford, John Gielgud, Norman Rodway, Marina Vlady, Walter Chiari, Michael Aldridge, Tony Beckley, Alan Webb, José Nieto, Fernando Rey, Beatrice Welles, Ralph Richardson. Cinematography Edmond Richard Film Editor Fritz Mueller Original Music Angelo Francesco Lavagnino Produced by Alessandro Tasca Directed by Orson Welles

Reviewed by Glenn Erickson

It's even better than I remembered. Sometime during film school I went with UCLA friends Clark
See full article at Trailers from Hell »

The Immortal Story

Orson Welles' French TV show with Jeanne Moreau is a near-masterpiece, directed with assurance and style. It's the filmmaker's first color feature, and his last completed fictional feature. The Immortal Story Blu-ray The Criterion Collection 831 1968 / Color / 1:66 widescreen / 58 min. / Histoire immortelle / available through The Criterion Collection / Street Date August 30, 2016 / 39.95 Starring Jeanne Moreau, Orson Welles, Roger Coggio, Norman Eshley, Fernando Rey. Cinematography Willy Kurant Film Editors Yolande Maurette, Marcelle Pluet, Françoise Garnault, Claude Farny Music selections Eric Satie Based on a novel by Isak Dinesen Produced by Micheline Rozan Written and Directed by Orson Welles

Reviewed by Glenn Erickson

The Criterion Collection's Blu-ray of The Immortal Story took me completely by surprise. I bailed out of a viewing long ago on Los Angeles' 'Z' Channel cable station, mainly because it looked terrible -- grainy and washed out. I thought I was watching a faded print that had been blown up from 16mm.
See full article at Trailers from Hell »

William Friedkin At "The French Connection" Screening, L.A., June 18

  • CinemaRetro
The French Connection 45th Anniversary Screening in Los Angeles

By Todd Garbarini

The Ahrya Fine Arts Theatre in Los Angeles will be presenting a 45th anniversary screening of William Friedkin’s Oscar-winning 1971 crime drama The French Connection. The 102-minute film will be screened on Saturday, June 18, 2016 at 7:30 pm. Starring Gene Hackman, Roy Scheider, Tony Lo Bianco, Fernando Rey, Marcel Bozuffi, and the two real-life detectives who broke the actual case: the late Eddie Eagen and Salvatore “Sonny” Grosso, The French Connection is a New York movie of the first order and paved the way for gritty crime dramas like The Seven-Ups and The Taking of Pelham 1-2-3.

Director Friedkin is scheduled to appear at a Q&A session following the film.

From the press release:

Part of our Anniversary Classics series. For details, visit: laemmle.com/ac.

45th Anniversary Screening

This gritty and gripping police thriller won five
See full article at CinemaRetro »

Film Review: Magic of Orson Welles Rings the ‘Chimes at Midnight’

Chicago – Another wondrous pleasure about director Orson Welles – as if he needed something else on his resume – is the discovery of his film career after the “Citizen Kane”/studio system/boy wonder period of the 1940s. Facing difficulties cobbling together financing for his evolving vision, he resorted to overseas money, international casts and more-for-less. One of the prime examples is “Chimes at Midnight” (1965), a Shakespeare amalgamation that is just another example of Wellesian audacity and yes, genius.

Rating: 5.0/5.0

The script takes the text from five Shakespeare plays and is narrated by British actor Ralph Richardson. Orson Welles plays the scalawag John Falstaff, an entourage member of the Prince of Wales, and the focus of the story. The film has a kinetic energy that is exciting, it always seems in motion. Welles is at the top of his game portraying one of his favorite characters (he had previously mounted a similar
See full article at HollywoodChicago.com »

Revolt of the Slaves

Let's give a cheer for the lowly sword 'n' sandal epic. This persecution and torture spectacle also takes in the martyrdom of Saint Sebastian. The impressively mounted Italian-Spanish production stars Rhonda Fleming, Fernando Rey, Wandisa Guida, and as the slimy villain, none other than Serge Gainsbourg. Revolt of the Slaves MGM Limited Edition Collection 1960 / Color / 2:35 enhanced widescreen (Totalscope) / 103 min. / La rivolta degli schiavi / Street Date February 16, 2016 / available through Screen Archives Entertainment / 19.98 Starring Rhonda Fleming, Lang Jeffries, Darío Moreno, Ettore Manni, Wandisa Guida, Gino Cervi, Fernando Rey, Serge Gainsbourg, José Nieto, Benno Hoffmann, Rainer Penkert, Antonio Casas, Vanoye Aikens, Dolores Francine, Burt Nelson, Julio Peña . Cinematography Cecilio Paniagua Film Editor Eraldo Da Roma Original Music Angelo Francesco Lavagnino Written by Stefano Strucchi, Duccio Tessari, Daniel Mainwearing from the novel 'Fabiola' by Nicholas Patrick Wiseman Produced by Paolo Moffa Directed by Nunzio Malasomma

Reviewed by Glenn Erickson

Make all
See full article at Trailers from Hell »

Triple 9 : The Best Old-school Cop Flicks

Triple 9 is in theaters now, and to celebrate, I thought I’d share some of my favorite cop flicks with you! Directed by John Hillcoat, Triple 9 is an action-packed thriller starring Oscar®-nominees Woody Harrelson, Chiwetel Ejiofor, Kate Winslet and Casey Affleck, along with Aaron Paul, Norman Reedus, Gal Gadot and Anthony Mackie, and is in theaters now!

Below are some of my favorite cop films. You can tell that I’m heavily influenced by the 80’s. What are some of your favorite old-school cop movies? Be sure to comment below!

Police Academy

Whenever I think of cop films, the first thing that pops into my head is this. Steve Guttenberg, Kim Cattrall, and Michael Winslow (you know, the one who makes all of the crazy noises with his mouth) came into our lives in 1984 as recruits after the newly elected mayor banishes all former fitness, education, and
See full article at WeAreMovieGeeks.com »

The Definitive Romantic Comedies: 50-41

We all have predisposed notions about the infamous “romantic comedy.” As with other genres, there’s a large subsection of offerings, giving it a bad name. But, for every tired, cliché-driven comedy, there is another impressive offering that redefines the genre, garners plenty of laughs, and tells an honest story about love and relationships, however warped they may be. In the coming weeks, we’ll take a look at the fifty romantic comedy films that should be seen. These may not all be classic films, but they certainly put a stamp on the industry and the genre we affectionately call “rom-coms.”

#50. Moonrise Kingdom (2012)

Most of Wes Anderson’s films could be described as romantic comedies, but his 2012 effort stands out, as its central story focuses on young love and the need to find acceptance. In Anderson’s world, while quirks abound, true connections between characters are commonplace. With Moonrise Kingdom,
See full article at SoundOnSight »

Daily | Orson Welles’s Chimes At Midnight

Janus Films' new restoration of Orson Welles's Chimes at Midnight (1965), drawing on several plays by William Shakespeare and starring himself, Jeanne Moreau, Margaret Rutherford, John Gielgud, Marina Vlady, Keith Baxter and Fernando Rey, opens in New York and Los Angeles today and screens tomorrow in Portland before rolling out across North America and eventually seeing a Criterion release on DVD and Blu-ray. Ignatiy Vishnevetsky at the Av Club: "A big chunk of Welles’s body of work could be divided up into movies about power (e.g. Citizen Kane, Macbeth) and movies about powerlessness (e.g. The Lady from Shanghai, The Trial), and Chimes at Midnight fits squarely into the latter category." » - David Hudson
See full article at Keyframe »

Daily | Orson Welles’s Chimes At Midnight

Janus Films' new restoration of Orson Welles's Chimes at Midnight (1965), drawing on several plays by William Shakespeare and starring himself, Jeanne Moreau, Margaret Rutherford, John Gielgud, Marina Vlady, Keith Baxter and Fernando Rey, opens in New York and Los Angeles today and screens tomorrow in Portland before rolling out across North America and eventually seeing a Criterion release on DVD and Blu-ray. Ignatiy Vishnevetsky at the Av Club: "A big chunk of Welles’s body of work could be divided up into movies about power (e.g. Citizen Kane, Macbeth) and movies about powerlessness (e.g. The Lady from Shanghai, The Trial), and Chimes at Midnight fits squarely into the latter category." » - David Hudson
See full article at Fandor: Keyframe »

Chimes at Midnight (1965) | Review

Sweet Creature of Bombast: Welles’ Restored Homage to Shakespeare’s Ultimate Clown

Before the world finally gets a chance to see Orson Welles’ last uncompleted film The Other Side of the Wind, which had been intended to be the troubled auteur’s return to American filmmaking following a decade in Europe, audiences can feast on a restored version of his final narrative masterpiece, Chimes at Midnight. For decades, the 1965 title has been unavailable and now arrives restored on behalf of Janus Films. Playing in competition at the 1966 Cannes Film Festival, Welles homage to one of Shakespeare’s most beloved comic characters, Sir John Falstaff, initially received a chilly reception and stilted marketing campaign upon hitting Us theaters. Despite a throng of critics attempting to recuperate its reputation since then, it has remained an obscure classic.

Taking place from the years 1400 to 1408 in England, a narrator explains King Henry IV (John Gielgud
See full article at IONCINEMA.com »

Gunman’s Walk, Land Raiders & A Man Called Sledge

Germany's Explosive Media company has a serious itch for American westerns, and they have a trio of new releases. One is a minor Hollywood classic with major graces, from the late 1950s. A second sees an American producer based in England filming in Italy with a rising international star, and for the third an established American star goes European  to stay in the game. The best thing for Yankee buyers? The discs are Region-free.

Gunman's Walk, Land Raiders, A Man Called Sledge Three Westerns from Explosive Media Blu-ray Separate Releases 1958-1970 / Color Starring Van Heflin, Tab Hunter; George Maharis, Telly Savalas; James Garner

Reviewed by Glenn Erickson

The majority of American studios now choose not to market their libraries for digital disc, and license them out instead. Collectors unwilling to settle for whatever's on Netflix or concerned about the permanence of Cloud Cinema, find themselves increasingly tempted by discs from Europe,
See full article at Trailers from Hell »

Navajo Joe | Blu-ray Review

Kino Lorber brings the infamous 1967 Spaghetti western Navajo Joe to Blu-ray, an overlooked gem of the genre that’s long been shadowed by its troubled reputation and the continual disparagement of its lead star, Burt Reynolds. In retrospect, this Italian/Spanish co-production promises to be a bit too politically incorrect to be taken seriously considering the casting of American star Reynolds as a Navajo Indian (he is, in fact, partly of Cherokee descent, though not enough to avoid the necessity of bronzer and a black wig).

It’s hardly the first or last time we’ve seen whitewashed casting of Native Americans (Audrey Hepburn in John Huston’s 1960 western The Unforgiven comes to mind), and to many the casting seems to compromise the integrity of the title. Instantly reviled and dismissed by Reynolds in his second starring role during his transition from television to film, it is, nevertheless, a very
See full article at IONCINEMA.com »

FiGa, Veiroj Reteam on ‘The Apostate’

FiGa, Veiroj Reteam on ‘The Apostate’
Madrid – L.A.-based FiGa Films is re-teaming with Federico Veiroj, the Uruguayan-Spanish director of “The Apostate,” a buzzed-up title which world premieres at Toronto, playing Contemporary World Cinema, before segueing to San Sebastian, selected for main competition.

Headed by Sandro Fiorin and Alex Garcia, sales-production house FiGa has acquired international sales rights to “The Apostate,” having represented Veiroj’s second feature, the delicious “A Useful Life,” a tribute to film as inspiration. Early “Apostate” sales are under negotiation, said Fiorin.

A comedic drama, “The Apostate” rolls off strong-word-of-mouth after winning March’s Miami Fest pix-in-post competish Encuentros, curated by Toronto programmer Diana Sanchez.

Following on Veiroj’s Directors’ Fortnight-selected “Acne,” then “Life,” “The Apostate” stars Alvaro Ogalla – also a co-scribe. Ogalla plays Gonzalo, an antihero who struggles with issues of faith, guilt and desires, attempting to escape his tempestuous past, not conform to his parents’ expectations and find his
See full article at Variety - Film News »

Chimes at Midnight review – Welles’s Falstaff is a messy masterpiece

(Orson Welles, 1965; Mr Bongo Films, PG)

Throughout his life, Orson Welles was fascinated by Shakespeare – studying and editing the texts (usually pretty drastically), directing them and performing them on the stage and in the cinema. His third and final Shakespeare film, Chimes at Midnight, was the completion of a project first embarked on when a schoolboy in 1930 as Five Kings, a conflation of plays about the Wars of the Roses. It was eventually shot over a year in Spain with money conned out of a Spanish producer, who believed that Welles was simultaneously directing on the same sets and location the Shakespearean Chimes at Midnight (a potentially unprofitable venture) and a new version of Stevenson’s Treasure Island (a far more commercial prospect) with himself as Long John Silver. In fact, not a foot of the adventure movie was made, though Welles did play Long John in 1972 in a rarely seen Spanish-Italian production.
See full article at The Guardian - Film News »

The Top Ten Most Stressed-Out Characters in Movie History

By Alex Simon

Stress kills, goes the old saying, and can cause a host of maladies before it does. Hypertension, heart disease and even Bruxism, otherwise known as grinding of the teeth, can be its unfortunate products. In that spirit, here are ten examples of stress in on-screen, and its most masterful portraits.

1. Jack LemmonSave the Tiger (1973)

Jack Lemmon took home a Best Actor Academy Award for his incendiary turn as Harry Stoner, a once-prosperous businessman who finds his carefully-tailored life crashing down around him. His garment business in downtown La is going bust, his marriage is dead in the water, and the crazy hippies who hitchhike on the Sunset Strip just don’t match his Ww II era sensibilities. When Harry decides to have his business “torched” for the insurance money, he goes on a self-destructive odyssey through early ‘70s La. His word association game with a cute
See full article at The Hollywood Interview »

Exclusive Trailer For The Connection

Exclusive Trailer For The Connection
Since that Oscar win for The Artist, Jean Dujardin hasn't become as ubiquitous in Hollywood movies as we might have expected. Maybe Funny Or Die's sketch played out for real and he found himself pigeoned-holed and offered unappetising roles; maybe he was happy to stay local and moonlight in the likes of The Wolf Of Wall Street and The Monuments Men. Either way, he'll be back on our screens soon in The Connection, a taut Gallic policier that has a new trailer below. brightcove.createExperiences();There's a hint of Mesrine's stylised moodiness in there, underlined by the presence of Gilles Lellouche as the Fernando Rey to Dujardin's Gene Hackman. Lellouche is Neapolitan heroin trafficker Tony Zampa; Dujardin is Pierre Michel, the Marseilles magistrate trying to bring him down.It's the same tense terrain - and the same real-life case - that was tapped by John Frankenheimer's The French Connection
See full article at EmpireOnline »
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