14 items from 2013
Jean Kent: ‘The Browning Version’ 1951, Gainsborough folds (photo: Jean Kent in ‘The Browning Version,’ with Michael Redgrave) (See previous post: “Jean Kent: Gainsborough Pictures Film Star Dead at 92.”) Seemingly stuck in Britain, Jean Kent’s other important leads of the period came out in 1948: John Paddy Carstairs’ Alfred Hitchcock-esque thriller Sleeping Car to Trieste (1948), with spies on board the Orient Express, and Gordon Parry’s ensemble piece Bond Street. Following two minor 1950 comedies, Her Favorite Husband / The Taming of Dorothy and The Reluctant Widow / The Inheritance, Kent’s movie stardom was virtually over, though she would still have one major film role in store. In what is probably her best remembered and most prestigious effort, Jean Kent played Millie Crocker-Harris, the unsympathetic, adulterous wife of unfulfilled teacher Michael Redgrave, in Anthony Asquith’s 1951 film version of Terence Rattigan’s The Browning Version — a Javelin Films production »
- Andre Soares
British film and television actress Jean Kent has died after suffering a fall, per UK reports. She was 92. Kent made her name in the 1940s and 1950s starring in a number of melodramas from Gainsborough Pictures, including Fanny By Gaslight, Bees In Paradise, Madonna of the Seven Moons, and The Wicked Lady. On another Gainsborough film, 1946′s Caravan, she met actor and future husband Josef Ramart. They starred together again in the 1949 musical comedy Trottie True. Kent moved into television in the 1950s, appearing in shows including Epilogue to Capricorn, Sir Francis Drake, and Thicker Than Water. Notable film roles came opposite Marilyn Monroe in The Prince and the Showgirl and in Otto Preminger’s Bonjour Tristesse. »
- THE DEADLINE TEAM
Blu-ray & DVD Release Date: Feb. 25, 2014
Price: Blu-ray/DVD Combo $39.95
Jean-Luc Godard (Weekend) burst onto the film scene in 1960 with this jazzy, free-form, and sexy crime drama, an homage to the American film genres that inspired him as a writer for the seminal French film magazine Cahiers du cinéma.
With its lack of polish, surplus of attitude, anything-goes crime narrative, and effervescent young stars Jean-Paul Belmondo (Leon Morin, Priest) as a gangster and Jean Seberg (Bonjour tristesse) as his American lady friend, Breathless helped launch the French New Wave and ensured that cinema would never be the same.
Criterion’s Blu-ray/DVD Combo release of the classic movie includes the following features:
• Restored high-definition digital transfer, approved by director of photography Raoul Coutard, with uncompressed monaural »
• Read the archive of Charles Gant's UK box office reports
With nearly triple the gross of the second-placed film, One Direction: This Is Us is a convincing winner at the UK box-office, grossing £3.47m including a hefty £1.27m from extra day Thursday. With schools still on holiday, Directioners were able to rush out for Thursday daytime showings without the downside of truanting, and may already have been back for second helpings. The opening is massively ahead of recent films in this 3D concert/documentary genre: Katy Perry: Part of Me (debut of £449,000 including £91,000 in previews) and Justin Bieber: Never Say Never (£821,000). However, This Is Us is behind the pace of Michael Jackson's This Is It, »
- Charles Gant
Bonjour Tristesse, 1958.
Directed by Otto Preminger.
Cecile, decadent young girl who lives with her rich playboy father Raymond. When Anne, Raymond's old love interest, comes to Raymond's villa, Cecile is afraid for her way of life.
Breathless and From Here to Eternity couldn’t be further apart. While one is an iconic feature of the trendy French New Wave, the other is an Oscar-winning “American” classic, steeped in Us tradition starring – amongst others – Frank Sinatra. Bonjour Tristesse, starring Jean Seberg and Deborah Kerr (from each film respectively), almost pits these two conflicting attitudes against each other. The two characters are connected by playboy Raymond (David Niven) – he and his daughter, trendy Cécile (Seberg), lived a carefree life whereby both could “breathe in” the air each morning and romance who they please. This was until strict fashion designer »
- Flickering Myth
In his final column for the Observer, our film critic welcomes the re-release of two influential classics from the late 1950s
What goes around comes around. Or "This is where we came in!", the words we'd whisper back in the days of continuous movie performances, before heading for the exit when we reached the point at which we'd entered the cinema. Appropriately in the week I write my final film column, two classic movies, Bonjour Tristesse (1958) and Plein Soleil (aka Purple Noon, 1959), are re-released from that period at the end of the 1950s when I was embarking on a career as a professional writer. Both appear in beautiful new prints that do full justice to the Mediterranean sun which dictates their mood of dangerous eroticism, and both are closely associated with what was popularly known as the French Nouvelle Vague. In the first of them an English-speaking cast play French »
- Philip French
★★★★☆ This Park Circus rerelease of Otto Preminger's 1958 classic Bonjour Tristesse, based on the Françoise Saigon novella and starring Deborah Kerr, David Niven and Jean Seberg, feels particularly timely. The frivolity of rich Europeans who party all night, drink champagne for breakfast and swap partners with the changing seasons is laid bare, their pampered existence exposed as ultimately hollow. Seventeen-year-old Cécile (Seberg) is holidaying with her attractive widowed father Raymond (Niven) and his lover Elsa (Mylène Demongeot) on the French Riveria. They sunbathe and swim by day and visit various bars, clubs and casinos by night.
Cécile and Raymond clearly adore one another and revel in their shared amorality. When Anne, a friend of Cécile's late mother, arrives she throws our heroine and her father's world into disarray. Anne immediately sets herself apart from Raymond's other girlfriends. She is older than him, cultured, principled and runs her own business. She »
- CineVue UK
Upstream Colour (12A)
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The Primer director delivers another Us indie brainteaser that will leave minds blown and chins comprehensively scratched. A young woman who has been kidnapped, exposed to a parasite and robbed meets a man who seems to have endured the same horror. What any of that has to do with the maggots that possess psychedelic properties, or the sound recordist and his obsession with pigs, is anyone's guess. The mysteries endure long after the credits roll, and Carruth's direction is spellbinding enough to keep you puzzling over them – just about.
One Direction: This Is Us 3D (PG)
(Morgan Spurlock, 2013, Us) 92 mins
From third place in »
- Ryan Gilbey
Otto Preminger's lush CinemaScope melodrama Bonjour Tristesse, rereleased this week, is a showcase for gorgeousness. The Côte d'Azur glitters in pristine, vibrant Technicolor; Paris smoulders in smoky monochrome. But while the film's ostensible love triangle of Deborah Kerr, David Niven and Mylène Demongeot pose prettily on the Riviera in costumes by Givenchy and Hermès, the star of this show is 20-year-old Jean Seberg. In a chic cocktail dress or a swimsuit and a man's denim shirt, Seberg is radiantly beautiful, and with that signature pixie crop, unforgettably, arrestingly cool too.
- Pamela Hutchinson
“Truthfully, DVD is not the new vinyl," a reader recently confronted me, arguing that the beloved analog qualities of records (the richer, warmer recording; that nostalgic hiss and crackle) are fetishized in ways that most movies on digital discs are not. Sure, the latter may be closer in spirit to CDs and don't get any better with age like ye olde phonographs, but tell that to Twilight Time, the below-the-radar, two-man boutique label that has been making cineaste tongues wag over their limited-edition, lovingly remastered Blu-rays of film classics like "The Big Heat," "Bonjour Tristesse" and "Enemy Mine." (Come on, what's not to enjoy about "Hell in the Pacific" recast on an alien planet?) Twilight Time doesn't host a website outside of social media and a well-maintained Wikipedia page, and their product is exclusively available through the TCM Shop and Screen Archives Entertainment, yet their impressive new high-def edition of »
- Aaron Hillis
The top-line on the big film news stories for Tuesday 27 August 2013 – plus everything else that we're launching on the film site today
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The headlines today
This morning on the site we'll be launching full stories on the following. But you can get a sneak preview right here, right now.
• Bish-Posh: Tories angry over BFI funding for film about Bullingdon Club members
• Ben Affleck "signed for multiple Batman movies"
• An animated Scooby-Doo movie is in the works.
• The mayor of La has declared a state of emergency as movie production flees the city.
• The Godfather IV: Tate Taylor to direct James Brown biopic
• This film is not yet banned: some in China are calling for the introduction of a film ratings system.
In the paper
• Gloria Steinem and Catherine MacKinnon talk about their part in Lovelace.
• A »
- Catherine Shoard
Otto Preminger's classic ushered in a new wave of vibrant, Technicolour film-making
Renewed acquaintance with Otto Preminger's Bonjour Tristesse, after 30 years, compels me now to re-rank it above Anatomy of a Murder as the Austrian exile's supreme masterpiece. Based on Francoise Sagan's scandalous novel about an enfant terrible and her forbidden games on the sun-drenched French Riviera, it offers the most compelling performance the brittle and tragic Jean Seberg ever gave; and it showcases all of Preminger's virtuosity with CinemaScope framing and three-strip Technicolor.
Seberg is Cecile, half jaded sophisticate and seasoned casino denizen, half teenage naif and plotter, the over-indulged daughter of meretricious playboy Raymond (David Niven). Their emotional intimacy borders on the incestuous: they have "the perfect marriage," says Raymond's blowzy mistress Elsa, a remark humming with possibilities. The arrival of Raymond's new lover, Anne (Deborah Kerr), who clearly sees herself as a replacement for Cecile's dead mother, »
- John Patterson
Who says movies aren’t educational? I’ve learned a lot, frivolous and otherwise, while watching the big screen: 1) That everyone should have his/her own theme music ("Dr. Zhivago," "I’m Gonna Git You Sucka") 2) How to brown mushrooms, (do not crowd skillet), brown meat (pat it dry first) and chop onions ("Julie & Julia") 3) How to crack an egg (decisive wrist action) ("Sabrina") 4) How to make gnocchi ("The Godfather," "Part III") 5) How best to slice garlic (with a razor blade) ("GoodFellas") 6) How to modernize a frock by ripping off frou-frou ("A Letter to Three Wives," "Bells Are Ringing") 7) How to apply lipstick ("Will Success Spoil Rock Hunter?," "Bonjour Tristesse," "Lost in Translation")Read the rest of this article here. »
- Carrie Rickey
Looking back at 2012 on what films moved and impressed us, it is clear that watching old films is a crucial part of making new films meaningful. Thus, the annual tradition of our end of year poll, which calls upon our writers to pick both a new and an old film: they were challenged to choose a new film they saw in 2012—in theaters or at a festival—and creatively pair it with an old film they also saw in 2012 to create a unique double feature.
All the contributors were asked to write a paragraph explaining their 2012 fantasy double feature. What's more, each writer was given the option to list more pairings, with or without explanation, as further imaginative film programming we'd be lucky to catch in that perfect world we know doesn't exist but can keep dreaming of every time we go to the movies.
How would you program some »
- Daniel Kasman
14 items from 2013
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