The Anderson Tapes (1971) - News Poster


Diamonds Aren't Forever: Close-Up on Sidney Lumet's "The Anderson Tapes"

  • MUBI
Close-Up is a feature that spotlights films now playing on Mubi. Sidney Lumet's The Anderson Tapes (1971) is showing December 23, 2017 - January 22, 2018 in the United Kingdom.“Say Cheese!” —Bank clerk, The Anderson Tapes “Say Cheese!” —Frank Sobotka, The WireThe first thing we see in The Anderson Tapes (1971) is a television monitor, on which jailbird John ‘Duke’ Anderson (Sean Connery), speaking to camera, reveals how he became infatuated with safecracking. He likens it to rape—then revises that analogy, saying it was more like seduction. “Often, I was sexually aroused at the time.” As he’s talking, the ‘invisible’ recording apparatus through which we’re watching the monitor pans away, and we see Duke sitting, alongside other inmates, fed up of hearing his own braggadocio. It’s his last day in the can; at the end of the film, the NYPD cops in pursuit of this recently-freed career criminal will discover
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Antalya Festival: A Modest Christopher Walken Talks ‘King of New York,’ His Acting Style and Michael Cimino

Antalya Festival: A Modest Christopher Walken Talks ‘King of New York,’ His Acting Style and Michael Cimino
Antalya, Turkey — Veteran character actor Christopher Walken, at the Antalya Fest to screen his 1990 cult hit, Abel Ferrara’s “King of New York,” recalled that his mafia kingpin role – like many of his turns – grew out of his roots in the streets of Queens.

“My old neighborhood when I was kid, that’s where I come from, so the movie was very close to me,” he said, speaking to audiences at the Ataturk Culture Park cinema. “Abel was lucky to have such good actors. It was a highlight of my life.”

As for how he fell into acting on screen, in this case manifesting in himself the distinctive mobster Frank White, Walken confessed, “I don’t know. I became an actor after being a dancer, kind of accidentally.”

Even after 100 roles, Walken admits he still isn’t sure he’s doing things right.

“I don’t think I do it like other actors do it. I just pretend
See full article at Variety - Film News »

Night Moves

Arthur Penn’s detective movie is one of the best ever in the genre, one that rewards repeat viewings particularly well. Gumshoe Harry Moseby compartmentalizes his marriage, his job, his past and the greedy Hollywood has-beens he meets, not realizing that everything is interconnected, and fully capable of assembling a world-class conspiracy. Gene Hackman tops a sterling cast in the film that introduced most of us to Melanie Griffith.

Night Moves


Warner Archive Collection

1975 / Color / 1:85 widescreen / 100 min. / Street Date August 15, 2017 / available through the WBshop / 21.99

Starring: Gene Hackman, Jennifer Warren, Melanie Griffith, Susan Clark, Edward Binns, Harris Yulin, Kenneth Mars, Janet Ward, James Woods, Anthony Costello.

Cinematography: Bruce Surtees

Production Designer: George Jenkins

Film Editor: Dede Allen

Original Music: Michael Small

Written by Alan Sharp

Produced by Robert M. Sherman

Directed by Arthur Penn

Night Moves is a superb detective thriller that plays with profound ideas without getting its fingers burned.
See full article at Trailers from Hell »

Movie Poster of the Week: New York in the 70s —The Lesser Known Films

Two weeks ago I wrote about Film Forum’s retrospective of New York in the 70s and collected all the Polish posters I could find for the best known films in the series. This week I want to concentrate on the films which are less well known and whose one sheets are maybe less iconic yet no less interesting. The 70s was a great period in American movie poster design. The illustrative style of classic Hollywood was out and instead a new reliance on photographs and, especially, type. The one thing that strikes me about the posters below is how heavily they rely on explanatory text and taglines (“Watch the landlord get his”...“Their story is written on his arm”...“If you steal $100,000 from the mob, it’s not robbery. It’s suicide”...“The tush scene alone is worth the price of admission”). The only two posters here that feature
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Movie Poster of the Week: New York in the 1970s in Polish Posters

Above: Polish poster for Escape from New York (John Carpenter, USA, 1981). Designer: Wieslaw Walkuski.For three weeks in July, New York’s Film Forum is running a stellar series of more than 40 1970s New York-set films. As soon as I heard about the program I wanted to do a poster article on it, given that the 1970s was a heyday for American poster design. However, when I started to look at the posters I realized that many of them were so well known that rehashing their posters wasn’t that interesting. But in my search I started to notice how many of the films had Polish counterparts. It is interesting that so many of these American productions were released in Poland and it may have had a lot to do with the counter-cultural, anti-establishment bent of most of the films.While poster design in the U.S. had moved quite decisively from illustration to photography-based in the late 60s, Polish poster art was still mostly drawn and painted in the 1970s. There are a couple of exceptions here but the photos are collaged or posterized in a way that is quite different from the way they would be used in the U.S. Another interesting note is that very few of the posters make use of New York signifiers, with the obvious exception of the Statue of Liberty for Escape from New York, and a silhouetted skyline for Manhattan (notably the two films with the most New York-specific titles). Otherwise the posters seen here are typically idiosyncratic, eccentric, beautiful, alluring, occasionally baffling and, with the possible exception of Serpico, always strikingly unlike their American counterparts. This selection also feels like a tour of great Polish poster art in the 70s, with most of the major artists represented: Jakub Erol, Wiktor Gorka, Eryk Lipinski, Andrzej Klimowski, Jan Mlodozeniec, Andrzej Pagowski, Waldemar Swierzy, Wieslaw Walkuski and more. It seems as if every major designer got a crack at at least one of these challenging, thrilling films.Above: Polish poster for Manhattan (Woody Allen, USA, 1979). Designer: Andrzej Pagowski.Above: Polish poster for Marathon Man (John Schlesinger, USA, 1976). Designer: Wiktor Gorka.Above: Polish poster for All That Jazz (Bob Fosse, USA, 1979). Designer: Leszek Drzewinski.Above: Polish poster for Three Days of the Condor (Sydney Pollack, USA, 1975). Designer: J. Czerniawski.Above: Polish poster for The Hospital (Arthur Hiller, USA, 1971). Designer: Marcin Mroszczak.Above: Polish poster for Diary of a Mad Housewife (Frank Perry, USA, 1970). Designer: Eryk Lipinski.Above: Polish poster for Taxi Driver (Martin Scorsese, USA, 1976). Designer: Andrzej Klimowski.Above: Polish poster for Klute (Alan J. Pakula, USA, 1971). Designer: Jan Mlodozeniec.Above: Polish poster for Saturday Night Fever (John Badham, USA, 1977). Designer: Andrzej Pagowski.Above: Polish poster for The French Connection (William Friedkin, USA, 1971). Designer: Andrzej Krajewski.Above: Polish poster for Serpico (Sidney Lumet, USA, 1973). Designer: Jakub Erol.Above: Polish poster for The Panic in Needle Park (Jerry Schatzberg, USA, 1971). Designer: Tomas Ruminski.Above: Polish poster for Midnight Cowboy (John Schlesinger, USA, 1969). Designer: Waldemar Swierzy.Above: Polish poster for The Anderson Tapes (Sidney Lumet, USA, 1971). Designer: Jan Mlodozeniec.See New York in the 70s at Film Forum from July 5 to 27.Posters courtesy of Heritage Auctions.
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The Bird with the Crystal Plumage

This time they may have gotten it right! If a knife or a straight razor won’t do, how about killing a victim with 500-pound metal artwork studded with spikes? Dario Argento distilled a new kind of slick, visually fetishistic horror who-dunnit thriller subgenre with this shocker, aided by the dreamy cinematography of Vittorio Storaro.

The Bird with the Crystal Plumage

Blu-ray + DVD

Arrow Video USA

1971 / Color / 2:35 widescreen / 96 min. / Street Date June 20, 2017 / L’uccello dalle piume di cristallo / Available from Arrow Video/ 49.95

/ 49.95

Starring: Tony Musante, Suzy Kendall, Enrico Maria Salerno, Eva Renzi, Umberto Raho, Raf Valenti, Giuseppe Castellano, Mario Adorf, Pino Patti, Gildo Di Marco, Rosita Torosh, Omar Bonaro, Fulvio Mingozzi, Werner Peters, Karen Valenti, Carla Mancini, Reggie Nalder.

Cinematography: Vittorio Storaro

Film Editor: Franco Fraticelli

Original Music: Ennio Morricone

Written by Dario Argento from a novel by Fredric Brown

Produced by Salvatore Argento, Artur Brauner

Directed by Dario Argento
See full article at Trailers from Hell »

By Sidney Lumet

A lengthy talk-fest interview of the underrated filmmaker, who takes us through his life story as a personal journey, not a string of movie assignments. Sidney Lumet seems to attract a lot of criticism, and so did this docu for not challenging his opinions or rubbing his nose in his less admirable movie efforts. The docu is just Lumet’s thoughts, and the words of a man of integrity are always inspiring.

By Sidney Lumet



2015 / Color /1:78 widescreen / 103 min. / Street Date January 9, 2017 / 24.95

Starring Sidney Lumet

Cinematography Tom Hurwitz

Film Editor Anthony Ripoli

Produced by Scott Berrie, Nancy Buirski, Chris Donnelly, Joshua A. Green, Thane Rosenbaum, Robin Yigit Smith

Directed by Nancy Buirski

This ought to be a good year for documentary filmmaker Nancy Buirski. I first caught up with her excellent feature docu Afternoon of a Faun, about the ill-fated ballerina Tanaquil Le Clerc, and she’s had other successes as well.
See full article at Trailers from Hell »

Christopher Walken Talks Career and That 'More Cowbell' Sketch

Christopher Walken Talks Career and That 'More Cowbell' Sketch
For a while, Christopher Walken felt like "troubled guys" were the only types of roles he was being offered, and he knows when it began. "In Annie Hall, I played a suicidal guy who drives his car into traffic," he says in his matter-of-fact, stilted, utterly Walkenesque way. "Then in The Deer Hunter, which came immediately afterward, I shot myself in the head. I was playing these disturbed people. That might have been when that started." When asked if that bothered him, he plainly says, "Listen, I'm lucky."

It's a bright spring day in Manhattan,
See full article at Rolling Stone »

Learning From The Masters Of Cinema: Sidney Lumet's The Offence

It is no secret that Sean Connery grew to hate James Bond long before he stopped playing the character. In fact, he was so reluctant to return as 007 for Diamonds Are Forever, after George Lazenby walked away from the franchise after just one film, that United Artists offered the Scottish actor an unprecedented fee of Us$1.25 million, and also agreed to produce two subsequent films of Connery's choosing if he'd pick up the Walther Ppk one last time.. The first of these was The Offence, a bleak and brutal British police drama, directed by acclaimed American filmmaker Sidney Lumet. Connery and Lumet had previously collaborated on The Hill (1965) and The Anderson Tapes (1971), and would work together again on Murder on the Orient Express...

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See full article at Screen Anarchy »

Super-8 Frankenstein Movie Madness September 2nd at The Way Out Club in St. Louis

The big green guy with the bolts in his neck gets his day in St. Louis when we celebrate Hollywood’s most famous movie monster at The Way out Club. Super-8 Frankenstein Movie Madness will take place on Tuesday, September 2nd beginning at 8pm.

Condensed versions (average length: 15 minutes) of these Frankenstein films will be screened on a big screen on Super-8 sound film: Frankenstein (1931), Bride Of Frankenstein, Son Of Frankenstein, Shost Of Frankenstein, Frankenstein Meets The Wolfman, House Of Frankenstein, I Was A Teenage Frankenstein, and Frankenstein Conquers The World!

Frankenstein-free movies we’re showing on September 2nd are: Bugs Bunny in All This And Rabbit Stew, Kirk Douglas and Farrah Fawcett in Saturn 3, a Sean Connery double feature of The Anderson Tapes and Darby O’Gill And The Little People, the ‘Fistful of Yen’ sequence from Kentucky Fried Movie, and Charles Bronson in The White Buffalo.

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Review: Nichols

  • Comicmix
Like most humans presently stalking the Earth, I’ve been watching teevee ever since my eyeballs could focus. Being a fanboy collector, I do my share of possessing odd and great stuff. Sadly, there were two teevee shows I absolutely worshipped that I could not find, even from collectors who obtain their DVDs through questionable means.

The first is T.H.E. Cat, Robert Loggia’s jazz-based New Orleans cat burglar private eye show. It only lasted one season, it was in black-and-white, and each episode only ran 30 minutes. So it’s half-life in syndication was roughly the same as Lawrencium. There are some truly awful bootlegs around, 12th generation dubs of a kinescope shot off of teevee set that desperately needed rabbit ears. I haven’t given up, but the challenge is undermining my otherwise natural sense of happy optimism.

The second is Nichols, the post-western western about a pacifist who
See full article at Comicmix »

An Oscar Winner Has His Day Supporting a Brilliant Woodward and a Heavily Made-Up Hoffman

Martin Balsam: Oscar winner has ‘Summer Under the Stars’ Day on Turner Classic Movies Best Supporting Actor Academy Award winner Martin Balsam (A Thousand Clowns) is Turner Classic Movies’ unusual (and welcome) "Summer Under the Stars" featured player today, August 27, 2013. Right now, TCM is showing Sidney Lumet’s The Anderson Tapes (1971), a box-office flop starring Sean Connery in his (just about) post-James Bond, pre-movie legend days. (Photo: Martin Balsam ca. early ’60s.) Next, is Joseph Sargent’s thriller The Taking of Pelham One Two Three (1974). Written by Peter Stone (Father Goose, Arabesque) from John Godey’s novel, the film revolves around the hijacking of a subway car in New York City. Passengers are held for ransom while police lieutenant Walter Matthau tries to handle the situation. Now considered a classic (just about every pre-1999 movie is considered a "classic" these days), The Taking of Pelham One Two Three was
See full article at Alt Film Guide »

Director & Actor Teams: The Overlooked & Underrated (Part 2 of 2)

Following are some supplemental sections featuring notable director & actor teams that did not meet the criteria for the main body of the article. Some will argue that a number of these should have been included in the primary section but keep in mind that film writing on any level, from the casual to the academic, is a game of knowledge and perception filtered through personal taste.


Other Notable Director & Actor Teams

This section is devoted to pairings where the duo worked together at least 3 times with the actor in a major role in each feature film, resulting in 1 must-see film.

Terence Young & Sean Connery

Must-See Collaboration: From Russia with Love (1962).

Other Collaborations: Action of the Tiger (1957), Dr. No (1962), Thunderball (1965).

Director Young and actor Connery teamed up to create one of the very best Connery-era James Bond films with From Russia with Love which features a great villainous performance by Robert Shaw
See full article at SoundOnSight »

Christopher Walken

Christopher Walken has made so many movies playing psychos and weirdos, he can't remember half of them. But in his latest film, A Late Quartet, he's been cast against type as a cellist with Parkinson's. He says why he'd be happier playing it straight

Christopher Walken will tell you what irritates him. "Quite often, I'll be sent a script for a movie," he says. "And I find that I like it, so I say I'll do it. But then they rewrite it for me. They make it quirky. Odd. I find that rather annoying. I call it Walkenising."

He chuckles, then stops dead. There is silence. We are on the phone, so that when he speaks it is hard not to wonder what else he might be doing. "I'm in Connecticut," he says when I ask, at the rural home he shares with his wife.

The irony is that the film he's promoting,
See full article at The Guardian - Film News »

Conrad Bain obituary

American actor who tackled taboo subjects in the sitcom Diff'rent Strokes

The actor Conrad Bain, who has died aged 89, found fame in middle age in the sitcom Diff'rent Strokes (1978-86). As Phillip Drummond, a white millionaire who fosters, then adopts, two orphaned black brothers, Bain was the straight man to the diminutive, wisecracking Gary Coleman, who played Arnold, the younger of the two boys. When his one-time housekeeper dies, the kindly widower Drummond takes Arnold and his brother, Willis (Todd Bridges), from their Harlem ghetto to his luxury Manhattan penthouse and brings them up with his daughter, Kimberly (Dana Plato).

Diff'rent Strokes tackled racial issues with humour and was courageous in confronting taboo subjects such as drugs, bulimia, sexual assault and paedophilia. The sitcom was devised as a vehicle for both Coleman, who had been spotted in television commercials, and Bain, following his co-starring role in the series Maude (1972-78) as Dr Arthur Harmon,
See full article at The Guardian - TV News »

R.I.P. Conrad Bain

Conrad Bain, who played wealthy widower and adoptive father Phillip Drummond on the TV comedy Diff’rent Strokes, died Monday. He was 89. Bain passed away of natural causes at his home in Livermore, CA, his daughter Jennifer Bain tells The Associated Press. Bain made his New York theater debut in 1956 as Larry Slade in The Iceman Cometh at the Circle in the Square. He eventually ventured into TV, including the role of Dr. Arthur Harmon in the comedy Maude starring Bea Arthur which aired on CBS from 1972-1978. From Maude he went on to play his most famous role on Diff’rent Strokes, as the adoptive father of two young brothers played by Gary Coleman and Todd Bridges. The series aired for seven seasons on NBC (1978-1985) and one season on ABC (1985-1986). Before his roles on Maude and Diff’rent Strokes, Bain had appeared occasionally in films, including A Lovely Way To Die,
See full article at Deadline TV »

Frank Pierson obituary

Hollywood director and screenwriter who won an Oscar for Dog Day Afternoon

In Sunset Boulevard, William Holden's character remarks: "Audiences don't know somebody sits down and writes a picture. They think the actors make it up as they go along." Given the difficulties in quantifying their contributions, screenwriters seldom get the recognition they deserve. Frank Pierson, who has died aged 87, wrote the screenplays for 10 films but his reputation rests on Cat Ballou (1965), Cool Hand Luke (1967) and Dog Day Afternoon (1975), all of which gained him Academy Award nominations, with the last of them winning the Oscar for best original screenplay.

Yet most of the plaudits for Dog Day Afternoon went to Sidney Lumet, the director, and Al Pacino, the star. Pierson, whose work had as much to do with structure and character as dialogue, shaped the script from a Life magazine article about a bungled bank robbery that took place
See full article at The Guardian - Film News »

Quincy Jones Scoring Lee Daniels' 'The Butler'; Mariah Carey & Yaya DaCosta Join The Film

It has been about two months since Lee Daniels stopped in Cannes with "The Paperboy" and was roundly savaged by critics, but the director has already dusted himself off and moved on, with principal photography beginning this week on the sprawling historical drama "The Butler." And a few more details have dropped now that the cameras are rolling on Daniels' new film. First up, legendary musician, composer and producer Quincy Jones has been lined up to score the film. Though he worked in film regularly throughout the '60s and '70s, providing memorable work for pictures like "The Italian Job," "The Hot Rock," "The Getaway," "In The Heat Of The Night" and "The Anderson Tapes," since then he has largely stepped out of movie scoring, notably pitching in for Steven Spielberg's "The Color Purple" and less notably for Jim Sheridan's "Get Rich Or Die Tryin." But we're.
See full article at The Playlist »

Frank Pierson, Writer-director, Dead At Age 87; "Dog Day Afternoon", "Cat Ballou" Among His Credits

  • CinemaRetro
Writer-director Frank Pierson has died at age 87. Among his screen credits were the screenplays for two acclaimed Sidney Lumet films, The Anderson Tapes and Dog Day Afternoon. He also wrote the screenplays for Presumed Innocent, Cool Hand Luke and the hit 1976 remake of A Star is Born starring Barbra Streisand. Pierson also directed that film. He also earned the respect of the industry by serving as President of the Writers Guild of America, West and the Academy of Motion Picture Arts and Sciences. Pierson had also been very active in television with writing credits dating from such classic shows as The Naked City and Have Gun, Will Travel to contemporary shows such as Mad Men and The Good Wife. For more click here
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The Films Of Sidney Lumet: A Retrospective

It has been a year since Sidney Lumet passed away on April 9, 2011. Here is our retrospective on the legendary filmmaker to honor his memory. Originally published April 15, 2011.

Almost a week after the fact, we, like everyone that loves film, are still mourning the passing of the great American master Sidney Lumet, one of the true titans of cinema.

Lumet was never fancy. He never needed to be, as a master of blocking, economic camera movements and framing that empowered the emotion and or exact punctuation of a particular scene. First and foremost, as you’ve likely heard ad nauseum -- but hell, it’s true -- Lumet was a storyteller, and one that preferred his beloved New York to soundstages (though let's not romanticize it too much, he did his fair share of work on studio film sets too as most TV journeyman and early studio filmmakers did).

His directing career stretched well over 50 years,
See full article at The Playlist »
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