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I still have a lot more to see from the 1960s but this top ten, more than most apart from the 1980s is a combination of films I fell for as a child on television in the 70s and 80s and films I love now as an adult. I'm bookending with two Natalie Wood features -- the first actress I ever loved -- though I recognize that they are more personal favorites than perfect films. That caveat aside I do find Bob & Carol & Ted & Alice to be grossly undervalued since it's essentiall a comedy about its time and therefore "light" and "dated" . Still, I absolutely insist, it's a wonderful wonderful light and dated thing. At the top of the list West Side Story has been my favorite film of all time for as long as I remember being conscious of movies so it'll just have to keep on being so »
- NATHANIEL R
For a few years now, Paramount has been in a legal battle with International Media Films over the rights to Federico Fellini's La Dolce Vita (1960). On Wednesday, Judge James Otero decided in favor of Paramount who had planned a 2010, 50th Anniversary Blu-ray release of the film when they first received cease-and-desist letters from Imf. Maybe now that Blu-ray will see the light of dayc Or maybe they'll hand it over to Criterion, which I think most all of us Fellini fans would prefer. Here is how Matthew Belloni and Eriq Gardner at THR described Paramount's side of the story back in 2011: The original producers assigned rights to a sales agent called Cinemat, which in 1962 granted U.S. distribution rights to Astor Pictures, which helped get the film released in America. Astor transferred rights to another entity in 1966, then another, which sold rights to Los Angeles-based Republic Entertainment. By the late '80s, »
- Brad Brevet
Italian director Ettore Scola has unveiled more details of his upcoming tribute to his friend and fellow filmmaker Federico Fellini, which is due for release in Italy this autumn to mark the 20th anniversary of the La Dolce Vita director’s death.
“I don’t know what will come out of this. I am as curious as you are to discover it. The intentions and emotions are all there but it’s not ready yet,” Scola told a packed news conference in Rome’s Cinecittà film studios on Tuesday.
The $2.6m (€2m »
Once upon a time in Rome there was a guy called Marcello Mastroianni. He wasn't looking for the heart of Saturday night, he was just roaming around trying to figure why the once caput mundi was now filled with clowns dressed as princes and princesses. There in Rome, Mastroianni discovered a new anxiety-inducing way of life. It was Federico Fellini's La Dolce Vita, an evergreen masterpiece now (kinda) resurrected by one of the most important modern Italian directors, Paolo Sorrentino, who has replicated the same idea and directed a sort-of sequel which premiered this year in Cannes, The Great Beauty, now released in Italy.This time the main character is one of those guys depicted by Fellini in the Sixties, here named Jep Gambardella, a famous...
[Read the whole post on twitchfilm.com...]
Cannes — Usually by this point in the Cannes Film Festival, the race for the Palme d’Or has narrowed itself down to one or two clear frontrunners. The sustained critical love for Michael Haneke’s “Amour” made it seem the most logical choice around this time last year, and so it was, despite ardent pockets of support for Leos Carax’s ultimately unrewarded “Holy Motors.” In 2011, a sense of inevitability had descended upon Terrence Malick’s “The Tree of Life,” which might have faced stiffer competition had Lars von Trier not Nazi-joked himself out of the running for “Melancholia.”
It’s a testament to the strength of this year’s competition slate, however, that no single runaway favorite seems to have declared itself. As many as five or six well-regarded pictures — including but not limited to “Blue Is the Warmest Color,” “Inside Llewyn Davis,” “The Past,” “Like Father, Like Son »
- Justin Chang
Paulo Sorrentino's magnificent return to form sees him reteam with Toni Servillo for a lush, classical tale of middle-age hedonism and lost love
Paolo Sorrentino has returned to Cannes with a gorgeous movie, the film equivalent of a magnificent banquet composed of 78 sweet courses. It is in the classic high Italian style of Fellini's La Dolce Vita and Antonioni's La Notte: an aria of romantic ennui among those classes with the sophistication and leisure to appreciate it. The grande bellezza, like the grande tristezza, can mean love, or sex, or art, or death, but most of all it here means Rome, and the movie wants to drown itself in Rome's fathomless depths of history and worldliness.
La Grande Bellezza is a return to Sorrentino's natural form and cinematic language, after his uneasy English-language picture This Must Be The Place, which starred Sean Penn as a swirly-haired rock star. The »
- Peter Bradshaw
One week into the fest and the double bill appears to be a strong one – we find Steven Soderbergh’s last feature film (I’m betting we won’t wait as long as Alejandro Jodorowsky to pull one out of the rabbit) and Paolo Sorrentino’s stroke of genius La Grande Bellezza which many have compared to some of Fellini’s best works in the baroque La Dolce Vita and 8 1/2. A Valentine’s card to Rome, and at times a touching, almost fantasy-like salute to a life well lived, Sorrentino’s muse Toni Servillo camps out in different planes of the city and at just about every minute in a 24 hour cycle is represented in what is essential a recap of one’s romantic life and how professionally he moves from writer’s block to being reinvigorated. Running just over the two hour mark, this was well-received by the critics on our rid, »
- Eric Lavallee
Just how whispers about a film’s quality sweep the Croisette before anyone’s seen a frame is one of the festival’s mysteries, but word on the boulevard yesterday was that Paolo Sorrentino’s The Great Beauty (La Grande Bellezza) is a masterpiece. It’s not, but it is one of the competition’s strongest showings so far, its large canvas, heavyweight themes and stylistic verve inviting Palme d’Or chatter. Consciously evoking Fellini’s La Dolce Vita and Roma in location and ideas, The Great Beauty swoops and soars about the capital in a...
- Jamie Graham
★★★☆☆ Il Divo and This Must Be the Place director Paolo Sorrentino returns to Italian cinema (with a capital 'I' and a capital 'C') courtesy of The Great Beauty (La Grande Bellezza, 2013), a visual tour-de-force that strives to fulfil its own title. Long-time Sorrentino collaborator Tony Servillo stars as the film's protagonist Jep Gambardella: an ageing 'King of La Dolce Vita', a man who has written a novel in his youth but has spent the rest of his life in dissipation and distraction. Jep's opening birthday party is an exuberant, invigorating sequence, as Sorrentino weaves music and sweeping saturnalian images together with glee.
It's a virtuoso piece of filmmaking which will have Baz Luhrmann hanging up his glad rags in despair. However, birthdays are as much a moment for reflection as they are for celebration, and the elegant partygoer soon finds himself increasingly gripped by ennui and melancholy. Despite his »
- CineVue UK
Given the undiminished stature of Federico Fellini, whose startling foresight is increasingly quoted in contemporary movies (Viva la liberta! is a recent example), it was inevitable that someone would think of remaking his masterpieces. Fortunately, director Paolo Sorrentino knows better than to imitate a giant, and The Great Beauty is more a reverent bow, picking up where La Dolce Vita left off 53 years ago. Perhaps not surprisingly, the eternal city hasn’t changed that much. Though Sorrentino’s vision of moral chaos and disorder, spiritual and emotional emptiness at this moment in time is even darker than Fellini’s (though Ettore Scola's
- Deborah Young
Rome in all its splendor and superficiality, artifice and significance, becomes an enormous banquet too rich to digest in one sitting in Paolo Sorrentino’s densely packed, often astonishing “The Great Beauty.” A tribute to, and castigation of, the city whose magnificence has famously entrapped its residents in existential crises, the pic follows a stalled author gradually awakening from the slumber of intellectual paralysis. Very much Sorrentino’s modern take on the themes of Fellini’s “La dolce vita,” emphasizing the emptiness of society amusements, “Great Beauty” will surprise, perplex and bewitch highbrow audiences yearning for big cinematic feasts.
With a narrative that feels more like a line of dashes than a continuous stroke, the film is certain to give indigestion to some, who may dismiss it as a work of cinephile posing rather than genuine depth; never mind that the same censure was leveled at “La dolce vita” 53 years ago. »
- Jay Weissberg
Under unseasonably cloudy skies and dodging a few raindrops, Leonardo DiCaprio, Carey Mulligan and Tobey Maguire kicked off the 66th Cannes Film Festival on Wednesday just hours before walking the red carpet for their blockbuster film The Great Gatsby, which opened the star-studded 12-day extravaganza of movies and parties on the French Riviera. "Every time I go to Cannes it feels like I'm entering the helicopter scene in La Dolce Vita; it's an insane experience," said DiCaprio, who posed for photos on the fabled Croisette next to his Gatsby costars. Emma Watson, who stars in Sofia Coppola's The Bling Ring, »
- Dana Kennedy
“Every time I arrive here it feels like the opening scene in La Dolce Vita,” smiles Leonardo DiCaprio. Then he gets serious. “It’s a great honour to open the festival.” The Great Gatsby has just lifted the curtain on Cannes, the world’s foremost film festival, and DiCaprio is sitting alongside director Baz Luhrmann at the press conference. The actor of course plays title character Jay Gatsby, and flanking him are the rest of the principal players: Carey Mulligan (Daisy Buchanan), Joel Edgerton (Tom Buchanan), Tobey Maguire (Nick...
- Jamie Graham
Rome has been the backdrop to some iconic films over the years, but its real heyday was between the 1950s and 1960s, when classics such as Roman Holiday were shot in and around the city centre. Even today, the locations used are considered to be points of pilgrimage for any self-respecting retro film fan, from the Trevi Fountain to the Colosseum, especially as 2013 marks the 60th anniversary of Roman Holiday hitting our screens.
The easiest way to track down the real life places behind the celluloid is to create your own walking tour, so that you can spend as long as you like at each spot; just use the Rome film map from lowcostholidays.com and dive straight into the sights to plan your own route. Here’s your guide to each »
- firstname.lastname@example.org (Cinema Retro)
The words “pope” and “cutting-edge” may seem incongruous, but Monsignor Dario Edoardo Vigano is helping keep the age-old institution firmly in the 21st century.
Vigano’s main mission as director of the Vatican Television Center (CTV): to provide global TV and Internet feeds of what unfolds in the Vatican’s inner sanctums, to which CTV has exclusive access. For example, having provided footage of the March 14 papal conclave that resulted in the election of Pope Francis, as well as Easter mass on March 31, Vigano will be working on the May 19 Pentecost Mass in St. Peter’s that marks the end of Easter season.
CTV, founded in 1983 under John Paul II’s watch, is headquartered in Vatican City. It handles more than 200 events yearly, including exclusive access to some 130 live events inside the Vatican, as well as the Pope’s travels in Italy and abroad (which are not exclusive).
The footage, »
- Nick Vivarelli
Filmmaker Christina Voros' latest documentary, "The Director," delves head first into the world of high-end fashion, going behind the scenes of Gucci. Thanks to her friendship with James Franco, Voros gained unprecedented access to the Italian heritage brand, providing insight into the secretive design process and showing audiences an intimate portrait of Gucci's media-shy creative director, Frida Giannini.
We caught up with Voros just after the film's Tribeca Film Festival premiere.
Why did you choose to make a documentary about Gucci?
The project came to me through James [Franco]. He and I had been working together for a number of years and, actually, he had been working with Gucci for the same period of time, looking back. And we had been at an event in Rome with Frida [Giannini]. Gucci and Frida helped restore a print of "La Dolce Vita," and he was at that event. He was coming to Paris »
- The Huffington Post
This week’s episode of The Following finds a bleeding madman, marinating in a cocktail of drugs, alcohol and his own deteriorating mental state, still getting the jump on the FBI. In the Bureau’s defense, it’s distracted by townsfolk who’ve chosen to deal with the threat of rampant killers in the same way they would an impending hurricane or catastrophic heat wave. But Joe’s banter, and two really big developments in the final moments of the episode, make all of the aforementioned silliness worth it. For now. Let’s review what happened in “The End Is Near. »
- Kimberly Roots
Screenwriting isn’t quite as hard as novel writing or literary writing of any kind, but it is still a difficult thing. Forming a character and its words is a most disagreeable endeavour – imagine what Tolstoy went through – but there are some people who have gone a long way in making screenwriting as important as the film itself – almost. The script is as we know a blueprint for what could be a great thing. There are thousands of screenwriters but only a few who have gone on to utter greatness but in my mind there is only one who has never failed, and he ranks at number 1 on this list. That person’s films are so enjoyable that even the bad ones are fun to watch.
Considering a small list like this means considering an awful lot of people and making it a small list – 5 points – makes it that much »
- Quinn Steers
I've mentioned before how several years ago I created a list using Roger Ebert's Great Movies, Oscar Best Picture winners, IMDb's Top 250, etc. and began going through them doing my best to see as many of the films on these lists that I had not seen as I possibly could to up my film I.Q. Well, someone has gone through the exhaustive effort to take all of the films Roger Ebert wrote about in his three "Great Movies" books, all of which are compiled on his website and added them to a Letterbxd list and I've added that list below. I'm not positive every movie on his list is here, but by my count there are 363 different titles listed (more if you count the trilogies, the Up docs and Decalogue) and of those 363, I have personally seen 229 and have added an * next to those I've seen. Clearly I have some work to do, »
- Brad Brevet
I've mentioned before how several years ago I created a list using Roger Ebert's Great Movies, Oscar Best Picture winners, IMDb's Top 250, etc. and began going through them doing my best to see as many of the films on these lists that I had not seen as I possibly could to up my film I.Q. Well, someone has gone through the exhaustive effort to take all of the films Roger Ebert wrote about in his three "Great Movies" books, all of which are compiled on his website and added them to a Letterbxd list and I've added that list below. I'm not positive every movie on his list is here, but by my count there are 362 different titles listed (more if you count the trilogies and Decalogue) and of those 362, I have personally seen 229 and have added an * next to those I've seen. Clearly I have some work to do, »
- Brad Brevet
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