Under Capricorn (1949)
Reviewed by Glenn Erickson
Brian De Palma, Wes Anderson, De Palma directors Noah Baumbach and Jake Paltrow, along with Hitchcock/Truffaut and Festival Director Kent Jones, joined Arnaud Desplechin on the red carpet of the New York Film Festival North American premiere of My Golden Days (Trois Souvenirs De Ma Jeunesse) at Alice Tully Hall for a boys on film moment.
Roman Polanski's Tess d'Urbervilles, a Chekhovian scene, François Truffaut's autobiographical Mississippi Mermaid, Strindberg in Paris, and a theory from our previous conversation including the Under Capricorn complex come into play in our conversation.
Desplechin hero Paul Dédalus (Mathieu Amalric)
Paul Dédalus is Mathieu Amalric in adult form and a teenage Paul (Quentin Dolmaire) has always had an affinity for plaid. Fabric samples are everywhere in Esther's (Lou Roy-Lecollinet) family home and a great big green neon sign in
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The real-time film has long been a sub-genre without much critical attention, but the time of the real-time film has come. Cuarón’s Gravity (2013), which was shot and edited so as to seem like a real-time film, floated away with the most 2014 Oscars,
Hitchcock made a total of 39 self-referential cameos in his films over a 50 year period. Four of his films featured two cameo appearances (The Lodger: A Story of the London Fog UK), Suspicion, Rope, and Under Capricorn). Two recurring themes featured Hitchcock carrying a musical instrument, and using public transportation.
The films are as follows:
The Lodger (1927), Easy Virtue (1928), Blackmail (1929),Murder! (1930), The Man Who Knew Too Much (1934), The 39 Steps (1935),Sabotage (1936), Young and Innocent (1937), The Lady Vanishes (1938), Rebecca(1940), Foreign Correspondent (1940), Mr. & Mrs. Smith (1941), Suspicion (1941),Saboteur (1942), Shadow of a Doubt (1943), Lifeboat (1944), Spellbound (1945),Notorious (1946), The Paradine Case (1947), Rope (1948), Under Capricorn (1949),Stage Fright (1950), Strangers on a Train
This rather unusual Swedish design, a mélange of various type and illustrative styles, is a poster for one of Ernst Lubitsch’s lesser known and most atypical films: Broken Lullaby (a.k.a. The Man I Killed). A dark film about a French soldier tormented by the memory of a German soldier—and fellow musician—whom he killed in Wwi, it screens this weekend and next in New York at Anthology Film Archives as part of "Auteurs Gone Wild," a tantalizing series programmed by Notebook contributor David Phelps.
The series includes nine refreshingly less-than-obvious works—all on 35mm—by such canonical figures as Hitchcock, Chaplin, Cukor, Capra, Lang and Von Sternberg. Phelps has chosen to shine a light on these authors’ least representative films: films that have been overlooked because they don’t fit the mold, because
If the Hollywood auteurs were the ghosts in the studio machine, what would they look like exorcised? Rather than author, the word "auteur" might have referred to a kind of rhetorician working within genre codes that, once decoded, would only reveal his own commentary on them. But what would happen if this auteur cleared his throat, managed a sip of water, and tried speaking in his own tongue? Typically, the critics who had authored the auteur as a placeholder and retroactive justification for their own generic interpretations would have to snub such attempts to break out of genre molds to go strange, personal places. For the irony is that these works, kind of laboratory
Anyway, we here at City of Films want to do our part to help out. Perhaps you’re acquainted with some lovers of cinema, maybe you’re dating or married to one. Whatever the relationship may be, sometimes it’s hard to figure out just what to get them. So in a first Ever coming together of all the contributing members of The City of Films…we present…The City of Films Super Happy Christmas Gift Guide!
We’ve each chosen a handful of items that we would want for Christmas,
Don’t miss the two all-new episodes airing next
Unfortunately, what’s true of directors isn’t always true of films, even the films of great directors. For whatever reason, even when discussing the filmographies of famous directors, some films, even great ones, fall between the cracks, therefore
Historical romances are not what audiences traditionally associate with Alfred Hitchcock. Yet in 1949, after returning from America, this was the story he decided to tell – although it almost never saw the light of day. If Under Capricorn is not Hitch's crowning glory, it is undeniably his most underrated film.
The story opens as the new governor of New South Wales arrives in Australia with his dandy relative Charles Adare, played with a deliciously camp swagger by Michael Wilding. In an attempt to find his fortune, Adare meets the roguish Sam Flusky (Joseph Cotten). He is married to Charles's childhood friend Lady Henrietta,
Among my favorites are the one from To Catch a Thief and the wheelchair stand up from Topaz.
Jack Cardiff talks Audrey Hepburn in Cameraman.
Directed by Craig McCall, Cameraman is a worshipful portrait of the late Academy Award-winning cinematographer Jack Cardiff, who died in 2009 at the age of 94 but not before cementing his legend with such films as Stairway to Heaven, The Red Shoes, Black Narcissus, The African Queen, Under Capricorn and even Rambo: First Blood Part II.
The feature-length movie is filled with clips, of course, and lots of interview footage of the man himself, a soft-spoken, charming British gentleman who comes off like the sweetest guy to ever wildly succeed in the notoriously ego-driven and Loud film industry. Also included is a solid mix of comments from such talking heads as filmmakers Martin Scorsese (Taxi Driver) and Alan Parker
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