Black Narcissus (1947) - News Poster

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Made in England: Three Classics by Powell and Pressburger

  • MUBI
Mubi is showing Michael Powell and Emeric Pressburger's The Small Back Room (1949), The Tales of Hoffmann (1951) and Michael Powell's Peeping Tom (1960) in November and December, 2017 in the United States in the series Powell & Pressburger: Together and Apart.The story goes that when they were casting their first flat-out masterpiece together, The Life and Death of Colonel Blimp (1943), Michael Powell and Emeric Pressburger sent a letter to an actress outlining a manifesto of their production company, called "the Archers." At the time, the Archers was freshly incorporated, with Powell and Pressburger sharing all credit for writing, directing, and producing, and their manifesto had five points. Point one was to ensure that they provided their financial backers with "a profit, not a loss," which may raise eyebrows among those who are used to manifestos burning with anti-capitalist fire—but then, in a system like commercial cinema, profitability buys freedom.
See full article at MUBI »

12 Movies with the Best Color Cinematography of All-Time

12 Movies with the Best Color Cinematography of All-Time
These days, major cinematographers like Emmanuel Lubezki and Ed Lachman are as much of a draw to serious moviegoers as the directors they work with. Currently, Roger Deakins’ masterful work in the visually stunning “Blade Runner 2049” has led to one recurring question above all: Will Roger finally win the Oscar? Among the more striking aspects of Deakins’ accomplishment is the use of color: Virtually every shot has a different palette.

It feels like something we’ve never seen before, but have we? How does today’s best cinematography stack up against the great color films of the past?

Since the early 20th century, there have always been experimentations with color cinematography, but it wasn’t until the late ’30s, with the massive success of “The Wizard of Oz” and “Gone with the Wind,” that color films became a staple of international cinema. With films stretching from 1947 to 2011, from masters like Jack Cardiff to Lubezki,
See full article at Indiewire »

Giveaway – Win The Vikings starring Kirk Douglas, Tony Curtis, Ernest Borgnine & Janet Leigh

Eureka Entertainment is set to release The Vikings, Richard Fleischer’s rip-roaring action adventure packed with stunning visuals, brutal action and a star-studded cast, as part of the Eureka Classics range on Blu-ray for the first time in the UK on October 16th 2017, and we’ve got three copies to give away; read on for details of how to enter…

One of the most spectacular and action packed epics of the fifties, Richard Fleischer’s The Vikings wowed audiences worldwide with its stunning visuals, brutal action and star studded cast.

Prince Einar (Kirk Douglas, Paths of Glory, Ace in the Hole) is the son and heir of a savage Viking chieftain (Ernest Borgnine, Violent Saturday, The Wild Bunch). Prince Eric (Tony Curtis, Some Like it Hot) is his unknowing half-brother, the bastard offspring of Einar’s father and an English queen. When the Vikings kidnap the princess Morgana (Janet Leigh,
See full article at Flickeringmyth »

'The Sower' ('Le semeur'): Film Review | San Sebastian 2017

'The Sower' ('Le semeur'): Film Review | San Sebastian 2017
The Beguiled meets Black Narcissus in debutante writer-director Marine Francen's The Sower (Le semeur), a finely etched miniature of quietly cumulative emotional impact. Relating a fable-like but apparently true story of isolated farming women and the virile blacksmith who stumbles into their midst, it landed one of the most lucrative prizes in world cinema — the $58,750 (€50,000) New Directors award — when premiering at San Sebastian.

This exposure should open numerous further festival doors, though the lack of recognizable names in the cast may limit the niche international distribution the picture deserves. French release is set for November 15,...
See full article at The Hollywood Reporter - Movie News »

The Furniture Index

Can we have a random break for applause for Daniel Walber's The Furniture column. It was Daniel's birthday this weekend so he has the day off. He's already 69 episodes in to this incredible series which has been filled with sharp insights, a keen eye, and rich Hollywood anecdotes. Here's everything he's covered thus far. Please show your love in the comments if you look forward to these each Monday.

The Forties and Fifties

Hold Back the Dawn (1941) Bored at the border

How Green Was My Valley (1941) Designing dignity

That Hamilton Woman (1941) High ceilings

• Captain of the Clouds (1942) A Canadian air show

• The Magnificent Andersons (1942) Victorian Palace / Manifest Destiny

My Gal Sal (1942) Nonsense Gay Nineties

The Shanghai Gesture (1942) Appropriating Chinese design

Black Narcissus (1947) Mad for matte paintings

David and Bathsheba (1951) A humble palace of moral struggle

A Streetcar Named Desire (1951) Decorative madness

My Cousin Rachel (1952) Ghosts of property

Lust for Life
See full article at FilmExperience »

The Battle of the River Plate

Powell & Pressburger’s big-scale historical epic is perhaps the best show ever about an old-school naval encounter between battleships. The first half depicts the showdown between England and Germany in the South Atlantic, and the second half a tense diplomatic game in the neutral country of Uruguay. Peter Finch, Bernard Lee and Anthony Quayle shine as sea captains.

Panzerschiff Graf Spee (The Battle of the River Plate)

Region B Blu-ray

ITV Studios Home Entertainment (Germany)

1956 / Color / 1:78 widescreen / 119, 106 117 min./ Pursuit of the Graf Spee / Street Date 2010 / Available from Amazon UK £16.90

Starring: Peter Finch, Bernard Lee, Anthony Quayle, John Gregson, Ian Hunter, Jack Gwillim, Lionel Murton, Anthony Bushell, Peter Illing, Michael Goodliffe, Patrick Macnee, Christopher Lee.

Cinematography: Christopher Challis

Production Design: Arthur Lawson

Film Editor: Reginald Mills

Original Music: Brian Easdale

Written, Produced & Directed by Michael Powell & Emeric Pressberger

The best way so far to see the impressive The Battle of the River Plate
See full article at Trailers from Hell »

The Beguiled review – Sofia Coppola piles on the passion in the deep south | Peter Bradshaw's film of the week

Colin Farrell and Nicole Kidman star in this tremendously watchable tale of a civil war deserter in the Us who takes refuge in a girls’ school

Sofia Coppola won the director’s prize at Cannes for this hugely enjoyable melodrama that more or less allows bodices to remain unripped until an uproarious third act, when passions are declared, animals killed and acts of mutilation carried out. A handsome, badly wounded Union soldier is stranded alone in enemy terrain during the American civil war and throws himself on the mercy of a ladies’ seminary. These southern belles, until now starved of male company, collectively experience a sexual nervous breakdown. The movie has delirious hints of Black Narcissus and the Diet Coke ad about office workers admiring a sweaty worker slaking his thirst.

Related: Summer 2017's best movies: from Scarlett Johansson's hen night to Morrissey's teen years

Continue reading...
See full article at The Guardian - Film News »

All of the Films Joining Filmstruck’s Criterion Channel This July

Each month, the fine folks at FilmStruck and the Criterion Collection spend countless hours crafting their channels to highlight the many different types of films that they have in their streaming library. This July will feature an exciting assortment of films, as noted below.

To sign up for a free two-week trial here.

Saturday, July 1 Changing Faces

What does a face tell us even when it’s disguised or disfigured? And what does it conceal? Guest curator Imogen Sara Smith, a critic and author of the book In Lonely Places: Film Noir Beyond the City, assembles a series of films that revolve around enigmatic faces transformed by masks, scars, and surgery, including Georges Franju’s Eyes Without a Face (1960) and Hiroshi Teshigahara’s The Face of Another (1966).

Tuesday, July 4 Tuesday’s Short + Feature: Premature* and Ten*

Come hitch a ride with Norwegian director Gunhild Enger and the late Iranian master
See full article at CriterionCast »

More Cannes Winners: Diane Kruger to Become the New Isabelle Huppert + Best Director Coppola Oscar Chances?

'In the Fade' with Diane Kruger: Fatih Akin's German-language Avenging Woman drama may give its star the chance to become next awards season Isabelle Huppert. Diane Kruger: 2017–2018 awards season's Isabelle Huppert? The 2003 Cannes Film Festival's Female Revelation Chopard Trophy winner, Diane Kruger was Cannes' 2017 Best Actress winner for Fatih Akin's In the Fade / Aus dem Nichts. If Akin's German drama finds a U.S. distributor before the end of the year, Kruger could theoretically become the Isabelle Huppert of the 2017–2018 awards season – that is, in case the former does become a U.S. critics favorite while we stretch things a bit regarding the Kruger-Huppert commonalities. Just a bit, as both are European-born Best Actress Cannes winners who have been around for a while (in Huppert's case, for quite a while). Perhaps most importantly, like Huppert in Paul Verhoeven's Elle, Kruger plays a woman out for revenge in In the Fade. Diane Kruger-Isabelle Huppert 'differences' There is, however, one key difference between the two characters: in Elle, Huppert wants to avenge her own rape; in In the Fade, Kruger wants to avenge the death of her Turkish husband (Numan Acar) and their son (Rafael Santana) at the hands of white supremacist terrorists. Another key difference, this time about the Kruger-Huppert Cannes Film Festival connection: although Isabelle Huppert became a U.S. critics favorite – and later a Best Actress Oscar nominee – for her performance in Elle, her (unanimous) Best Actress Cannes win was for another movie, Michael Haneke's The Piano Teacher / La pianiste back in 2001. At that time, Huppert also became a U.S. critics favorite (winning Best Actress honors in San Diego and San Francisco; a runner-up in Los Angeles and New York), but, perhaps because of the psychological drama's sexually charged nature, she failed to receive a matching Oscar nod. Last year's Cannes Best Actress, by the way, was Jaclyn Jose for Brillante Mendoza's Philippine drama Ma' Rosa. Huppert had been in contention as well, as Elle was in the running for the Palme d'Or. Diane Kruger Best Actress Oscar nomination chances? A Best Actress nomination for Diane Kruger at the German Academy Awards (a.k.a. Lolas) – for her first German-language starring role – is all but guaranteed. Curiously, that would be her first. As for a Best Actress Oscar nod, that's less certain. For starters, unlike the mostly well-reviewed Elle, In the Fade has sharply divided critics. The Hollywood Reporter, for one, summarized Akin's film as a “thriller made riveting by an emotional performance from Diane Kruger,” while The Guardian's Peter Bradshaw called it a “mediocre revenge drama” with “a not particularly good” star turn. Besides, since the year 2000 just one “individual” Best Actress Cannes winner has gone on to receive an Oscar nomination for the same performance: Rooney Mara*, who, though one of the two leads in Todd Haynes' Carol (2011), was shortlisted in the Oscars' Best Supporting Actress category so as not to compete with her co-star and eventual Best Actress nominee Cate Blanchett. Then there's the special case of Penélope Cruz; the 2006 Best Actress Oscar nominee – for Pedro Almodóvar's Volver – was a Cannes winner as part of that family comedy-drama ensemble†. And finally, despite their Cannes Best Actress win for performances in (at least partly) English-language films, no less than seven other actresses have failed to be shortlisted for the Academy Awards this century. Björk, Dancer in the Dark (2000). Maggie Cheung, Clean (2004). Hanna Laslo, Free Zone (2005). Charlotte Gainsbourg, Antichrist (2009). Juliette Binoche, Certified Copy (2010). Kirsten Dunst, Melancholia (2011). Julianne Moore, Maps to the Stars (2014). Coincidentally, that same year Moore starred in Still Alice, which eventually earned her the Best Actress Oscar. Warner Bros. will be distributing In the Fade in Germany later this year. Regarding the Oscars, whether late in 2017 or late in 2018, seems like it would be helpful if Diane Kruger got a hold of Isabelle Huppert's – and/or Marion Cotillard's and Jean Dujardin's – U.S.-based awards season publicists. * Rooney Mara shared the 2011 Cannes Film Festival Best Actress Award with Emmanuelle Bercot for My King / Mon roi. † Also in the Cannes-winning Volver ensemble: Carmen Maura, Lola Dueñas, Blanca Portillo, Chus Lampreave, and Yohana Cobo. 'The Beguiled' trailer: Colin Farrell cast in the old Clint Eastwood role in Sofia Coppola's readaptation of Civil War-set, lust & circumstance drama. Sofia Coppola ends Cannes female drought About 13 years ago, Sofia Coppola became the first American woman to be shortlisted for the Best Director Academy Award – for the Tokyo-set drama Lost in Translation, starring Bill Murray and Scarlett Johansson. Coppola eventually lost in that category to Peter Jackson for the blockbuster The Lord of the Rings: The Return of the King, but she did take home that year's Best Original Screenplay Oscar statuette. There haven't been any other Oscar nominations since, but her father-daughter drama Somewhere, toplining Stephen Dorff and Elle Fanning, was the controversial Golden Lion winner at the 2010 Venice Film Festival. This year, Coppola has become only the second woman to win the Cannes Film Festival's Best Director Award – for The Beguiled, an American Civil War-set drama based on Thomas P. Cullinan's 1966 novel of the same name (originally published as A Painted Devil). With shades of Rumer Godden's Black Narcissus, The Beguiled follows a wounded Union soldier as he finds refuge at a girls' boarding school in Virginia. Sexual tension and assorted forms of pathological behavior ensue. Tenuous Cannes-Oscar Best Director connection From 2000 to 2016, 20 filmmakers† have taken home the Cannes Film Festival's Best Director Award. Of these, only four have gone on to receive matching Best Director Oscar nominations – but no wins: David Lynch, Mulholland Dr. (2001). Alejandro González Iñárritu, Babel (2006). Julian Schnabel, The Diving Bell and the Butterfly (2007). Bennett Miller, Foxcatcher (2014). Four other Cannes Best Director winners were bypassed by the Academy even though their movies featured – at least a sizable chunk of – English-language dialogue: Joel Coen, The Man Who Wasn't There§ (2001). Paul Thomas Anderson, Punch-Drunk Love (2002). Gus Van Sant, Elephant (2004). Nicolas Winding Refn, Drive (2011). In other words, a Best Director Cannes Film Festival win is no guarantee of a Best Director Academy Award nomination. Ultimately, Sofia Coppola's chances of an Oscar nod in the Best Director category depend on how well The Beguiled is received among Los Angeles and New York film circles, and how commercially successful – for an “arthouse movie” – it turns out to be. † During that period, there were three Cannes Film Festival Best Director ties: 2001: Joel Coen for The Man Who Wasn't There§ & David Lynch for Mulholland Dr. 2002: Im Kwon-taek for Painted Fire & Paul Thomas Anderson for Punch-Drunk Love. 2016: Cristian Mungiu for Graduation & Olivier Assayas for Personal Shopper. Both films opened in the U.S. in spring 2017 and may thus be eligible for the upcoming awards season. § Ethan Coen co-directed The Man Who Wasn't There, but didn't receive credit in that capacity. 'The Beguiled' with Nicole Kidman. The Best Actress Oscar winner ('The Hours,' 2002) had two movies in the Cannes Film Festival's Official Competition; the other one was 'The Killing of the Secret Deer,' also with Colin Farrell. Moreover, Kidman was the recipient of Cannes' special 70th Anniversary Prize. 'Sly' & 'elegant' Also adapted by Sofia Coppola, The Beguiled will be distributed in the U.S. by Oscar veteran Focus Features (Brokeback Mountain, The Danish Girl). The film has generally received positive notices – e.g., “sly” and “elegant” in the words of Time magazine's Stephanie Zacharek – and could well become a strong awards season contender in various categories. The cast includes The Killing of a Sacred Deer actors Nicole Kidman and Colin Farrell, in addition to Kirsten Dunst (the star of Coppola's Marie Antoinette), Somewhere actress Elle Fanning, Oona Laurence, Addison Riecke, Angourie Rice, and Emma Howard. As an aside, Cullinan's novel also served as the basis for Don Siegel's The Beguiled (1971), a Southern Gothic effort adapted by Irene Kamp and former Hollywood Ten member Albert Maltz. In the cast of what turned out to be a major box office flop: Clint Eastwood, Geraldine Page, Elizabeth Hartman, and Jo Ann Harris. Women directors at Cannes & the Oscars For the record, Soviet filmmaker Yuliya Solntseva was the Cannes Film Festival's first Best Director winner, for The Story of the Flaming Years back in 1961. The only woman to have directed a Palme d'Or winner is Jane Campion, for The Piano (1993). Early in 1994, Campion became the second woman to be shortlisted for an Academy Award in the Best Director category. The first one was Lina Wertmüller for Seven Beauties (1976). 'A Gentle Night' & 'Montparnasse Bienvenue' Qiu Yang's short film Palme d'Or winner A Gentle Night should be automatically eligible for the 2018 Academy Awards. But competition, as usual, will be fierce. In the last decade, the only short film Palme d'Or winner to have received an Oscar nomination is Juanjo Giménez Peña's Timecode (2016), in the Best Live Action Short Film category. This article was originally published at Alt Film Guide (http://www.altfg.com/).
See full article at Alt Film Guide »

How Martin Scorsese Will Save Filmmaking From Extinction — Exclusive Interview

How Martin Scorsese Will Save Filmmaking From Extinction — Exclusive Interview
It means something when one of American cinema’s greatest auteurs and commits to working on a digital platform, big-screen experience be damned. That’s exactly what Martin Scorsese did by partnering with Netflix on his next project, the $125 million mob movie “The Irishman.” While the 74-year-old New Yorker delights in celebrating film history, he’s practical enough to know his movies must remain relevant in rapidly changing times.

The fast-talking cinephile has also moved into television (“Boardwalk Empire” and “Vinyl”), fought to preserve film history through archival efforts, and produced films from younger generations. By getting a handle on multiple facets of the moving image, he’s saving filmmaking from extinction in a fragmented media age, even as he contributes to the art form with his own vibrant and ambitious directing efforts.

“I do think, with the advent of digital, there’s good hope that the storytelling impulse will always be there,
See full article at Indiewire »

26 new UK TV shows to look out for

Louisa Mellor Jun 1, 2017

Some exciting new UK drama and comedy commissions are making their way to TV over the next year or so…

We know, we know. You still have two episodes of Fargo season two before you can think about starting season three. You’ve already fallen behind on American Gods. Your planner memory is chock-a-block with Big Little Lies and that Oj Simpson thing and some Spanish prison series your workmate bullied you into recording. You’re struggling to make time for Twin Peaks. New Game Of Thrones is just around the corner. And guess what, Netflix UK have just added a whole new season of It’s Always Sunny, those sods. You need a list of new TV show recommendations like you need a hole in the head.

See related Metroid: Other M Nintendo Wii review

And yet, as long as they keep making them, we’ll keep recommending them.
See full article at Den of Geek »

The Beguiled review – Sofia Coppola contrives hilariously fraught feminist psychodrama

Colin Farrell plays a wounded soldier who throws himself on the mercy of a ladies’ seminary during the American civil war – and sets them all of a decorous flutter

Sofia Coppola delivers a very enjoyable southern melodrama, the tale of a handsome, badly wounded Union soldier in enemy terrain during the American civil war who throws himself on the mercy of a ladies’ seminary – of all the outrageous things. Their inhabitants are all of a decorous flutter at the idea of this semi-unclothed male to whom they must minister, intimately.

With its hilariously fraught psychodynamic, the film has hints of Black Narcissus and the famous Diet Coke ad about office workers admiring a perspiring worker slaking his thirst. It is adapted by Coppola from the 1966 Thomas P Cullinan novel - already filmed by Don Siegel in 1971 with Clint Eastwood in the lead role.

Continue reading...
See full article at The Guardian - Film News »

Criterion Now – Episode 15 – Tampopo, Cannes Classics, Palme D’or Winners

Matt and Travis join Aaron again to get into the best way to eat ramen inspired by Tampopo, the likelihood of Cannes restorations coming to Criterion, whatever is the deal with Fire Walk With Me, winners at Cannes, Olympic films and the potential fit with Criterion, and plenty more.

Episode Notes

13:30 – Tampopo

24:00 – Cannes Classics 2017

30:00 – Closet Video, Phantom Pages

39:00 – Fire Walk With Me

45:00 – Short Takes (The Thin Red Line, Black Narcissus, Dry Summer)

56:00 – FilmStruck

Episode Links Criterion Now – Facebook Group Criterion Considered – Facebook Group Slacker Poster Lost in America Poster Isabella Morawetz Ben Wheatley’s Closet Picks Weekend Scripts – The Lord of the Fyre Episode Credits Aaron West: Twitter | Website | Letterboxd Matt Gasteieir: Twitter | Letterboxd Travis Trudell: Instagram Criterion Now: Twitter | Facebook Group Criterion Cast: Facebook | Twitter

Music for the show is from Fatboy Roberts’ Geek Remixed project.
See full article at CriterionCast »

Ruth Wilson to play her own grandmother in The Wilsons

The BBC has tapped The Affair star Ruth Wilson to play her own grandmother in a new three part drama entitled The Wilsons.

The story will follow Alison Wilson, husband of Alec Wilson, a British spy and bestselling novelist. When her husband suddenly dies, Alison is shocked when a woman turns up on her doorstep, claiming that she is the real Mrs. Wilson. Determined to prove the validity of her own marriage, Alison is instead led into a world of dark and troubling secrets and she discovers she wasn’t Alec’s only family.

“I am so excited to bring to the small screen the extraordinary lives of my grandparents,” said Wilson, who is also executive producing the series. “Theirs is a profoundly moving story and the BBC is the perfect home for it.”

The Wilsons is one of several new projects commissioned by Piers Wenger, the new controller of BBC Drama,
See full article at Flickeringmyth »

Russell T Davies and Stephen Poliakoff lead BBC drama line-up

BBC drama boss Wenger orders over 25 hours of drama.

Russell T Davies, Stephen Poliakoff and Call the Midwife creator Heidi Thomas have penned dramas for Piers Wenger’s inaugural slate, reports Broadcast.

The BBC drama boss unveiled over 25 hours of new drama commissions across BBC1 and BBC2 at an event co-hosted by director general Tony Hall.

The nine series, seven for BBC1, one for BBC2 and one for BBC3, join recently announced Wenger commissions including Kudos’ Gunpowder and The Forge’s Carey Mulligan-fronted crime drama Collateral.

BBC1

Doctor Who writer Davies has written A Very English Scandal, a 3 x 60-minute series directed by Stephen Frears.

Based on the book A Very English Scandal: Sex, Lies and a Murder Plot at the Heart of the Establishment by John Preston, it follows the true story of Liberal party leader Jeremy Thorpe’s conspiracy to kill his ex-lover Norman Scott.

Commissioned by Wenger and BBC director of content Moore, it
See full article at ScreenDaily »

BBC Orders Adaptations of ‘War of the Worlds,’ ‘Little Women’ for New Drama Slate

BBC Orders Adaptations of ‘War of the Worlds,’ ‘Little Women’ for New Drama Slate
The BBC has ordered up 11 new high-end dramas, including new television versions of “The War of the Worlds,” “Little Women,” and “Black Narcissus.” The three titles are the latest classic novel adaptations to be commissioned by BBC Drama, which is currently in production on a new four-part adaptation of E.M. Forster’s “Howard’s End” (pictured) by Oscar-winner Kenneth Lonergan for BBC One and Starz.

Also in the lineup are the first-ever screen adaptation of Vikram Seth’s 1993 novel “A Suitable Boy” and three-part true-story drama “A Very English Scandal,” written by Russell T. Davies and directed by Stephen Frears.

The new slate was unveiled Thursday at an event in London co-hosted by BBC Director General Tony Hall and new controller of BBC Drama Piers Wenger.

“It feels to me a special moment for drama. What really excites me is I think we’ve shaken off all preconceptions about what stories people will come to,” said
See full article at Variety - TV News »

Aubrey Plaza, Alison Brie, and Kate Micucci Get Religiously Crazy in Red Band Trailer for ‘The Little Hours’

Packing perhaps the best comedy ensemble this summer — featuring Alison Brie, Dave Franco, Kate Micucci, Aubrey Plaza, John C. Reilly, Molly Shannon, Fred Armisen, Jemima Kirke, Adam Pally and Nick OffermanThe Little Hours takes a Black Narcissus-esque concept and adds laughs. Coming from Jeff Baena, it’s based on “The Decameron” by Giovanni Boccaccio, and now the first red band trailer has arrived.

“Set in a 1347 medieval Italy, Jeff Baena’s follow-up to Joshy packs an even bigger cast and marks a step forward in his directorial style, even if the comedy ends up running out of steam,” I said in my Sundance review. “As our trio of nuns over-indulge in sacramental wine and take part in God-forbidden sexual desires, the cast exudes a lovable charm, despite the nagging sense they had more amusement making it then the audience has watching it.”

Check out the trailer below.

Medieval
See full article at The Film Stage »

The Truth About Zardoz, Plus Nine Other Things I Learned At Tcmff 2017

Just back from the 2017 TCM Classic Movie Festival with a few thoughts and thoughts about thoughts. I certainly held my reservations about this year’s edition, and though I ultimately ended up tiring early of flitting about from theater to theater like a mouse in a movie maze (it happens to even the most fanatically devoted of us on occasion, or so I’m told), there were, as always, several things I learned by attending Tcmff 2017 as well.

1) TCM Staffers Are Unfailingly Polite And Helpful

Thankfully I wasn’t witness, as I have been in past years, to any pass holders acting like spoiled children because they had to wait in a long queue or, heaven forbid, because they somehow didn’t get in to one of their preferred screenings. Part of what makes the Tcmff experience as pleasant as it often is can be credited to the tireless work
See full article at Trailers from Hell »

Scott’s TCM Fest Dispatch, Part Three: Psychology

It’s not exactly remarkable that cinema has been around long enough to chart the rise of modern psychology. The first century of film covers society’s entire 20th, a hundred-year span rife with innovation in a great many fields. But as art is keen on investigating the psyche, it’s little surprise that cinema would try to keep pace in some way with the study and expression of it. From the psychological thriller to the psychodrama to most horror films, the study of the mind onscreen sometimes unfolds perfectly naturally, and other times feels like a stiff lecture from somebody who read a really fascinating article in Time the month before. Look no further than Psycho for an example of both, but look to three films that played at the TCM Classic Film Festival for some pretty wild takes.

Based on a novel by a prominent psychologist (once president
See full article at CriterionCast »
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