Tunes of Glory (1960) - News Poster

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A generic spy story becomes an inspired light comedy with the application of great talent led by the star-power of Walter Matthau. Matthau’s CIA spook hooks up with old flame Glenda Jackson to retaliate against his insufferable CIA boss (Ned Beatty) with a humiliating tell-all book about the agency’s dirty tricks history. Matthau’s sloppy, slouchy master agent is a comic delight; Ronald Neame’s stylishly assured direction makes a deadly spy chase into a wholly pleasant romp.

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Blu-ray

The Criterion Collection 163

1980 / Color / 2:39 widescreen / 105 min. / available through The Criterion Collection / Street Date August 15, 2017 / 39.95

Starring: Walter Matthau, Glenda Jackson, Sam Waterston, Ned Beatty, Herbert Lom, David Matthau, George Baker, Ivor Roberts, Lucy Saroyan, Severn Darden, George Pravda.

Cinematography: Arthur Ibbetson, Brian W. Roy

Production Designer: William J. Creber

Film Editor: Carl Kress

Original Music: Ian Fraser

Written by Bryan Forbes from a novel by Brian Garfield

Produced
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Peter McEnery on Victim: 'I got a lot of letters from the gay community saying: We all thank you’

The actor, who played Dirk Bogarde’s blackmailing boyfriend in the 1961 film, reflects on how it changed attitudes – including his own – to homosexuality six years before decriminalisation

Victim was one of those rare films that actually made a difference. Its sympathetic portrayal of homosexuality in 1960s Britain helped pave the way for decriminalisation, six years later, via the 1967 Sexual Offences Act. The Act’s chief architect, Lord Arran, even wrote to Victim’s star, Dirk Bogarde, thanking him. The movie smuggled its courageous campaigning into British cinemas in the guise of an accessible London mystery thriller, in which Bogarde’s respectable, married barrister is drawn into a sprawling blackmail plot by Barrett, a young, gay construction worker, with whom he has been photographed. Peter McEnery, who played Barrett, reminisces on the experience. Sr

I had no reservations at all about taking the role; it was a good part. And I
See full article at The Guardian - Film News »

Welcome to Twin Peaks: A Place Both Wonderful and Strange

  • MUBI
To celebrate the release of Notebook contributor Clare Nina Norelli's book for the 33 1/3 series, Soundtrack from Twin Peaks, the following is an excerpt from its introduction. A bass sounds a twangy, resonant low F accompanied by a barely there, quarter-note cymbal ostinato. An F(add2) chord follows on Rhodes, warm and inviting, like a secret confession. Straining for resolution, the chord descends to settle on a straight F chord, its downward trajectory forming the musical approximation of a lovelorn sigh. The pattern is repeated, but two steps lower, beginning on a D in the bass. Suddenly, a wash of synthesized strings and French horn pours over the mix accompanied by a cool wave of guitar tremolo, oscillating between B-flat(sus2) and B-flat major chords and then sliding up to C(sus2) and C major. The melody in the synth-strings and French horn swirls, as if caught in a whirlwind, and then begins to rise,
See full article at MUBI »

New to Streaming: ‘Jackie,’ ‘Fences,’ ‘I Don’t Feel at Home in This World Anymore,’ and More

With a seemingly endless amount of streaming options — not only the titles at our disposal, but services themselves — we’ve taken it upon ourselves to highlight the titles that have recently hit platforms. Every week, one will be able to see the cream of the crop (or perhaps some simply interesting picks) of streaming titles (new and old) across platforms such as Netflix, iTunes, Amazon, and more (note: U.S. only). Check out our rundown for this week’s selections below.

10 Cloverfield Lane (Dan Trachtenberg)

Forget the Cloverfield connection. The actors who were in this film didn’t even know what the title was until moments before the first trailer dropped. Producer J.J. Abrams used that branding as part of the wrapping for its promotional mystery box, but the movie stands perfectly alone from 2008’s found-footage monster picture. Hell, 10 Cloverfield Lane perhaps doesn’t even take place within the same
See full article at The Film Stage »

Which is the greatest British film in history? No one seems to be in agreement

Best British movies of all time? (Image: a young Michael Caine in 'Get Carter') Ten years ago, Get Carter, starring Michael Caine as a dangerous-looking London gangster (see photo above), was selected as the United Kingdom's very best movie of all time according to 25 British film critics polled by Total Film magazine. To say that Mike Hodges' 1971 thriller was a surprising choice would be an understatement. I mean, not a David Lean epic or an early Alfred Hitchcock thriller? What a difference ten years make. On Total Film's 2014 list, published last May, Get Carter was no. 44 among the magazine's Top 50 best British movies of all time. How could that be? Well, first of all, people would be very naive if they took such lists seriously, whether we're talking Total Film, the British Film Institute, or, to keep things British, Sight & Sound magazine. Second, whereas Total Film's 2004 list was the result of a 25-critic consensus,
See full article at Alt Film Guide »

The Forgotten: Youth Runs Wild

  • MUBI
Basil Dearden, recently celebrated with an Eclipse box set of his London crime dramas, was almost unique in the early part of his career (the forties and fifties) for trying to look at working-class life in Britain and examine the issues affecting it. Unlike the later "kitchen sink" realist films of the sixties, mainly adapted from plays and novels, Dearden tended to work from original screenplays, and he tended to use genre to sweeten the pill of social commentary.

Violent Playground (1958) is one of his best, and it shows both the strengths and weaknesses of Dearden's approach in great detail. One of the director's quirks, picked up at Ealing, was a fondness for films which interwove multiple storylines (Train of Events, Pool of London), rather like John Sayles, allowing a panoply of a particular time and place to emerge, but sadly limiting the development of each storyline. Fortunately, in Violent Playground,
See full article at MUBI »

Twice Around: Anne V. Coates talks about Lawrence of Arabia

Trevor Hogg chats to Academy Award-winning film editor Anne V. Coates about Lawrence of Arabia...

“I was doing some turning out in England the other day because I’m selling my apartment there,” recalls British film editor Anne V. Coates who made a surprising discovery. “I came across this letter which said, ‘Dear Mr. Spiegel, I don’t think I can cut Lawrence of Arabia [1962] for the money you’re offering.’ I turned down the picture. It’s a two page letter saying all the reasons why I wasn’t going to do it.” Coates explains, “I had already cut Tunes of Glory [1960] and The Horse’s Mouth [1958]. I wasn’t a complete nonentity. They were offering, and they paid me, very little money. Sam Spiegel said to me, ‘If you cut Lawrence then you would be able to ask any money you like afterwards.’ So seven years later when
See full article at Flickeringmyth »

Cutting Edge: A conversation with film editor Anne V. Coates

Trevor Hogg chats to the Academy Award-winning film editor Anne V. Coates...

“When I was a really small girl I was very horsey; I used to think I’d like to be a race horse trainer,” recalls British film editor Anne V. Coates whose cinematic career spans over six decades. “Once I reached about 16 and became interested in movies, I thought I would like to be a movie director.” The shift in thinking occurred while the teenager was at boarding school; she and her classmates were taken by their teachers to see classical films. “When I saw Wuthering Heights [1939] I was in another world; I was swept away by it and Laurence Olivier [Sleuth]. It suddenly made me realize that would be quite an interesting job to be able to take a book like Wuthering Heights and make it something magical on the screen. It had a profound influence on my life.
See full article at Flickeringmyth »

How Susannah York fell to Earth after the wars of the English roses

Though York couldn't maintain the Christie-like success of her 60s peak, her unusual choices made for an interesting career

There was a rage for Susannah York in the 60s like there was for Julie Christie and Vanessa Redgrave, so it seemed odd when it ended in the mid-70s. All of a sudden, the rush of good parts stopped. This seemed odd, after her Oscar nomination as best supporting actress in They Shoot Horses, Don't They? (1969). But then, why did she let herself take such roles as that of the superfluous wife in The Battle of Britain in the same year?

In her early career, York had seemed a conventional English beauty: as Alec Guinness's daughter in 1960's Tunes of Glory (her actual debut) and a touching lead performance the following year in Lewis Gilbert's The Greengage Summer as a young woman in France coming to sexual maturity.
See full article at The Guardian - Film News »

Susannah York: a career in clips

Susannah York, film star of the 1960s, has died aged 72. We look back over her career in clips

Susannah Yolande Fletcher was born in Chelsea in 1939. After growing up in Scotland and studying at Rada, she got her screen break in the Highland army drama Tunes of Glory (1960) and her first lead, as a teenager growing into her sexuality, in Lewis Gilbert's The Greengage Summer. She continued her association with frank subject matter opposite Montgomery Clift in Freud. A further boost came with 1963's Oscar-winning Tom Jones, in which York played the true love of Albert Finney's Tom. Although her Sophie was less bawdy than much of the movie, she still had fun, as the trailer shows.

York's career continued to thrive throughout the 1960s, with roles in Sands of the Kalahari, espionage adventures Kaleidoscope and Sebastian, and as Sir Thomas More's daughter in A Man for All Seasons
See full article at The Guardian - Film News »

Susannah York obituary

Star of Tom Jones and They Shoot Horses, Don't They?, she defied typecasting

Susannah York, who has died aged 72, was a vibrant, energetic personality with a devouring passion for work, strong political opinions and great loyalty to old friends. Her international reputation as an actor depended heavily on the hit films she made in the 1960s, including Tom Jones (1963) and They Shoot Horses, Don't They? (1969, for which she received an Oscar nomination for best supporting actress. But, even when her movie career waned, she worked ceaselessly in theatre, often appearing in pioneering fringe productions. It was typical of her that, although diagnosed with cancer late in 2010, she refused chemotherapy and fulfilled a contractual obligation to do a tour of Ronald Harwood's Quartet.

In her early years York was often cast as an archetypal English rose. But, although born in Chelsea, south-west London (as Susannah Yolande Fletcher), she was raised
See full article at The Guardian - Film News »

British Actress York Dies

  • WENN
British Actress York Dies
British actress Susannah York has died at the age of 72.

The star passed away on Saturday following a long battle with cancer.

Her son Orlando Wells says, "She was an absolutely fantastic mother, who was very down to earth. She was a woman with grace and stature. She had advanced bone marrow cancer which she had an operation for.

"But, last Thursday, she had a scan and then the descent was fast. In the end, her death was painless and quick."

York began her acting career in 1960, starring in Tunes of Glory opposite Alec Guinness and John Mills, and went on to appear in movies such as The Greengage Summer, A Man for All Seasons, The Killing of Sister George and Battle of Britain.

She received an Oscar nomination for her role in 1969's They Shoot Horses, Don't They? and took home the Best Actress award at the Cannes Film Festival in 1972 for her part in Images.

York later became a small screen regular in her native Britain, featuring in series' including Prince Regent, We'll Meet Again and Holby City.

The star was also an accomplished theatre actress, appearing on stage in London and Paris, France throughout her lengthy career, most recently starring in a 2009 production of The Tennessee Williams Triple Bill at The New End Theatre in the U.K. capital.

York is survived by her two children, Orlando and Sasha, as well as a grandson and a granddaughter.

Susannah York Dies: Oscar winner Tom Jones, Sensational Lesbian Drama The Killing Of Sister George

Beryl Reid, Susannah York in Robert Aldrich's The Killing of Sister George Susannah York, one of the best (and best-looking) performers of the 1960s and 1970s, died today of bone marrow cancer. York's son, Orlando Wells (the Duke of Kent in The King's Speech and Lord Montagu in A Very British Sex Scandal), announced her death earlier today. The London-born York had turned 72 on Jan. 9. Though hardly a household name today — people's ignorance is truly their loss — Susannah York was featured in several top releases of the '60s and '70s, among them Ronald Neame's military drama Tunes of Glory (1960), Tony Richardson's Oscar winner Tom Jones (1963), Fred Zinnemann's Oscar winner A Man for All Seasons (1966), and Sydney Pollack's Great Depression classic They Shoot Horses, Don't They? (1969), for which York deservedly received an Oscar nomination and a British Academy Award as Best Supporting Actress. Also, Robert
See full article at Alt Film Guide »

British Actress Susannah York Dead At 72

  • CinemaRetro
 

York on the set of the 1968 film Duffy

 

By Lee Pfeiffer

Acclaimed British actress Susannah York has died from cancer at age 72. York, a Rada graduate, first came to prominence in the early 1960s, scoring a key role in Tunes of Glory. A rebellious spirit in the rebellious 60s, York's career initially thrived with memorable roles in films such as Tom Jones, The 7th Dawn, Sands of the Kalahari, Kaleidoscope, A Man For All Seasons, Battle of Britain and the provocative lesbian drama The Killing of Sister George. In 1970, she received a Best Supporting Actress nomination for They Shoot Horses, Don't They? True to character, she refused to attend the ceremonies. Although the best parts were behind her, York still received star billing in "A" grade productions like X, Y and Zee (aka Zee and Company) with Elizabeth Taylor and Michael Caine, and the 1974 adventure film Gold opposite Roger Moore.
See full article at CinemaRetro »

Susannah York, the gentle star of 1960s cinema, dies after battle against cancer

Susannah York, the gentle star of 1960s cinema, dies after battle against cancer
Susannah York, the British actress whose gamine looks and demure persona made her an icon of the swinging 60s, has died at the age of 72. She passed away yesterday following a long battle with bone marrow cancer. York won acclaim for her roles in They Shoot Horses, Don't They? – the 1969 film role for which she was nominated for an Oscar and Golden Globe – as well as A Man For All Seasons in 1966 and as the feisty section officer who took on Kenneth More in the stirring second world war epic Battle of Britain in 1969.

She also had an extensive and critically acclaimed stage career, which included roles in The Singular Life of Albert Nobbs and Henry James's play Appearances, and continued to act late into her life. She was also a children's author, penning two fantasy novels.
See full article at The Guardian - Film News »

Susannah York, 1939 - 2011

Susannah York passed away today, just a week after her 72nd birthday, the BBC is reporting. York received an Oscar nomination for her part in Sydney Pollack's They Shoot Horses, Don't They? and also appeared in Tunes of Glory , Tom Jones , A Man for All Seasons and Robert Altman's Images , among dozens of other films. She also played Superman's Kryptonian mother, Lara, in Richard Donner's original Superman: The Movie and two of the subsequent sequels. In addition to her work on film, York appeared on television, the stage and was a published children's book author in the 1970's. York is survived by two children and two grandchildren.
See full article at Comingsoon.net »

Ronald Neame obituary

Producer, director and cinematographer of many well-loved British film classics, including Oliver Twist, Tunes of Glory and The Prime of Miss Jean Brodie

The producer, director, writer and cinematographer Ronald Neame, who has died aged 99, played an important role in British cinema for more than half a century. The critic Matthew Sweet once called him "a living embodiment of cinema, a sort of one-man world heritage site". Neame was assistant director to Alfred Hitchcock on Blackmail (1929), the first British talkie; he was the cinematographer on In Which We Serve (1942), Noël Coward's moving tribute to the Royal Navy during the second world war; he co-produced and co-wrote David Lean's Brief Encounter (1945) and Great Expectations (1946); and he directed Alec Guinness in two of his best roles, in The Horse's Mouth (1958) and Tunes of Glory (1960). As if this wasn't enough, Neame also conquered Hollywoo d with one of the first and most successful disaster movies,
See full article at The Guardian - Film News »

Ronald Neame, Legendary British Filmmaker, Dead At Age 99

  • CinemaRetro
By Lee Pfeiffer

Ronald Neame, the legendary cinematographer-turned-screenwriter-turned producer-turned director, has died from complications from a fall. He was 99 years old. Neame's impressive resume goes back to the early days of sound films, having worked on on Alfred Hitchcock's Blackmail. The multi-talented Neame also took up screenwriting and earned Oscar nominations for co-writing the scripts for the classics Brief Encounter and Great Expectations. He was considered a pioneer in the use of Technicolor and was so revered in the British film industry that he was made a Commander of the British Empire. Neame represented the by-gone era of gentleman directors who generally dressed nattily on film sets and brought a wealth of culture to their productions. He directed such high profile films as Tunes of Glory, The Prime of Miss Jean Brodie, The Chalk Garden, Gambit, Scrooge, The Odessa File and the blockbuster 1972 hit The Poseidon Adventure. For more
See full article at CinemaRetro »

Ronald Neame – Actor’s Director: Judy Garland, Deborah Kerr, Alec Guinness, Maggie Smith

Judy Garland in Ronald Neame‘s I Could Go on Singing Ronald Neame Dies The Horse’s Mouth (1958) starred Venice Film Festival Best Actor winner Alec Guinness as an eccentric painter; the British Academy’s Best British Film nominee Tunes of Glory (1960), with Guinness and John Mills in a not-very-flattering look at the British military; and the melodrama I Could Go on Singing (1963), pairing Dirk Bogarde with Judy Garland, who delivers one of her strongest performances in what turned out to be her last film. "Judy Garland… talk about a love-hate relationship! I was so excited when I was asked to direct her," Neame told Matthew Street. "I thought, you know, what a wonderful opportunity, to direct Judy Garland. I heard all kinds of things about how she ate directors for breakfast, and if she didn’t eat them, she fired them. I was told how difficult it would be,
See full article at Alt Film Guide »

The Poseidon Adventure Filmmaker Neame Dies

The Poseidon Adventure Filmmaker Neame Dies
British director Ronald Neame has died at the age of 99 after failing to recover from a fall.

The Poseidon Adventure filmmaker passed away at a Los Angeles hospital on Wednesday, his friend Peter Bowes has confirmed.

Born in London to photographer Elwin Neame and actress Ivy Close, Neame began his career in the film industry as a messenger boy at the U.K.'s famous Elstree Studios, where he first met acclaimed director Alfred Hitchcock.

He became an assistant cameraman on Hitchcock's 1929 movie Blackmail, before working as a cinematographer on 1933 musical comedy Happy.

He turned to directing in 1947 with Take My Life, and he worked with acting legend Alec Guinness on three of his films, The Card (1952), The Horse's Mouth (1958) and Tunes of Glory (1960).

But Neame will perhaps be best remembered for 1972's The Poseidon Adventure, which earned three Academy Award nominations, including Best Supporting Actress for Shelley Winters. The disaster movie, which also starred Gene Hackman and Ernest Borgnine, won in the two other categories it was nominated for - Best Song for The Song from The Poseidon Adventure, also known as The Morning After, and Special Achievement in Visual Effects.

During his lengthy career, Neame also worked with Judy Garland, Dirk Bogarde and Dame Maggie Smith, who won the Best Actress Oscar in 1969 for her role in The Prime of Miss Jean Brodie.

He is survived by his third wife Donna Friedberg, who he wed in 1993; his son Christopher, a writer/producer, from his first marriage to Beryl Heanly; and his grandson Gareth, who works as a TV producer.
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