4 items from 2013
The following is an essay featured in the anthology George Cukor - On/Off Hollywood (Capricci, Paris, 2013), for sale at www.capricci.fr.
The Film Society of Lincoln Center will be running a complete retrospective on the director, "The Discreet Charm of George Cukor," in New York December 13, 2013 - January 7, 2014. Many thanks to David Phelps, Fernando Ganzo, and Camille Pollas for their generous permission.
The Second-hand Illusion:
Notes on Cukor
“There’s always something about them that you don’t know that you’d like to know. Spencer Tracy had that. In fact, they do all have that – all the big ones have it. You feel very close to them but there is the ultimate thing withheld from you – and you want to find out.” —George Cukor1
“Can you tell what a woman’s like by just looking at her?” —The Chapman Report »
- David Phelps
Below you will find an index for all of our 66th Locarno Film Festival coverage by Adam Cook, Marie-Pierre Duhamel, and Celluloid Liberation Front.
What Now? Remind Me by Joaquim Pinto (x two)
When Evening Falls on Bucharest or Metabolism by Corneliu Poromboiu
Une autre vie by Emmanuel Mouret
Les grandes ondes (à l'ouest) by Lionel Baier
A Masque of Madness (Notes on Film 06-b, Monologue 02) by Norbert Pfaffenbilcher
“A kind of banalization of celebrity has occurred: we are now offered an instant, ready-to-mix fame as nutritious as packet soup. In the post-Warhol era a single gesture such as uncrossing one's legs has more significance than all the pages in War and Peace.”
- Jg Ballard
The darker side of fame and the sinister aftertaste of success are recurring features in many of Cukor’s films, from What Price Hollywood? (1932) to Rich and Famous (1981); the American director often hinted at the anguishing emptiness lurking behind stardom. In It Should Happen to You (1954) Cukor pushes even further with his reflections on the elusive matter of celebrity and the role that mono-dimensional images play in projecting the illusion of limelight. Gladys Glover (Judy Holliday), an aspiring bigwig of nondescript qualities, meets Pete Sheppard (Jack Lemmon) in Central Park, where he is busy capturing “real things and real people” with his hand-held »
- Celluloid Liberation Front
This will be the last top ten off the top of my head whole decade thingies for a bit -- we need to get to real articles but I've been swamped off blog. But these discussions are fun, don't you agree? The 1950s were the first film decade I was obsessed with in that when I was first becoming interested in cinema in the mid 80s, the 50s somehow came to signify Mythic Classic Hollywood to me, though cinema obviously stretched much much further back. So I guess I'll always be kind of attached to this decade when the movies got literally bigger (I do so prefer rectangulars to squares) and the era's stars really defined (at least for me) the concept of "Movie Star". I mean it's hard to argue with Liz, Brando, Clift, Dean, Monroe in all caps.
Which is why Giant is such a perfect 1950s movie »
- NATHANIEL R
4 items from 2013
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