Medium Cool (1969) - News Poster

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Criterion Reflections – Episode 5 – Summer 1969 Part 2

Criterion Reflections is David Blakeslee’s ongoing project to watch all of the films included in the Criterion Collection in chronological order of their original release. Each episode features panel conversations and 1:1 interviews offering insights on movies that premiered in a particular season of a year in the past, which were destined to eventually bear the Criterion imprint. In this episode, David is joined by Jon Laubinger, Jordan Essoe and William Remmers to discuss four titles from the Summer of 1969: Haskell Wexler’s Medium Cool, Alberto Isaac’s The Olympics in Mexico, Federico Fellini’s Fellini Satyricon, and Agnes Varda’s Lions Love (…and Lies).

Episode Time Markers Introduction: 0:00:00 – 0:06:31 Medium Cool: 0:06:32 – 0:53:26 The Olympics in Mexico: 0:53:27 – 1:28:29 Fellini Satyricon: 1:28:30 – 2:20:24 Lions Love (and Lies…): 2:20:25 – 3:19:15 Medium Cool (8/27/69)

Criterion
See full article at CriterionCast »

Review: Christopher Doyle Visually Dazzles, Narratively Disappoints in ‘Hong Kong Trilogy’

An often serenely meditative exploration of sociopolitical life in contemporary Hong Kong, Christopher Doyle’s Hong Kong Trilogy is a stunningly-photographed blend of documentary and fictional narrative, following real locals playing themselves. We can’t tell where real life ends and fiction begins, and ultimately, we don’t care. The film marks Doyle’s first directorial effort, crowdfunded via a Kickstarter campaign in 2014. Doyle, the self-proclaimed Keith Richards of cinematographers, is one of the most beloved and provocative DPs in the world, endowed with an exquisite eye for composition. His new film, however, meanders around for a merciful 85 minutes before fading to black, never fusing together into anything impacting, beyond a fleetingly casual interest in the characters. Other than that, we’re left with just a handful of dazzling visuals to recall, and little more.

The film is divided across three chapters. The first, titled Preschooled, follows the students of a local private school,
See full article at The Film Stage »

The Loved One / Broken Arrow

The Loved One

Blu-ray

Warner Archives

1965 / B&W / 1:85 / / 122 min. / Street Date May 9, 2017

Starring: Robert Morse, Jonathan Winters, Anjanette Comer.

Cinematography: Haskell Wexler

Film Editor: Hal Ashby, Brian Smedley-Aston

Written by Terry Southern, Christopher Isherwood

Produced by Martin Ransohoff (uncredited), John Calley, Haskell Wexler

Directed by Tony Richardson

Funeral Director: Before you go, I was just wondering… would you be interested in some extras for the loved one?

Next Of Kin: What kind of extras?

Funeral Director: Well, how about a casket?

Mike Nichols and Elaine May – The $65 Dollar Funeral

That routine, a classic example of what was known in the early 60’s as “sick humor”, was nevertheless ubiquitous across mainstream variety shows like Ed Sullivan and Jack Paar. It also popularized the notion of a new boutique industry, the vanity funeral. The novelist Evelyn Waugh, decidedly less mainstream, documented the beginning of that phenomenon over a decade earlier with The Loved One,
See full article at Trailers from Hell »

Springtime in L.A.: Indian Film Festival of Los Angeles

Springtime in L.A.: Indian Film Festival of Los Angeles
It’s over but it opened L.A.’s newest spring season of unlimited international film screenings all over the city throughout the month of April and into Cannes.

The 15th annual Indian Film Festival of Los Angeles (Iffla) opened with “Lipstick Under My Burkha” and its impressive ensemble cast of Konkona Sen Sharma, Ratna Pathak, Aahana Kumra and Plabita Borthakur in a dramatic, but irreverent and vibrant film about women and faith. The film premiered at the Tokyo Film Festival 2016 and has been lighting up the festival circuit, including just winning the Audience Award at the Glasgow Film Festival. Director Alankrita Shrivastava is confirmed to attend and additional talent to be confirmed.

Lipstick Under My Burkha

Iffla concluded on April 9 with a red carpet and gala that featured the Los Angeles premiere of Shubhashish Bhutiani’s “Hotel Salvation” starring Adil Hussain who was in attendance, as well as the
See full article at Sydney's Buzz »

‘Network’ Turns 40: Here Are 3 Ways It Changed How We Understand News Media

  • Indiewire
‘Network’ Turns 40: Here Are 3 Ways It Changed How We Understand News Media
Because 2016 cares not for subtlety, this month marks the 40th anniversary of “Network.” Since its release in November 1976 to wide praise and an eventual heap of Oscars, director Sidney Lumet and writer Paddy Chayefsky’s excoriation of the exponentially money-driven, bottom-feeding tendencies of television news has only grown in renown, as each angry pundit updates the film’s library of prophecies about The State of Television Today.

With the ascent of an actual reality TV star to the U.S. Presidency following a broadcast news cycle that worked for everything but a dedication to public interest, it would seem that this depressing political season has reached the logical end of the film’s apocalyptic forecast, landing on a reality too absurd for even “Network” to dramatize: Howard Beale as President. However, as we reflect on what’s gone wrong with contemporary news media and political culture, it’s important to
See full article at Indiewire »

NYC Weekend Watch: ‘Love Streams,’ ‘Tanner ’88,’ ‘Medium Cool’ & More

Since any New York cinephile has a nearly suffocating wealth of theatrical options, we figured it’d be best to compile some of the more worthwhile repertory showings into one handy list. Displayed below are a few of the city’s most reliable theaters and links to screenings of their weekend offerings — films you’re not likely to see in a theater again anytime soon, and many of which are, also, on 35mm. If you have a chance to attend any of these, we’re of the mind that it’s time extremely well-spent.

Metrograph

The “Cassavetes/Rowlands” series ends on a real high note.

This Saturday, Dead Man plays with Jim Jarmusch and Chris Eyre in-person. It also screens on Sunday as part of “Native to America,” a series that brings the latter’s Smoke Signals on the same day.

Lucio Fulci‘s A Cat in the Brain screens on Saturday.
See full article at The Film Stage »

International Star You Should Know: British Actress Vanessa Kirby

International Star You Should Know: British Actress Vanessa Kirby
At 28, Vanessa Kirby is having a busy year: She’s starring in Netflix’s first U.K.-produced series, “The Crown,” as well as three films — romance “Me Before You,” actioner “Kill Command” and period drama “Genius.” On stage, she follows a February turn in “Uncle Vanya” in London with “A Streetcar Named Desire,” now in previews ahead of its New York opening at St Ann’s Warehouse.

Early Inspiration: Kirby attended local plays as a teen, but it wasn’t until she saw a National Theatre production of “The Cherry Orchard” with Vanessa Redgrave that she fully comprehended her passion for acting. “I got so drawn into it that I left thinking, ‘I wanna do what they’re doing somehow — tell stories in some kind of way that might move people,’ ” she says.

Royal Ride: In “The Crown,” which centers on the British royal family after WWII, Kirby plays Princess Margaret,
See full article at Variety - Film News »

International Star You Should Know: British Actress Vanessa Kirby

International Star You Should Know: British Actress Vanessa Kirby
At 28, Vanessa Kirby is having a busy year: She’s starring in Netflix’s first U.K.-produced series, “The Crown,” as well as three films — romance “Me Before You,” actioner “Kill Command” and period drama “Genius.” On stage, she follows a February turn in “Uncle Vanya” in London with “A Streetcar Named Desire,” now in previews ahead of its New York opening at St Ann’s Warehouse.

Early Inspiration: Kirby attended local plays as a teen, but it wasn’t until she saw a National Theatre production of “The Cherry Orchard” with Vanessa Redgrave that she fully comprehended her passion for acting. “I got so drawn into it that I left thinking, ‘I wanna do what they’re doing somehow — tell stories in some kind of way that might move people,’ ” she says.

Royal Ride: In “The Crown,” which centers on the British royal family after WWII, Kirby plays Princess Margaret,
See full article at Variety - TV News »

The Best of Movie Poster of the Day: Part 13

  • MUBI
Above: Us one sheet for Knight Of Cups (Terrence Malick, USA, 2015); designer: P+A.Leaps and bounds ahead of the competition, the beautiful new poster for Terrence Malick’s Knight of Cups was by far the most popular poster (tallied in likes and reblogs) that I have posted on my daily poster Tumblr since last October. Unveiled nearly a whole year after the first poster for the film premiered at last year’s Berlin Film Festival (that which made my top ten posters of 2015), the new poster retains the arcane and antique feel of that design—not to mention the palm trees—while making it only moderately more commercial with its image of star Christian Bale (albeit upside down and barely recognizable) haloed by a giant harvest moon.Sadly, much of the past month or two has been spent commemorating those we lost: Jacques Rivette, Haskell Weller, Ettore Scola, artist
See full article at MUBI »

Sundance Film Review: ‘Operation Avalanche’

Sundance Film Review: ‘Operation Avalanche’
Operation Avalanche” isn’t the first time director Matt Johnson and Owen Williams have played “themselves,” although it’s hard to imagine a more inventive use of the duo’s reality-blurring faux-doc sensibility — which previously earned them top honors at Slamdance 2013 for “The Dirties.” Pretending to be the film crew that faked the Apollo 11 moon landing, Johnson and company have fabricated an elaborate, period-styled backstory on how a collection of Ivy League film geeks were recruited by the CIA to convince the world that America got there first. Acquired by Lionsgate eight months before its Park City premiere, this wild, borderline illegal stunt (for which the improv-ready filmmakers “infiltrated” locations such as Nasa and Shepperton Studios in character) delivers big time on its crazy premise, launching the careers of its renegade crew in the process.

Arriving a full 17 years after “The Blair Witch Project” fooled (some) audiences into believing
See full article at Variety - Film News »

As we lose two titans of cinematography, we wonder how cinema's future looks

  • Hitfix
As we lose two titans of cinematography, we wonder how cinema's future looks
While the holidays unfolded, we lost two of the greatest photographers to ever work in cinema, and it's only when you look back at the filmography they leave behind and the legacy they passed on to all the cameramen who worked under them and then went on to shoot films of their own that you understand the magnitude of what we've lost. There was a point in my own film education when I stopped going from actor to actor or from director to director in the way I was watching movies and spent a summer going from cinematographer to cinematographer, and doing that proved to be an education in the tricky definition of what we call "authorial voice" in film. I think it is only in collaboration that magic happens, and one of the people who has to be absolutely killing it for that to work is the cinematographer. The
See full article at Hitfix »

Weekly Rushes. 30 December 2015

  • MUBI
Rushes collects news, articles, images, videos and more for a weekly roundup of essential items from the world of film.NEWSThe great cinematographer and filmmaker Haskell Wexler (1922 - 2015), the man behind the images of Who's Afraid of Virginia Woolf, Medium Cool (which he directed) and Coming Home, has died at the age of 93. Keyframe has a roundup of information and remembrance.An unexpected announcement from Film Comment informs us that their Editor of the last 15 years, Gavin Smith, is leaving the magazine after the January/February 2016 issue. The Film Society of Lincoln Center is embarking "upon the search for a new Editor."Recommended VIEWINGQuentin Tarantino discusses the making of The Hateful Eight with Christopher Nolan at the Directors Guild of America.Mann Sparks: Many new videos have been added to director and critic Ryland Walker Knight's video project collaborating with other filmmakers to make "cinematic mixtape[s]" from the films
See full article at MUBI »

Interview: Sean Baker Talks Tangerine

David Opie chats with Tangerine director Sean Baker

Famed for being shot entirely on an iPhone, Tangerine’s fascinating insight into the trans community has led to it becoming the breakout indie of the year, enjoying incredible reviews across the board. With awards season looming, Tangerine has earned its rightful place in many rundowns of the years best movies. David Opie sits down with director Sean Baker to discuss Tangerine’s many astonishing achievements. Our five star review is available to read here…

David Opie: Congratulations on the success of Tangerine. You’ve had an amazing critical response. I keep seeing the film appear on many critics best end of year lists. Did you ever think Tangerine would perform as well as it has? Have you been surprised by the film’s success?

Sean Baker: A little bit, yeah. I thought the film would divide audiences and critics 50/50. I
See full article at Flickeringmyth »

Watch: Step 'Inside the Criterion Collection' With Haskell Wexler

Watch: Step 'Inside the Criterion Collection' With Haskell Wexler
Read More: Haskell Wexler, Legendary Cinematographer, Dead at 93 Since the news broke yesterday that legendary cinematographer and filmmaker Haskell Wexler had passed away at the age of 93, a flood of tributes has been pouring in from across the industry. The two-time Oscar winner — his black-and-white photography on "Who's Afraid of Virginia Woolf" (1966) remains a gold standard for the medium — worked with many of the greats across his nearly seven decades in the business, from Hal Ashby to John Cassavetes, Elia Kazan, Mike Nichols, Milos Forman and Terrence Malick. Wexler was also a director himself, and his 1969 debut "Medium Cool" represents one of the finest dramas ever made centered around American television. Blending fiction and non-fiction in both storytelling and form — it uses an aesthetic akin to cinéma vérité-style documentaries — the movie revolves around a...
See full article at Indiewire »

Film News: Cinematographer, Oscar Winner Haskell Wexler of ‘One Flew Over the Cuckoo’s Nest’ Dies at 93

Los Angeles – At the 2013 Chicago International Film Festival awards ceremony at the Ambassador East, an older man started shooting me with a video camera in the bar area. Later that same man, Haskell Wexler, picked up a lifetime award at that ceremony. Haskell Wexler died on Dec. 27, 2015, at the age of 93.

Haskell Wexler, Oscar Winning Cinematographer

Photo credit: Joe Arce of Starstruck Foto for HollywoodChicago.com

Wexler won two Oscars for his cinematography, for “Who’s Afraid of Virginia Woolf” – the last separate Oscar given for Black & White cinematography – and “Bound for Glory,” which was also notable for the first use of the Steadicam. The rest of his resume isn’t too shabby either, with Best Picture winners or nominations for “In the Heat of the Night, “One Flew Over the Cuckoo’s Nest.” “America America” and “Coming Home.” Wexler had five Oscar nominations, including his wins, during his career.
See full article at HollywoodChicago.com »

Famed Cinematographer Haskell Wexler Dies At Age 93

Visual consultant Haskell Wexler prior to a screening of “American Graffiti,” presented at Oscars® Outdoors by the Academy of Motion Picture Arts and Sciences on Friday, August 2, 2013. credit: Todd Wawrychuk / ©A.M.P.A.S.

Haskell Wexler, one of Hollywood’s most famous and honored cinematographers and one whose innovative approach helped him win Oscars for “Who’s Afraid of Virginia Woolf?” and the Woody Guthrie biopic “Bound for Glory,” died Sunday. He was 93.

From the AP:

Wexler died peacefully in his sleep, his son, Oscar-nominated sound man Jeff Wexler, told The Associated Press.

A liberal activist, Wexler photographed some of the most socially relevant and influential films of the 1960s and 1970s, including the Jane Fonda-Jon Voight anti-war classic, “Coming Home,” the Sidney Poitier-Rod Steiger racial drama “In the Heat of the Night” and the Oscar-winning adaptation of Ken Kesey’s “One Flew Over the Cuckoo’s Nest.
See full article at WeAreMovieGeeks.com »

Haskell Wexler, Oscar-Winning Cinematographer, Dead at 93

Haskell Wexler, Oscar-Winning Cinematographer, Dead at 93
Haskell Wexler, the director of the cult classic Medium Cool and one of Hollywood's most revered cinematographers, passed away Sunday at the age of 93. The director of photographer's son Jeff Wexler confirmed his father's death, writing on his official website, "It is with great sadness that I have to report that my father, Haskell Wexler, has died. Pop died peacefully in his sleep, Sunday, December 27th, 2015. Accepting the Academy Award in 1967, Pop said: 'I hope we can use our art for peace and for love.' An amazing life has
See full article at Rolling Stone »

R.I.P. Haskell Wexler (1922-2015)

There are few cinematographers who can count the likes of George Lucas, Terrence Malick, Milos Forman, Mike Nichols, and Elia Kazan among the directors they've worked with. Then again, there were few like Haskell Wexler, and sadly, he has passed away at the age of 93. Read More: Haskell Wexler's 'Medium Cool' Comes To Criterion Getting his start with industrial films and documentaries (he won an Emmy for "Paul Jacobs and the Nuclear Gang," Wexler made his major feature debut with "America, America" in 1963, and the next decade and more would be littered with classics. "Who's Afraid Of Virginia Woolf?," "In The Heat Of The Night," "Once Flew Over The Cuckoo's Nest," "Days Of Heaven," "American Graffiti,"  and more all found Wexler's talented eye on set. He was Oscar-nominated five times for Best Cinematography, winning twice, for 'Virginia Woolf' and Hal Ashby's "Bound For Glory." Aside from.
See full article at The Playlist »

Haskell Wexler dies at 93 by Amber Wilkinson - 2015-12-27 18:02:09

Haskell Wexler and Seamus McGarvey at Edinburgh International Film Festival in June. Photo: Lloyd Smith, © Eiff, Edinburgh International Film Festival All Rights Reserved Oscar-winning cinematographer Haskell Wexler - whose films included One Flew Over The Cuckoo's Nest and Who's Afraid Of Virginia Woolf - has died at age 93.

His death was confirmed by a post on http://haskellwexler.com/">his blog. The Chicago born filmmaker - who took part in an In Person event with fellow cinematographer Seamus McGarvey at Edinburgh Film Festival this June - also wrote and directed films including Who Needs Sleep? and Medium Cool. He won Oscars for Who's Afraid Of Virginia Woolf and Hal Ashby's Woody Guthrie biopic Bound For Glory and contributed to Terrence Malick's Days Of Heaven, for which Nestor Almendros was awarded the cinematography Oscar.

Other films in his long career, included In The Heat Of The Night and The Thomas Crown Affair
See full article at eyeforfilm.co.uk »

Haskell Wexler, Oscar-Winning Cinematographer and Documentary Filmmaker, Dies at 93

Haskell Wexler, Oscar-Winning Cinematographer and Documentary Filmmaker, Dies at 93
Influential cinematographer and social documentarian Haskell Wexler, who won Oscars for his work in both arenas, has died. He was 93.

Wexler’s death on Sunday was confirmed with a post on the HaskellWexler.com blog. His son Jeff shared via Facebook that Wexler died “peacefully in his sleep.”

“An amazing life has ended but his lifelong commitment to fight the good fight, for peace, for all humanity, will live on,” Jeff Wexler wrote.

Haskell Wexler won two Oscars for cinematography, for “Who’s Afraid of Virginia Woolf?” in 1966 and for “Bound for Glory” 10 years later. He also picked up an Oscar in 1970 for the short documentary “Interview With My Lai Veterans,” directed with Richard Pearce.

Wexler also wrote, directed and largely financed two feature films, the highly politically charged “Medium Cool” in 1969 and “Latino” in 1985. He also directed 2007’s “From Wharf Rats to Lords of the Docks,” an adaptation of
See full article at Variety - Film News »
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