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Chicago – The unmistakable silhouette of the Master of Suspense will be cast over the Music Box Theatre during the final days of the holiday season. Ten of Alfred Hitchcock’s most beloved masterworks will be presented on the big screen in inspired double bills that illustrate the startling range and enduring brilliance of the legendary filmmaker.
Even if moviegoers have seen these titles eight dozen times on DVD, they will be amazed at how fresh the films play when screened in a packed theater. No filmmaker knew how to delight and frighten an audience better than Hitchcock. When Robert Osborne held a free screening of “North by Northwest” at the Music Box last year, it felt as if the picture had been made yesterday.
Every punchline scored a belly laugh, every moment of delicious tension caused viewers to lean forward in anticipation, and when the film ended, the packed house broke out into extended, »
- firstname.lastname@example.org (Adam Fendelman)
By Samuel Negin
Broadway.com has reported that two-time Tony-nominee Howard McGillin will be joining the cast of the upcoming musical Rebecca taking over the role of Frank Crawley from John Dossett. He will be joining previously announced cast members Sierra Boggess and James Barbour. The musical is based on the Daphne DuMaurier novel and the 1940 Alfred Hitchcock film of the same name, and tells “the story of Maxim de Winter, his new wife (“I”) and Mrs. Danvers, the controlling and manipulative housekeeper of Maxim’s West Country estate of Manderley, where the memory of his first wife, the glamorous and mysterious Rebecca, still casts a shadow.”
Click to read more…
- Scott Feinberg
Originally published in the Observer on 18 December 1938
I am writing this letter now, so that the readers of the Observer can light their fires with it on Monday morning, and you will have six days after it has gone up the chimney to study my wants and decide what you are going to do about them. I know you will be very busy this Christmas, but in case you have time to think about the cinema, here are one or two suggestions for useful gifts.
Give back a film industry to England, just a little one. We have been very stupid, shortsighted and wasteful here, but most of us are sorry now. There are thousands of people out of work in the studios this Christmas, many of them with little prospect of getting back again. Be kind to them, please.
Whisper in the ear of politicians and City men, and »
What a difference a year makes!
Back in January, Paige Harbison's debut novel, "Here Lies Bridget," hit bookshelves. (She was only 20-years-old at the time.) In October, it was acquired for the big screen. And now, NextMovie has learned that it has landed a director.
Hey, Hollywood knows a good thing when it sees it.
Kat Coiro, who helmed the Kate Bosworth starrers "L!fe Happens" and "While We Were Here" (out in 2012), has signed on to direct the film adaptation of "Here Lies Bridget." (Unfortunately, Bosworth might be a little too old to play the titular role in this one.)
The young adult tale tells the story of Bridget Duke, who is the most popular — and meanest — girl in high school… until she crashes her car and ends up in spiritual limbo. Talk about a bad day. She must then confront the people she has wronged, all of »
- Elizabeth Durand
The first item that needs mentioning is Sight & Sound's followup to last week's tweets and sneak peeks, "2011 in review: The full poll," 101 critics and curators listing their top five films and generally reflecting on the year that was. Editor Nick James introduces the bundle.
The second order of business would be the obligatory mention of David Fincher's commenting on the David Denby vs Scott Rudin brouhaha (briefly: the New Yorker critic reneged on his promise not to run a review of The Girl with the Dragon Tattoo before the embargo would be lifted on December 13; the producer blew his top). Talking to Rene Rodriguez of the Miami Herald, Fincher naturally comes down on the side of his producer, but also adds: "Embargoes… look, if it were up to me, I wouldn't show movies to anybody before they were released…. But by the same token, when you agree to go »
Better late than never for Roeg
Nicolas Roeg is the winner of this year's London Critics' Circle Dilys Powell award for excellence in cinema. Strange to believe that Roeg, 83, hadn't won it before, but I'm proud to say he will collect the award on 19 January under my chairmanship. Roeg was being totally honest when he confessed to being shocked at the offer of this award. "If I look back at some of my reviews, you'd never believe the critics would offer me anything," he told me. "I don't know if I should thank you or forgive you – I shall look on it that maybe there's a strange mathematical formula for critics where two negatives can eventually make a positive." Roeg will accept the award, joining illustrious and »
- Jason Solomons
(Fritz Lang, 1947, Exposure, PG)
Fritz Lang, whose German expressionist movies helped create film noir, saw his disciple Alfred Hitchcock surge ahead of him in Hollywood. With this psychoanalytical thriller incorporating elements of Rebecca, Suspicion and Spellbound, he sought to establish he was Hitch's equal. It proved a critical and commercial disaster but is now widely seen as a key example of Lang's "fantastical realism". A sublime, delirious melodrama, it stars Joan Bennett as a sleepwalking heiress who meets a charming architect (Michael Redgrave) in Mexico, and marries in haste. He turns out to have a bizarre family past and a weird present that includes re-creating in the basement of his New England mansion the rooms where famous murders occurred. Redgrave was cast because of his schizophrenic ventriloquist in Dead of Night. The outstanding photography is by Stanley Cortez, who shot The Magnificent Ambersons and The Night of the Hunter. The »
- Philip French
The St. Louis Globe-Democrat is a monthly newspaper run by Steve DeBellis, a well know St. Louis historian, and it.s the largest one-man newspaper in the world. The concept of The Globe is that there is an old historic headline, then all the articles in that issue are written as though it.s the year that the headline is from. It.s an unusual concept but the paper is now in its 25th successful year! Steve and I collaborated last Spring on an all-Vincent Price issue of The Globe and I’ve been writing a regular monthly movie-related column since then. Since there is no on-line version of The Globe, I will be posting all of my articles here at We Are Movie Geeks. When Steve informed me that this month.s St. Louis Globe-Democrat was to take place in 1939, often labeled “Hollywood’s Greatest Year”, I knew the possibilities were immense. »
- Tom Stockman
It came from a throwaway comment made by a friend after the release of Inception (2010) last year: “Nolan’s like a modern-day Hitchcock”. Really? I probably scoffed at the time. Alfred Hitchcock’s name has to be whispered in the kind of hushed, awe-filled tones that a child uses to talk about Santa. Has Nolan already built up that level of admiration? Well, like the chubby, bearded man in red, he does come bearing gifts this Christmas. Has there ever been more anticipation around a trailer – a sneak 6 minute prologue/trailer to be screened at IMAX cinemas before MI4 this December?
Born in London, Christopher Nolan began at the very bottom of the filmmaking ladder. After graduating with a degree in English Literature, he plodded around for years producing corporate videos while working on the script to his first feature film – Following (1998). He shot it over the course of a »
- Robert Munro
Each weekend we include independent horror news sent our way. If you want to be featured in our next spotlight feature, send us an email.
Underneath The Juniper Tree: The children’s literature magazine releases it’s November issue this coming week:
“Come celebrate Día de los Muertos with us! Continue reading the newest installments of our serial stories: The Beast and I, Royally Beheaded with Lady Jane Grey, Headless Dieder, and the the Daughters of Csucskari: watch as they take brutal revenge on their father’s killers. We have a slew of new stories about viciously evil Catrina Dolls, homicidal grandpas, exploding body parts, violins made out of dead man’s bone, and of course, classic ghost stories and murderous legends.”
For more information on Underneath The Juniper Tree, visit: http://underneaththejunipertree.com/
- Jonathan James
by Shannon Hilson, MoreHorror.com
Fans of the great Daphne DuMaurier and examples of her gripping written works such as Rebecca and The Birds won't want to miss Cemetary Dance Publications's upcoming release The Doll. The Doll consists of eight early short stories that have long been out of print plus five more that have appeared in various periodicals over the years -- a must have for any fan of her work. It's important to note that this is a one-time special run printing though! Make sure to get your copy before The Doll is gone for good. Also check out the official press release below for more details.
The Doll: The Lost Short Stories
About the Book:
Matthew Rhys ("Brothers and Sisters") and Eileen Atkins ("Robin Hood") have signed to star in a film adaptation of Daphne du Maurier's 1957 psychological thriller novel "The Scapegoat" at Island Pictures says The Hollywood Reporter.
The story follows a man who meets his perfect double and takes over his life. Sturridge adapted the script and is directing. The film will air in the UK on ITV1 next year before rolling out worldwide in a theatrical release. Dominic Minghella and Sarah Beardsall will produce.
Alfred Hitchcock adapted three of her works into classics of his own - "Jamaica Inn," "The Birds" and his Best Picture Oscar winner "Rebecca". Nic Roeg also turned her "Don't Look Now" into what's considered a cornerstone work of horror and British cinema. »
- Garth Franklin
HBO is developing a film based on the life of legendary film producer David O. Selznick reports The Los Angeles Times.
Ben Stiller is executive producing and has met several times with both the network and with Moverman to potentially star.
Based partly on Selznick's own correspondence, the film will follow the ladies man who worked in the studio system at MGM, Paramount and Rko in the 20's and 30's on such films as "King Kong" and "Dinner at Eight".
In 1935 he started his own company and was the creative force behind the epic "Gone with the Wind" along with "The Prisoner of Zenda," "A Star is Born" and Alfred Hitchcock's Oscar-winning first Hollywood film "Rebecca". He also produced "The Third Man" and "Duel in the Sun"
- Garth Franklin
David O. Selznick was one of the great superproducers of the studio era. He was responsible for some of Hollywood's biggest hits in the 1930s, peaking at the end of the decade with back-to-back Best Picture wins for Gone with the Wind and Rebecca. With a life and career as grand as the movies he produced, Selznick is due for a biopic. Enter Ben Stiller and writer/director Oren Moverman (The Messenger). Show Tracker hears Moverman is developing a film about based on Selznick's life at HBO. At the current stage, Moverman has rewritten the first draft of the script by Donald Marguiles. Stiller is on board as executive producer, and has reportedly met with Moverman and the network multiple times with keen interest to play the movie mogul. HBO declined to comment, so it's unclear how far along the project is, or if Moverman has any intention to direct. »
- Brendan Bettinger
Well, well, well, it looks like Lucy Scherer has gotten herself stuck in a lesbian feedback loop! First, she played Glinda in Gemany's musical adaptation of Wicked. (Glinda and Elphaba forever!) Then, she played raging homosexual Jenny Hartmann on our beloved Hand aufs Herz. And now news has hit the internet that she's headed back to the stage to play the nameless heroine in the musical adaptation of Daphne du Maurier's Rebecca.
What's so lesbian about Rebecca, you say?
Oh, girl, I say.
Daphne du Maurier was so very gay. She was married for her whole life. She never even hinted at leaving her husband. But that didn't stop her from having many, many affairs with the ladies. Why, her family even had a code word for lesbian — "Venetian" — that they used to describe her queer proclivities. She fell hard for Ellen Doubleday, the wife of her American book publisher, »
- Heather Hogan
A good-looking, serious and well-acted version of the Brontë classic, but it still can't match a moody Orson Welles
Films of Brontë novels have been arriving in pairs at regular intervals these past 70 years, as if a production of Emily's Wuthering Heights demanded an accompanying production of Charlotte's Jane Eyre. The versions, however, that set the bar for this year's pictures are not those made in England in the 1970s and the 1990s but those produced when the Hollywood studio system was at its zenith. Shot in stylish and stylised fashion on Californian sound stages, they largely featured members of the local British colony and took a fairly cavalier attitude to the texts. I refer of course to William Wyler's Wuthering Heights starring Laurence Olivier and Merle Oberon as Heathcliff and Cathy, which opened in 1939, and Robert Stevenson's foggy, gothic Jane Eyre, which appeared after a lengthy period »
- Philip French
"Full credit to director Andrea Arnold for taking such a bold and distinctive approach to Emily Brontë's account of sweeping passion on the Yorkshire moors," writes the Guardian's Xan Brooks. "Her line in creative vandalism rips off the layers of fluffy chiffon that have adhered to the tale through the course of numerous stage and screen adaptations. It pushes the story all the way back to its original 1847 incarnation and then beyond, up-river, into primordial sludge. What comes back is a beautiful rough beast of a movie, a costume drama like no other. This might not be warm, or even approachable, but it is never less than bullishly impressive."
"You call tell almost immediately that this Wuthering Heights is a film by Andrea Arnold, the writer-director of Red Road and Fish Tank," writes Time Out London's Dave Calhoun. "This might be the British filmmaker's first literary adaptation, but all her trademarks are there, »
Joan Blondell. Those who have heard the name will most likely picture either a blowsy, older woman playing the worldwise but warm-hearted saloon owner in the late 1960s television series Here Come the Brides, or a lively, fast-talking, no-nonsense, and unconventionally sexy gold digger in numerous Pre-Code Warner Bros. comedies and musicals of the early 1930s. Matthew Kennedy's Joan Blondell: A Life Between Takes (University Press of Mississippi, 2007) seeks to rectify that cultural memory lapse. Not that Blondell doesn't deserve to be remembered for Here Come the Brides or, say, Gold Diggers of 1933, Footlight Parade, Havana Widows, and Broadway Bad. It's just that her other work — from her immensely touching performance as a sexually liberated woman in A Tree Grows in Brooklyn to her invariably welcome (if brief) appearances in films as varied as The Blue Veil, Will Success Spoil Rock Hunter?, and Grease — should be remembered as well. »
- Andre Soares
Joan Blondell, Dick Powell, Dames Joan Blondell has always been a favorite of mine, much like fellow wisecracking 1930s Warner Bros. players Aline MacMahon and Glenda Farrell. The fact that Blondell never became a top star says more about audiences — who preferred, say, Shirley Temple and Mickey Rooney — than about Blondell's screen presence and acting abilities. As part of its "Summer Under the Stars" film series, Turner Classic Movies is currently showing no less than 16 Joan Blondell movies today, including the TCM premiere of the 1968 crime drama Kona Coast. Directed by Lamont Johnson, Kona Coast stars Richard Boone and the capable Vera Miles. Blondell has a supporting role — one of two dozen from 1950 (For Heaven's Sake) to 1981 (The Woman Inside, released two years after Blondell's death from leukemia). [Joan Blondell Movie Schedule.] Unfortunately, TCM isn't showing the super-rare (apparently due to rights issues) The Blue Veil, Curtis Bernhardt's 1951 melodrama that earned Blondell her »
- Andre Soares
Betty Compson, Clive Brook, Woman to Woman Despite some confusion in various reports, the 1923 melodrama The White Shadow, half of which was recently found at the New Zealand Film Archive, is not Alfred Hitchcock's directorial debut. It isn't Hitchcock's first ever credited effort, either. That honor apparently belongs to Woman to Woman, which came out earlier that same year. The White Shadow, in fact, was a Woman to Woman afterthought. Both movies were directed by Graham Cutts, both were produced by future British film industry stalwarts Victor Saville and Michael Balcon, both were based on works by Michael Morton (the earlier film was taken from a Morton play; the later one from a Morton novel), and both starred Clive Brook and Hollywood import Betty Compson. (Compson plays two parts in both films as well; but whereas in The White Shadow she plays two actual characters, in Woman to Woman »
- Andre Soares
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