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The Sundance Film Festival has entered into a partnership with Poznan’s Transatlantyk Film Festival to present a selection of its titles at the forthcoming fourth edition running from August 8-14.
The new sidebar, Sundance at Transatlantyk, will screen such films as Fishing Without Nets, The Green Prince, Watchers Of The Sky, 52 Tuesdays, Difret and A Most Wanted Man, and invite the films’ creators to meet with the audience for Q&As after the screenings.
Transatlantyk was founded in 2011 by the Oscar-wining musician and composer Jan A.P. Kaczmarek as ¨a new artistic platform aimed at building a stronger relationship between society, art and the environment through music and movies¨ as well as inspiring discussion on social issues.
Another innovation is the introduction of the new section Cinema of the Third Age targetted at maturer audiences with screenings in early afternoon slots during the weekdays. Films selected for this first edition include Philomena, Gloria and [link »
- firstname.lastname@example.org (Martin Blaney)
Playwright and screenwriter Terence Rattigan was an indubitable influence on mid-century British cinema. He authored several of the era’s most notable titles, including The Browning Version (1951), Lean’s The Sound Barrier (1952) Olivier’s troubled The Prince and the Showgirl (1957) and Anatole Litvak’s The Deep Blue Sea (1952), which was recently remade by Terrence Davies in 2011. But it would be a 1958 American adaptation of his play, Separate Tables, from director Delbert Mann that would prove to be his most critically lauded work, nominated for seven Academy Awards, and snagging two (Best Actor and Best Supporting Actress). By today’s standards, it’s a film that feels painstakingly melodramatic. Reconsidered within the framework of Rattigan’s own impressive oeuvre, the material hasn’t aged well, and as time has gone on, its cramped exploration of sexual dysfunction now plays like a euthanized product crippled by censorship of the author’s own »
- Nicholas Bell
Some Like It Hot, 1959.
Directed by Billy Wilder.
After witnessing a murder, two musicians flee Chicago to join an all-female band on their way to Florida…
Some Like It Hot is not known for its mob ties. Jack Lemmon and Tony Curtis, carrying their awkwardly-shaped bass-case and sax-box, dressed in drag, is the memorable image. It would be easy to watch the opening first ten minutes and not even realise what the film is as we see gangsters with tommy-guns, shoot through a hearse revealing the liquor inside. Remember the funeral parlour that doubles as a speakeasy with the appropriate knock? Or the dancing girls and jazz music that echoes out onto the street while drinkers order their “coffee”? Oh, and then the camera subtly moves to introduce Gerald (Lemmon) and Joe (Curtis). They look bored playing their up-beat music. »
- Simon Columb
As far as pulpy vintage courtroom dramas go, Billy Wilder’s 1957 adaptation of Agatha Christie’s famed play, Witness for the Prosecution, is hard to beat. By today’s standards, the twists and turns of its once inventive surprise ending has the potential for quaintness, perhaps because it’s something we’ve come to expect from the genre. However, one can’t deny the power of its superb screenplay and a pair of electric performances that make everything wholly unrealistic yet oh-so-watchable. In the pantheon of Wilder’s legacy, it’s not his strongest title, but it stands out, though perhaps for reasons not apparent upon its initial release.
When a wealthy widow (Eleanor Audley) is found murdered, the married man that had been wooing her, Leonard Vole (Tyrone Power) is arrested for the crime considering he had recently been named benefactor in a revised will. Vole’s solicitor seeks »
- Nicholas Bell
Regularly voted one of the best comedies of all time, Some Like It Hot proves that men dressed up as women is a gag that never gets old, but apart from what Tony Curtis and Jack Lemmon are hiding up their skirts, there's more to this 1959 classic than meets the eye.
Essentially, it's a film about sex, made just before America lost its innocence, fuelled by frustration and littered with double-entendres, all delivered with elegance, taste and impeccable timing by writer/director Billy Wilder.
Curtis and Lemmon in high heels offer a rib-tickling demonstration of everything opposite to that, at least in the beginning when they're forced on the run after witnessing the Saint Valentine's Day Massacre in Chicago, 1929, and its bloody fall-out.
They play their way into a touring all-girl band where Marilyn is up front and showing a lot of it, too, in plunging necklines. She makes love »
★★★★★"Story of my life, I always get the fuzzy end of the lollipop,"is just one of the many sublime, double-edged lines that Marilyn Monroe delivers in Billy Wilder's gender-bending comedy Some Like It Hot (1959), which this year celebrates its 55th anniversary. The note of that line is pitch perfect, the sensual, iconic actress allowing it to drop off her lips with comic finesse, whilst simultaneously echoing the tragedy of her own life. Monroe, who died just three years after Some Like It Hot, shares the limelight with two of the finest comedic actors of their generation, Tony Curtis (who, according to Hollywood legend, was sleeping with the actress during the production) and Jack Lemmon (who would star in The Apartment).
- CineVue UK
It is not too shabby in what the Northeast (New England) part of the United States has produced in terms of past and present actors/actresses making their show business dreams come true. Film careers can be a lot like ice cubes–they start out solid and cool but if you sit around in stagnation your efforts and hard work can melt away before one’s very eyes. Certainly no one can accuse this talented crop of thespians of being one-hit wonders on the big screen. After all, one does not become a recipient of an Academy Award by just sheer luck and charitable fortune.
As a native Bostonian and life long New Englander, I felt compelled to spotlight those Massachusetts-born and bred actors from the same region that had ultimate success on the big screen in winning the Oscar for their acting achievement and contribution to the motion picture industry. »
- Frank Ochieng
If the final line of Some Like It Hot is anything to go by, “Nobody’s perfect.” And that doesn’t just go for the average schmuck off the streets, either: it goes for some of the world’s most acclaimed directors, who – just like you – are capable of turning in what might as well be branded “a load of old crap.” Okay, so perhaps that’s a little harsh, but there’s certainly some truth to such an observation: even the filmmakers who we hold in the highest esteem – and have created some of the best motion pictures of all-time – have turned in some inferior products.
When this happens, of course, it can not only be disappointing, but surprisingly disheartening, too, resulting in strange feelings of being “let down” – a kind of embarrassment, even. Join us now, then, as we delve into the filmographies of 10 highly respected, world class filmmakers, »
- Sam Hill
Yesterday, Lgbt news outlet The Advocate put together a list of “The Top 175 Essential Films of All Time for Lgbt Viewers.” The exhaustive list is full of game-changing films with Lgbt characters, many of which have important places in pop culture. But it’s also rounded out with campy cult classics and gender-bending movies that don’t necessarily have Lgbt characters. Some Like it Hot, for instance, was a groundbreaking movie with no gay characters but plenty of cross-dressing.
The list is topped with more recent movies—Brokeback Mountain (2005) caps it at No. 1, with Milk (2008) coming in second—but contains movies from all time periods. »
- Jacob Shamsian
Exclusive: Icon Film Distribution (Ifd) has signed a deal with UK sales and distribution company Park Circus to represent the Ifd library for UK theatrical release.
The Ifd library comprises more than 200 titles including Mel Gibson’s The Passion Of The Christ, Nicolas Winding Refn’s Drive, John Hillcoat’s The Road, John Carney’s Once, Emilio Estevez’s The Way, and Tom Ford’s A Single Man.
Park Circus specialises in putting classic films back on the big screen and represents more than 20,000 titles from major studios and independent rights owners. This summer, it will handle the international re-release of Some Like It Hot, The Lady From Shanghai, The Deer Hunter and To Catch A Thief.
Ifd, which re-launched last September backed by New Sparta, recently released animated feature Postman Pat: The Movie, which has generated nearly £3m ($5m) at the UK box office after three weeks on release.
The independent »
- email@example.com (Michael Rosser)
“How many men, raised on a steady diet of Judd Apatow comedies in which the shlubby arrested adolescent always gets the girl, find that those happy endings constantly elude them and conclude, ‘It’s not fair’?” — Ann Hornaday “You know what? I respect women! I love women! I respect them so much that I completely stay away from them!” — Andy Stitzer, The 40-Year-Old Virgin 2005 wasn’t a terrible year to have a comedy in theaters. Wedding Crashers, Hitch and The 40-Year-Old Virgin all finished the year with record numbers, regardless of genre. Of the three, Virgin was the most shocking surprise. For Universal Studios. For Hollywood. At the time, Steve Carell (The Office had only been out for half a year to underwhelming ratings), Catherine Keener and the rest of the cast were seen as character actors and indie drama mainstays, not movie star leads. At the center of the low-budget film was Judd Apatow. A »
- Sean Hackett
Recently celebrating its 55th anniversary, Some Like It Hot is easily near the top of the pile when it comes Billy Wilder‘s many classics. Yes, it’s slotted highest on AFI’s best comedy list, nominated for a bevy of an Oscars (and won one), etc., but more importantly, it doesn’t take its audience for granted, unlike most […] »
- Jordan Raup
There are few superlatives that don’t belong on a Some Like It Hot poster, a granite-enshrined classic, but the good folk at Park Circus have let Billy Wilder’s masterpiece speak for itself with this promo for its theatrical re-release. No film is perfect, but Wilder’s comedy comes pretty darn close. Click on the image for a closer look. In case you haven’t seen Empire’s 80th greatest film of all time – and the date to circle in your diary is July 18, when it returns to the big screen – it’s a rich spoof of Hollywood gangster flicks, a screwball comedy and an off-beat romance (and bromance) all at the same time. The story follows Joe (Tony Curtis) and Jerry (Jack Lemmon), a pair of jazz musicians haplessly trying to escape the Mafia’s clutches when they unwittingly stumble upon the Saint Valentine's Day Massacre.Their journey takes them to Florida and, »
“My father was an accountant,” remarks British filmmaker James Rouse. “My mother makes very good flapjacks but I’m not sure if that counts. Looking back perhaps they were both more artistic than their backgrounds allowed them to be though. It was much more difficult for their generation to follow a creative career.” Richard Lumsden (Sense and Sensibility) grew up in a similar situation. “I have no theatrical background at all. No one in my family had ever done as stupid as trying to act as a living. They all took much more sensible sorts of jobs. From that point of view I was walking into the unknown when I was 21 and started working. I still have a naïve enjoyment of it all but that’s help »
- Trevor Hogg
Only read on if you've watched this week's Mad Men.On tonight's midseason finale of Mad Men, Bert Cooper upstaged Michael Jackson's hologram with a show-stopping posthumous performance of "The Best Things in Life Are Free." If that final scene left you craving more music from the golden-throated Robert Morse, man are you in luck: The actor has been singing and cutting rugs for a long time, and many of his greatest hits are on YouTube. These are a few. Here he is as J. Pierrepont Finch doing "I Believe in You," "Rosemary," and "Brotherhood of Man" in the 1967 movie version of How to Succeed in Business Without Really Trying (he won a Tony for his performance in the Broadway show). Here he is performing "I Believe in You" on a 1982 TV special. And here he is, with Tony Roberts, singing "The Beauty That Drives Men Mad" from Sugar, »
- Lane Brown
The Metropolitan FilmExport topper thinks back on the films he’s seen and handled in his career and names some of his favorites.
1. King Kong
My dad, who was distributing Rko movies in Casablanca, showed us the movie and I was so amazed by the adventure, the spectacle it provided.
That film is still referenced. Hitchcock was able to weave amazing suspense in a story that he mastered from the beginning to the end.
Marilyn Monroe was on the cover of Playboy on the day I was born so I’ve always had a soft spot for her.
That movie traumatized me. It took me a while to get over it, but I loved it. »
- Variety Staff
At 87, Mel Brooks has lost none of his edge.
The legendary comic provocateur has phoned me from his Los Angeles office to promote the just-released 40th anniversary Blu-ray of his magnum opus, "Blazing Saddles," but before he submits to an interview, he quizzes me about Moviefone's unique pageviews and other Web traffic statistics, about which he knows more than I do. Having concluded that Moviefone is well-trafficked enough for him to talk to, he says, "Ask away, Susman!"
"Blazing Saddles," which made serious satirical points about racism while also making cinema safe for fart jokes, is certainly one of the most influential comedies ever made. Brooks believes it's the funniest film of all time (followed closely by his own "Young Frankenstein"), and he's still upset with the American Film Institute for disagreeing with him. He's making his case for the film with the Blu-ray (which contains a new making-of documentary, »
- Gary Susman
So the phone rings, and I answer it, and it's Mel Brooks. That's an actual thing that happened. That's now something I can say. And even better, the 40 minute conversation that followed me answering the phone is one of my favorites in recent memory. How often do you get to talk to a comedy legend about one of the pinnacle moments of not only their career, but of film comedy in general? I was told I'd have about 15 minutes originally. Time was tight. And if you get offered 15 minutes to talk to Mel Brooks about "Blazing Saddles," you take it, right? We ended up having a really fun back and forth about that film, about films he's produced, about his partnership with Gene Wilder, and about the ways Hollywood failed the great Richard Pryor. The only reason we wrapped it up is because we had to, and it would have »
- Drew McWeeny
The 2014 Le Conversazioni literary festival celebrating the relationship between art, architecture, literature, and film took place at the Morgan Library & Museum on Thursday, May 8 in New York. Artistic Director of Le Conversazioni, Antonio Monda, discussed with Isabella Rossellini and Salman Rushdie films that influenced their lives and work.
Isabella Rossellini chose Charlie Chaplin's The Circus (1928), Roberto Rossellini's Stromboli (1950), A Trip To The Moon (Voyage Dans La Lune,1902) by Georges Méliès and Billy Wilder's Some Like It Hot (1959).
Salman Rushdie picked François Truffaut's Jules Et Jim (1962) and three of the most influential science fiction movies from the second half of the 20th century, two of them directed by Stanley Kubrick. Dr Strangelove (1964) and his 2001: A Space Odyssey (1968). His fourth selection was Ridley Scott's Blade Runner (1982).
Dancing In The Dark from The Bandwagon
Eight clips, »
- Anne-Katrin Titze
Harumph, harumph, harumph!
After all, he’s carving time out of his day to speak about Blazing Saddles, the delirious western that is celebrating its 40th anniversary with a special edition Blu-ray, out May 6. Time is of the essence: “I have people coming in to give me awards,” Brooks jokes. “Every 45 minutes, roughly, someone will knock on my door and give me the United Jewish something or other. I always get an award every day, some kind of award.”
Well, it’s good to be the king. And »
- Jeff Labrecque
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