8 items from 2012
In the tradition of Pixar films, before Wreck-It Ralph plays a wonderful short that was included in the Fantastic Fest animated shorts program, Paperman. Directed by John Kahrs and produced by John Lasseter, Paperman draws inspiration from the classic film The Red Balloon, and in fact includes a red balloon to drive the point home. However, this is a more adult tale than the 1956 children's fantasy. A chance encounter on a train station platform leads a young man to the girl of his dreams in a whimsical and touching film that encompasses a similar range of emotion to the opening few minutes of Up.
Lasseter is also executive producer on Wreck-It Ralph, opening this weekend. An adventure worthy of the man who brought us Toy Story and a logical successor to that trilogy, Ralph was directed by Rich Moore, who made some of the most-loved episodes of Futurama, The Simpsons, »
- Mike Saulters
My Saturday at aGLIFF Polari began with the Family Films shorts program. This kid-friendly screening included three fantastical tales -- two of them new and one a timeless classic.
First up was The Maiden and the Princess, one of the most delightful shorts I've seen lately, about a girl in need of a different kind of fairy tale and a rogue storyteller determined to see that she gets it. Familar faces David Anders and Julian Sands topped the cast list of this short directed by Ali Scher who co-wrote with Joe Swanson.
Deflated, the second short in the program, is a local production by writer and director Dustin Shroff. A young boy is forced by convention into choosing the one green ball from a store display when the one he really wants, like all the others, is pink. Deflated was not only short, sweet and to the point, it was »
- Mike Saulters
There was plenty of discussion across the movie blogosphere following last week's announcement that Vertigo had dethroned Citizen Kane as the greatest film of all time according to Sight & Sound's decennial poll. In addition to revealing the top 50 as determined by critics, they also provided a top 10 based on a separate poll for directors only. In the print version of the magazine, they have taken it a step further by reprinting some of the individual top 10 lists from the filmmakers who participated, and we now have some of them here for your perusal. Among them, we have lists from legends like Martin Scorsese, Francis Ford Coppola and Quentin Tarantino, but there are also some unexpected newcomers who took part including Richard Ayoade (Submarine), Miranda July (Me and You and Everyone We Know) and Sean Durkin (Martha Marcy May Marlene). Some of these lists aren't all that surprising (both Quentin Tarantino »
Here's the latest in Austin and Texas film news.
Austin-based director Richard Linklater's latest film Bernie opened on Friday in limited runs in New York, L.A. and Austin (at Violet Crown). The Austin Chronicle reported the result: the best opening weekend ever for a Linklater feature. Needless to say, Bernie killed at the box office with more than $30,000 estimated per screen ($90,400 total).IndieWIRE reported that Dallas filmmaker David Lowery is set to write and direct the Rooney Mara (Girl with the Dragon Tattoo), Ben Foster, Casey Affleck flick Ain't Them Bodies Saints. Lowery's short film Pioneer (Jette's article) won the Grand Jury Award at SXSW 2011 and his feature debut, St. Nick (Jette's article), was a 2007 Texas Filmmakers Production Fund recipient. Ain't Them Bodies Saints, a project of the 2011 Creative Producing Labs and Creative Producing Summit at Sundance, tells the story of a 1970s outlaw who escapes from prison »
- Jordan Gass-Poore'
Mission: Impossible – Ghost Protocol pulled in an incredible $650 million-plus at the worldwide box office, making it the most successful film of the action franchise. But it was almost an impossible mission to pull off for The Incredibles director Brad Bird, who chose the Tom Cruise tentpole to make his live-action feature debut and transition from animated films.
"We were kind of shootin' from the hip," the Oscar winner tells ETonline, revealing that he was working in a production environment that "in some ways is exhilarating and in other ways is completely frightening."
Cruise Calls Death-Defying 'M:i-4' Stunt 'Tricky'
"You were feeding the beast; the money was going to be spent whether you knew what you were doing or not, so you had to rush ahead of the train and lay down tracks," he explains of the mega-budgeted project.
For such a crackerjack, tightly paced film, it's amazing how the 54-year-old filmmaker delivered a truly coherent narrative »
As a little girl I loved going to the Studio Drive In in Culver City where we lived.
My older sister and I would get into our pajamas, my little baby brother would be in the car seat for babies in the front seat between the driver and the passenger. We brought out own fried chicken ot eat for dinner. We'd go get popcorn or bonbons or a Holloway sucker (the best!) at the concessions stand ahead of the movies or at the intermission if we were still awake and we'd watch a double bill – usually a western and or a comedy.
When we got older and at the age of 16, we all got cars of our own. Mine was a 53 Ford convertible repainted royal blue. Groups of us would go to the Olympic Drive In and would sneak others in in the trunk.
When I was really little my father and mother would take my sister and me to the movies. I was always making my father take me to the bathroom. That started my habit of sitting on the aisle. As a film buyer it was known as the acquisitions seat, but to my mind, the quick getaway was to the Ladies Room. And as a three or four year old, I was always asking my mother and sister, "is this real?" I was so literal minded as a child I could never figure out why the song said “Let Freedom Ring”. How could Freedom Ring? A ring was jewelry. Ring like a bell…but Freedom is not a bell. Moving on…
We saw this Bob Hope film. He was a gambler. And he put a gun into his mouth. Instead of shooting his brains out, he took a bite and it was chocolate. That really threw my literal mind into a loop. What was real? How did that happen? The movie was called Sorrowful Jones. The joke was something I had a hard time understanding. The same with the silents which we saw at the Silent Movie Theater. Laurel and Hardy were always hitting each other and falling; Charlie Chase was always in trouble as was Charlie Chaplin. I never understood what was funny about all the accidents, falling down, hitting each other and would have terrible anxiety attacks at the silent movies. I liked movies like Francis the Talking Mule. That was funny to my childish mind.
For those wonderful Disney cartoons like Cinderella or Alice in Wonderland, Robin Hood or Peter Pan, my father would take us to Beverly Hills and we would stand in line for the Fine Arts Theater. At the corner was a shoe store which only sold sample sizes (4 ½). I would admire their high heeled shoes and couldn’t wait for the time that I would be older and could wear them. Fortunately, when my foot hit the 4 ½ size, I was in high school and so I could buy the shoes for all the formal dances we attended.
Fine Arts Theater
Every Saturday my sister and I, and later my brother would go to the ten-cent Saturday afternoon matinee at the Meralta with a newsreel, previews, cartoon, and a main feature. The Meralta introduced me to The Dream of Wild Horses."Meralta" was derived from owners' Pearl Merrill and Laura Peralta's surnames. They lived above the new plush theater. But the movies there were mostly horror and genre. My brother always went there for the latest horror film.
Meralta Theater, Culver City
If we didn’t go to the Meralta, we’d go to the Culver. When we were looking to meet other kids from other schools, we'd go to the much fancier Culver Theater.
The Culver had great films, like Little Women, Gone with the Wind, Gentlemen Prefer Blonds, How to Marry a Millionaire, River of No Return, There’s No Business Like Show Business, Easter Parade, A Date with Judy (My sister’s name!), The Three Musketeers, Words and Music, Force of Evil, Neptune’s Daughter, Adam’s Rib, Showboat, An American in Paris, Lili, Giant, Rebel Without a Cause. Looking at this list, except for the Marilyn Monroe movies which 20th Century Fox owned and the two James Dean films which Warner Bros. owned, all of the films were MGM films. That makes perfect sense because Culver City was a company town.
The Culver also had “loges”. These were fancier red velvet seats with ashtrays above the large aisle you would find on entering the theater and choosing your seat – below unless you went up to the loge. There teenagers would "make out" and bad girls and guys would smoke (Excuse my racism, but as a Jew growing up in a working class wasp neighborhood, I learned these kids were either Pachucos or white trash.) Not that we were such good Jewish kids...there weren’t any Jewish kids that I knew of who went to the movies. My friends were my school friends, and they were all white working class kids. If people weren’t working for Hughes Aircraft, they were in the crafts at MGM. We had one bit actor living down the street named Cameron Mitchell. And it was a pretty racist neighborhood…anti-Semitism was learned at home and in Sunday Schools where kids invited me (called a Christ Killer) to learn about bringing Jesus into my heart and there were no blacks that I ever saw. The Pachucos lived in another neighborhood and we’d see them in the movies, shopping or at the middle and high school next to my elementary school. Asians? There might have been a Chinese restaurant, but I don’t recall seeing Asians in school or at the theater or shopping.
Jewish kids made up my group of friends when I got to junior high and we had moved to Beverlywood from Culver City; 90% of the school was Jewish. Our parents would still drop us at the movies and we would go to Saturday matinees at the Picfair on Pico and Fairfax which eventually burned down around the time of the Watts Riots, or to the Lido on Pico.
The Picfair Theater burned down in 1965.
We’d see Academy Award winning films at the Pickfair. We'd cry at Carousel, Oklahoma, Midnight Lace, Peyton Place, Imitation of Life. Great films! Or we'd sometimes go to the other theater in Pico called Lido. It was just so boring. Maybe they showed Marty there or Country Girl and I wasn't up for slow drama.
For really fancy movies which held premieres, like Around the World in 80 Days, we would go to the Carthay Circle Theater. Of course I’d go in the days after the premiere itself. Rarely – though sometimes we’d go to the Hollywood palaces, Grauman’s Chinese, The Egyptian or Pantages Theaters on Hollywood Boulevard. The best thing about Grauman’s Chinese was the ladies room with a room filled with mirrors and little alcoves to sit and put on lipstick. They even had lipstick blotters, white heavy weight paper shaped like your lips to blot the lipstick.
In 1959 The Fine Arts Theatre 8556 Wilshire Boulevardin Beverly Hills showed Room at the Top, (‘The Most Daring Film in a Decade’), and it played there for over six months. I was in the 10th grade and went to see it. I liked it but am not sure how much I understood.
In high school we discovered Le Chein Andalou and the Coronet and Baronet theater where Charles Laughton had played in Brecht's premiere play Galileo produced by John Houseman. Sometimes they didn't have enough foreign films (like one about a woman who turned into a panther at night) and they'd show psychological teaching films like "Folie a Deux" when madness is shared by two, in this 20 minute short it was a mother and daughter. They'd show films on Schizophrenia, etc. and it made me want to study psychology. We saw all of Bergman, Renoir and saw La Strada and La Dolce Vida. When I moved back east and went to Brandeis then movie going got great! Truffaut, Godard, Chabrol, Wajda's Ashes and Diamonds. After that I saw every Wajda film and even knew how to pronounce his name. But after Man of Marble or Man of Steel I started to get disinterested. I have no idea what theaters we went to in Cambridge or New York except for the Bleecker Street Theater where we’d often go for the weekend.
For dates we’d go up the street (Beverwil) to Beverly Hills to the Beverly Theater or the Beverly Canon. There they had programs printed for the movies (The Young Lions). Afterward we’d go to Blum’s for their crunchy cake or Wil Wrights Ice Cream Parlor for ice cream sundaes.
And a theater we would always forget except when some exceptional foreign film was showing there, was the Vagabond, way down on Wilshire Blvd. toward downtown.
Wikipedia: The 1953 children's film Crin-Blanc, English title White Mane, portrayed the horses and the region. A short black-and-white film directed by Albert Lamorisse, director of Le ballon rouge (1956), Crin-blanc won the 1953 Prix Jean Vigo and the short film Grand Prix at the 1953 Cannes Film Festival, as well as awards at Warsaw and Rome. In 1960 Denys Colomb Daunant, writer and actor for Crin-blanc, made the documentary Le Songe des Chevaux Sauvages, "Dream of the Wild Horses". It featured Camargue horses and slow motion photography, and won the Small Golden Berlin Bear at the 1960 Berlin International Film Festival.
Blum's was a pink spun sugar fantasy come to life. It had a gift shop. It had shocking pink banquettes. It had surly waitresses. And it had cake. Not those plastic looking, multi colored and tasteless layered cakes offered in cafes around Union Square. No. They had Blum's Famous Coffee Crunch cake. (This legendary cake is so memorable that Nancy Silverton has included a recipe for it in her latest cookbook.)
Blum's was partly a restaurant for the ladies who didn't work and spent their days going downtown to shop, meet friends and get home before the children came home from school. (http://www.culinarymuse.com/2005/10/blums_where_are.html)
- Sydney Levine
The saying goes: If Hollywood is really the movie capital of the world, then Oscar night is the world’s biggest wrap party, and like all parties, each event comes with unwelcome guests, embarrassing situations, strange fashions and controversial moments. In fact, controversy and the Oscars seem to go hand in hand and despite the fact that the Academy Awards are, for the most part, an elegant and tightly controlled affair, some very strange things do occur. Let’s take a look back through the history of the Academy Awards, and some of it’s strangest and more controversial moments – which sadly were also the most memorable.
For the 2007 ceremony, producers hired the dance troop Pilobolus to recreate famous images from that year’s most popular films.
Richard Gere was last asked to present in 1993 when he interrupted the ceremony to give a long speech attacking »
- Kyle Reese
It’s probably a dereliction of my sworn duties as a dilettantish semi-pro occasional pretend critic to characterize this new Steven Soderbergh joint entirely in terms of genre slop cinema—there’s a prominent visual cite to Charles Burnett’s Killer of Sheep, for god’s sake—but I was still pretty pissed that nobody in my sparse, 50-and-up weekend evening art movie crowd was moved to stand up and scream “she’s going haywire!!!” This thing whisked me back like nothing else to days of sitting in a friend’s basement at age 13 with rented Don “The Dragon” Wilson vehicles on VHS, or maybe a good Godfrey Ho/Cynthia Rothrock feature—at one point there’s a fight in a dry cleaners where Gina Carano starts up a conveyor belt and I almost had a stroke thinking someone was going up on a hook like in Undefeatable, though I »
8 items from 2012
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