6 items from 2013
This kaleidoscopic compilation of soundtracks by Bernard Herrmann scored for film, television and radio presents a feature-length overview of this incredibly unique composer's wide-ranging and distinctive style. Working with directors such as Orson Welles, Alfred Hitchcock and Martin Scorsese, during a career that spanned over forty years, Herrmann created scores of such innovative and emotional magnitude that notions of sound and music in cinema have never been the same. The breadth and scope of Herrmann's ingenious composing, arranging and orchestrating talent is on full display here, from the use of the theremin in The Day The Earth Stood Still (1951), to the all-string "black & white" sound for Psycho (1960), and the whistled main title of The Twisted Nerve (1968). Despite a well-charted, stormy history of personal and professional battles, Herrmann could work effortlessly in many musical idioms, seemingly without pause, whether it be within the Romanticism of Jane Eyre (1943) and The Ghost and Mrs. Muir »
- Paul Clipson
By Lee Pfeiffer
Last evening I had the pleasure of being invited to attend the New York Philharmonic's tribute to the films of Alfred Hitchcock. The unique two-night event at Avery Fisher Hall at Lincoln Center had commenced on Tuesday with an evening hosted by Alec Baldwin (who helped conceive of the tribute's format.) Last evening, the closing night's performance was hosted by Sam Waterson, who provided insights into the films chosen for inclusion and the composers who created the memorable scores. Under the banner The Art of the Score, master conductor Constantine Kitsopoulos lead orchestra in a presentation of flawlessly performed original music from specific Hitchcock films in synch with dialogue from the film clips shown. It's an impressive feat, given the fact that being off timing by a mere second could wreak havoc on the concept. The film scores honored were To Catch a Thief (Lyn Murray »
- email@example.com (Cinema Retro)
Feature Aliya Whiteley 19 Aug 2013 - 07:32
There was something remote about Mary Ure that came across on screen so clearly. She looked untouchable, distant; she had great poise and enormous eyes that always contained a hint of wariness. A theatre actress in the main, she made very few films, but she always brought deeper meaning to the movies she was in, from action thrillers to science fiction, social drama or literary adaptations.
Always the supporting actress, her quiet ability to wring emotion from few words added a huge amount to these films. It’s so sad that she left behind only a few cinematic performances when she died at a young age, but here are five of her very best roles, and a reminder of how talented she was. »
It almost seems as though the spy biz was created especially for the movies, going back to the silents, through the World War II espionage tales and right into the fifty-plus year screen history of James Bond (and his many offshoots from Matt Helm and Derek Flint to Ethan Hunt’s “impossible missions” force). And there’s been the more serious spies as in Hitchcock’s Torn Curtain and Tinker Tailor Soldier Spy. The movies have also given us stories about true life spies like last year’s Oscar-winning Best Picture Argo. With the over-a-decade long war on terror we’ve seen several films such as Zero Dark Thirty. But what about a terrorist attack not on a country, but on a corporation? Stories of these secret, shadowy groups have almost made headlines in recent years. These incidents are explored in the new motion picture drama, The East.
As the »
- Jim Batts
Hitch’s 10 hottest gents, suspicious and sinister for your pleasure.
Yesterday, Google celebrated the birth of legendary graphic designer Saul Bass with an awesome little animation on its main page. Bass was most known for his movie title sequences, which included three of Alfred Hitchcock‘s staples: Vertigo, North By Northwest, and Psycho. Just as Google intended, this got me thinking about how hot the male stars of Hitchcock movies are — specifically the 10 hottest dudes in the Hitchcock oeuvre. The results of my heavy contemplation are in.
Call “Mother!” because these 10 gents are psychotically hot.
What could be hotter than a debonair man with mood swings? In Rebecca, Laurence Olivier (or as I prefer to call him, Mr. Vivien Leigh) basically traumatizes his new wife (Joan Fontaine) by bringing her into his ghostly old estate and subjecting her to an evil housekeeper (Judith Anderson »
- Louis Virtel
Nobody sets out to make a bad movie - least of all an entire filmography of them - but for all the good intentions in the world a bad movie is a lot easier to make than a good one. The viewer also takes no delight in sitting through rubbish – nobody watches a film hoping to see utter dross thrown at them – but bad movies are unavoidable. Even some of the very greats struck out once of twice. Hitchcock made numerous bad movies such as Mr. and Mrs Smith, The Paradine Case, Topaz and Torn Curtain, but he obviously made far more classics than failures.
It takes a special kind of director to make a bad film every time he goes on set. As someone who is a directors guy , I firmly believe directors should get the acclaim when they succeed and get the blame when they fail. There are »
- Sam Moore
6 items from 2013
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