6 items from 2017
In the third and final installment of my conversation with Bertrand Tavernier on his Journey Through French Cinema (Voyage À Travers Le Cinéma Français) he discusses his dedication to Jacques Becker (Casque D'Or, Édouard Et Caroline) and Claude Sautet (Max Et Les Ferrailleurs), Mireille Balin's dress in Jean Delannoy's Macao, l'Enfer Du Jeu (Gambling Hell), Jean Gabin, not forgetting Jean-Pierre Melville's Army Of Shadows (L'Armée Des Ombres), Léon Morin, Prêtre or Le Silence De La Mer, Jean Paul Gaultier and Falbalas (Paris Frills), Mila Parély in Coco Chanel, Jean Renoir's A Day In The Country (Partie De Campagne), Joseph Kosma, Sylvia Bataille and Jacques Lacan, Howard Hawks's Red River and Only Angels Have Wings, and not having to see Rio Bravo ever again. »
- Anne-Katrin Titze
It takes a lot to stand out when you’re standing between Robert Mitchum and John Wayne. And it surely isn’t easy when you’re also standing in front of the venerable Howard Hawks. But this was the position 25-year-old James Caan found himself in when he took on the role of Alan Bourdillon Traherne, otherwise known as Mississippi, in Hawks’ 1967 Western, El Dorado. Though Hawks was nearing the end of his filmmaking career (this would be his penultimate movie) and Caan was just at the start of his (following two features and about five years of extensive television work), they were each entering the project under similar circumstances. Indeed, it was their shared experience on the disappointing Red Line 7000 (1965) that left them both wanting. It may have been a personal letdown for Caan, but that film’s poor reception wasn’t a deal-breaker as far as his prospects were likely to continue. »
Come on and check Collin's second (and final) day at the TCM Film Festival!
My second day at the TCM Film Festival started off with a healthy dose of frustration. Apparently, Saturday morning in Hollywood wasn’t only home to the TCM Film Festival, but also to the Hollywood Half Marathon. I drove my normal route from the Valley and when I noticed Hollywood Boulevard was closed, I assumed it was for filming or some red carpet set-up so I drove east on Franklin hoping to make my way to Sunset and double-back to the parking garage within a block or two. Boy, what a bad move. I spend half an hour driving east, past Los Feliz waiting for the roads to open, and ended up driving all the way back to where I was before, going one block west—where, what do you know, folks? Hollywood was open for business. »
- firstname.lastname@example.org (Collin Llewellyn)
This is the ultimate in screen sadism circa 1947, and it’s all in the debut film performance of Richard Widmark as a too-nasty-for-words hood who likes to shoot people in the stomach. Actually, Victor Mature is not bad in a grim story of a stool pigeon that tries to square himself with the law, and finds himself a target for mob murder.
1947 / B&W / 1:37 flat full frame / 98 min. / Street Date February 7, 2017 / Available from the Twilight Time Movies Store 29.95
Cinematography: Norbert Brodine
Film Editor: J. Watson Webb Jr.
Original Music: David Buttolph
Produced by Fred Kohlmar
Directed by Henry Hathaway
- Glenn Erickson
Author: Dave Roper
The Directors, The Auteurs, the Commanders of the Ship, Masters of All They Survey. This is the second of this two-part series on the greatest directors with more of cinematic luminaries under the spotlight. You can see the first part of this article here. You can catch up with the greatest writers, and the greatest actors here.
Here’s Part Two.
Hawks, like his peer Billy Wilder, proved a genre-hopping master. Like Wilder, he had his crime/noir masterpieces (Scarface, The Big Sleep) and his comedies (Bringing Up Baby, His Girl Friday). Hawks also did a strong line in westerns, with Red River and Rio Bravo the best known and best regarded of this latter-career focus of his. As with any director who covers a lot of thematic ground during their career, it can be difficult to choose a “Best”, as you »
- Dave Roper
When it comes to Howard Hawks, it’s easy to forget the prolific American auteur set the gold standard for a number of film genres, including his iconic Westerns (Red River, 1948; Rio Bravo, 1959) and labyrinthine spasm of film noir (The Big Sleep, 1946).
Continue reading »
- Nicholas Bell
6 items from 2017
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