2 items from 2015
Orson Welles is celebrated as one of the foremost visionaries in the history of American filmmaking. He’s also renowned as the perennial artist against the system. While both of these factors make Welles perhaps the ideal auteur – someone satisfied with nothing less than a perfect articulation of his individual vision within the collaborative medium of filmmaking – it also presents some unique problems in examining works that were taken away from him.
The classically celebrated auteurs of studio era Hollywood (e.g., Hawks, Ford, Hitchcock) were known for creating individuated worldviews across their body of work either despite or even because of the strictures inherent in Classical Hollywood filmmaking. This was not Welles, who from his rise to infamy with the 1938 “War of the Worlds” broadcast to his first studio feature made a name by challenging the assumed utilities of a medium. Neither could »
- Drew Morton
This weekend, the Austin Film Society continues their French Noir series with Claude Sautet's Max & The Junkmen, a film that was never distributed in the United States upon its release in 1971, but finally circulated in a restored print in 2013. This rarity plays tonight and again on Sunday in 35mm at the Marchesa. David Lynch's Blue Velvet picks up a second screening in 35mm on Sunday evening and Richard Linklater will be on hand to introduce the film and lead a post-film discussion. Linklater returns Wednesday night for L'Argent, Robert Bresson's final feature, and Elizabeth Taylor stars in Suddenly, Last Summer on Thursday for Essential Cinema.
The Paramount is hosting golfer Ben Crenshaw, actress Anne Archer and filmmaker Terry Jastrow on Wednesday night for the Austin premiere of The Squeeze. Jastrow has been a producer on Wide World Of Sports and The Olympics and this is his directorial film debut. »
- Matt Shiverdecker
2 items from 2015
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