Last Tango in Paris (1972) - News Poster


Tom Jones

Tom Jones

Blu ray


1963 / 1:66 / 128 Min. / Street Date February 27, 2018

Starring Albert Finney, Susannah York, Hugh Griffith

Cinematography by Walter Lassally

Screenplay by Tony Richardson, John Osborne

Music by John Addison

Edited by Antony Gibbs

Produced by Tony Richardson

Directed by Tony Richardson

Yorkshire native Tony Richardson, lauded for a string of melodramas set in grayer than gray factory towns, took an abrupt left turn with Tom Jones, an 18th century period piece steeped in the vibrant New Wave sensibilities of the 60’s. Starring Albert Finney as the randy hero, Richardson’s sunny holiday is as far from the mills of Derbyshire as Buckingham Palace.

Based on Henry Fielding’s mock epic, Richardson and co-writer John Osborne took a Cliff’s Notes approach to Fielding’s picaresque narrative, whittling Tom’s journey down to a two hour jaunt set in motion by Irish actor Micheál Mac Liammóir’s wry narration.
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Marlon Brando biopic in development

According to THR, Brian Oliver’s New Republic Pictures has optioned director/producer George Englund’s memoir The Way It’s Never Been Done Before as the source material for a biopic on screen legend Marlon Brando.

Brando and Englund first became friends in the 1950s, with Englund going on to run Brando’s production company, as well as directing the two-time Oscar winner in the 1963 film The Ugly American.

“George and Marlon’s friendship spanned five decades and covered all the ups and downs in the actor’s career and personal life,” said Oliver. “It makes for both an epic portrayal of the greatest actor ever to grace the silver screen and an intimate story of two men with an almost brotherly bond.”

Brando – whose credits include the likes of A Streetcar Named Desire, On the Waterfront, The Godfather and Last Tango in Paris – passed away in 2004, while Englund died earlier this year.
See full article at Flickeringmyth »

Kill, Baby…Kill! – The Blu Review

Review by Roger Carpenter

During the first half of the 60’s Mario Bava created several genuine horror classics that remain high-water marks in the genre over a half century later. Films such as Black Sunday (1960), Black Sabbath (1963), The Whip and the Body (1963), and Blood and Black Lace (1964) either pushed the boundaries of horror or helped to establish cinematic tropes still used in modern horror. Always saddled with shoestring budgets and bad deals, Bava nevertheless remained optimistic in the face of his cinematic struggles. A case in point is the troubled production of Kill, Baby…Kill! which ran out of money midway through the shoot. The cast and crew were so loyal to Bava they worked for free to finish the film—a film, by the way, which only had a 30-page script with no dialogue when filming commenced. Bava had the actors make up their own lines, preferring to resolve
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Cinematography Legends Vittorio Storaro and Ed Lachman Give a Once-in-a-Lifetime Master Class – Watch

Cinematography Legends Vittorio Storaro and Ed Lachman Give a Once-in-a-Lifetime Master Class – Watch
One of the joys of the New York Film Festival is that for 18 days the greatest international filmmakers descend on Lincoln Center not only to share their most recent films, but to engage in a conversation about their work and career.

This year, two of the greatest living cinematographers, Vittorio Storaro and Ed Lachman, had films at the fest – “Wonder Wheel” and “Wonderstruck” – and for 90-minutes shared the stage with festival director Kent Jones to discuss the craft to which they’ve dedicated their lives. IndieWire has the exclusive video of the entire “Master Class” below.

Lachman has shot a number of the seminal American films of the last the 30 years, including Sofia Coppola’s “Virgin Suicides” and Steven Soderbergh’s “The Limey,” but it’s been his 15-year collaboration with director Todd Haynes (“Carol”) that has defined his career. Storaro is best know to American audiences for having shot
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Interview, Audio: Director Geremy Jasper Rocks ‘Patti Cake$’

Chicago – How does a filmmaker create a movie about a white girl in New Jersey dreaming of being a hip-hop star? He takes the beats from his own life admiration of the music genre and fleshes out a working class story about pushing back against the odds. Geremy Jasper wrote and directed the electrically poignant “Patti Cake$.”

The film features Danielle Macdonald as the title character, that of a bartender with a talent for hip hop rhymes, and her friends Jheri (Sid Dhananjay) and Bob (Mamoudou Athie), who want to help her record those beats. Patti’s home life is difficult, as her mother Barb (Bridget Everett) is depressed and unstable, plus her beloved grandmother (Cathy Moriarty) is fighting a homebound illness. But Patti will not be stopped, despite her weight, the odds and her obsession with rapper O-z (Sahr Ngaujah). The film marks the debut of Geremy Jasper as a feature director,
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Jerry Lewis Returns to the Cosmos

On August 20, 2017, Jerry Lewis took a pratfall off this mortal coil, presumably knocking an unwitting dowager on her keister and sending a surprised cop into an open manhole on his way out. The durable enfant terrible was all of 91 years when he finally left the building though he had been making spirited public appearances as recently as January of this year.

For the inquisitive Jerry fan, Shawn Levy’s 1997 King of Comedy: The Life and Art of Jerry Lewis, remains the first and last stop for the straight scoop on America’s premiere nudnik. Levy, who endured the full fury of the comedian’s legendary wrath to get his story, is as admiring of his subject’s accomplishments as he was repelled by his whiplash mood swings. The hard knock apprenticeship in the Catskills, the Freudian-fueled soap opera of his partnership with Dean Martin, the boastful sex-capades, they’re all there and then some.
See full article at Trailers from Hell »

Physically “Naked” with Not Much Steam to Run On

(Aotn) There’s something about some of Marlon Wayans’ career choices this decade that could understandably be seen as “frustrating.” The youngest of the Wayans brothers has demonstrated a great knack for physical comedy (the first two entries in the Scary Movie franchise and even the goofy yet riotous White Chicks) and an equally impressive potential as a serious actor (his dramatic turn in Requiem for a Dream), but his latest – the declining Haunted House movies and the abysmal Fifty Shades of Black, which actually managed to make the series it’s spoofing look like Last Tango in Paris by comparison – are a an embarrassing nose dive in comedic standard. Enter Michael TiddesNaked, not the 1993 Cannes winner by Mike Leigh, Netflix’s latest comedic offering and a breath of stale air that actually manages to find a hint of freshness and showcase some of the good qualities of Mr.
See full article at Age of the Nerd »

The Unbearable Rightness of Daniel Day-Lewis Retiring (Even if He Doesn’t Keep to It)

The Unbearable Rightness of Daniel Day-Lewis Retiring (Even if He Doesn’t Keep to It)
When Daniel Day-Lewis, the greatest screen actor of his generation, announced this week that he would be retiring from acting, I had the same initial thought that, I assume, most everyone else did. After a few befuddled seconds of “Why?” I prayed that his announcement wasn’t the euphemism for a health crisis. Once I decided that it probably wasn’t (this is, after all, the actor who took an open-ended sabbatical to build furniture), a conviction began to settle over me. While I had no clear idea why an artist as passionate and celebrated as Daniel Day-Lewis would want to cut his ties to acting (I was going to add “when he’s at the top of his game,” though when has Daniel Day-Lewis not been at the top of his game?), every bone in my body told me that he’d be back. At some point. In some eccentric Daniel Day-Lewis fashion. He
See full article at Variety - Film News »

The Jacques Rivette Collection on Blu-ray From Arrow Video May 23rd

Although François Truffaut has written that the New Wave began “thanks to Jacquette Rivette,” the films of this masterful French director are not well known. Rivette, like his “Cahiers du Cinéma” colleagues Truffaut, Jean-Luc Godard, Claude Chabrol and Éric Rohmer, did graduate to filmmaking but, like Rohmer, was something of a late bloomer as a director.

In 1969, he directed the 4-hour L’amour fou (1969), the now legendary 13-hour Out 1 (1971) (made for French TV in 1970 but never broadcast; edited to a 4-hour feature and retitled Out 1: Spectre (1972)), and the 3-hour Celine and Julie Go Boating (1974), his most entertaining and widely seen picture. In these three films, Rivette began to construct what has come to be called his “House of Fiction”–an enigmatic filmmaking style involving improvisation, ellipsis and considerable narrative experimentation.

Celine and Julie Go Boating

In 1975, Jacques Rivette reunited with Out 1 producer Stéphane Tchal Gadjieff with the idea of a four-film cycle.
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The Seven Deadly Sins On Screen

A new video looks beyond Fincher at the Evil Men Do

Sin, as defined by most major religions and moral institutions, is as old as man. It is inherent to our nature, because ultimately sin is self-serving, and at the end of the day we are all self-serving creatures. Wrath, pride, sloth, lust, envy, gluttony, greed — as opposed to the Ten Commandments of Christianity which include distinct acts like adultery and murder, the seven deadly sins are things of which most all of us are guilty of multiple times over. We’ve all committed them, even on a minor scale. Ever think someone has a nicer car than you? Envy. Ever gotten a touch of road rage? Wrath. Ever hit the snooze button more than once? Sloth.

These are petty examples to be sure, but they illustrate how commonplace the seven deadly sins are in our daily lives, and thus they prove why the seven deadly sins
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Berlin Syndrome review – unfortunate narrative slumps mar an ambitious thriller

Once the film settles into its cat-and-mouse game, the big question is what will happen next? The short answer is nothing for a long time

If Last Tango in Paris, American Pie and the pastrami sandwich episode of Seinfeld didn’t do enough to warn us about the dangers of food-related eroticism, along comes the Australian director Cate Shortland’s psycho-sexual thriller Berlin Syndrome. Early in the piece the protagonist Clare (Teresa Palmer) is moseying through the titular city when she bumps into a charming, fruit-wielding local named Andi (Max Riemelt) who, presumably reciting from an obscure book of suggested come-ons, drops the following humdinger: “Do you like strawberries?”

Related: Hugo Weaving on revisiting The Matrix: 'They would start again with different actors'

Continue reading...
See full article at The Guardian - Film News »

Story of Sin

There’s plenty of Sin in Walerian Boroczyk’s searing movie, but little of it can be laid at the feet of its heroine, no matter what terrible crimes she commits. In pre-WW1 Poland, the innocent Ewa’s tragedy is to fall hopelessly in love, without restraint; Boroczyk’s camera doesn’t flinch as the hapless Ewa falls from grace. Amour fou has been crazier than this, but rarely as destructive. Artistically this show is flawless, and in terms of sex politics it’s a scream of protest.

Story of Sin

Blu-ray + DVD

Arrow Academy USA

1975 / Color / 1:66 widescreen / 130 min. / Dzieje grzechu / Street Date March 28, 2017 / Available from Arrow Video / 39.95

Starring: Grazyna Dlugolecka, Jerzy Zelnik, Olgierd Lukaszewicz, Roman Wilhelmi, Marek Walczewski, Karolina Lubienska, Zdzislaw Mrozewski, Mieczyslaw Voit, Marek Bargielowski.

Cinematography: Zygmunt Samosiuk

Film Editor: Lidia Pacewicz

Written by Walerian Borowczyk from the novel by Stefan Zeromski

Directed by Walerian Borowczyk

Walerian Borowczyk
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Film History Royalty: Jean-Pierre Léaud as Louis Xiv

  • MUBI
The 400 Blows. Courtesy of ShutterstockFor many directors, casting decisions are a crucial part of the writing process. They set the parameters in which the character can develop itself. Fundamentally, a good casting decision can make a character transcend its own scripted ambitions into wonderful, unexpected territories. But bad casting, as we know, can cripple not just a character’s potential but the entire film. It’s hard to talk about casting choices as creative decisions since they are so ingrained within certain creative impulses—the decision of choosing a particular actor over another can be based on mere gut feeling, a hunch, or an intellectual response. But of course, it can also depend (as it often does in large budget films) on an actor’s status, reputation or his or her monetary value. As we get to know actors, we see them typecast or cast against type but sometimes
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Interview: Talking ‘Gun-Fu’ and ‘Car-Fu’ with John Wick: Chapter 2 director Chad Stahelski

Thomas Harris chats with John Wick: Chapter 2 director Chad Stahelski about all things ‘gun-fu’ and ‘car-fu’…

I left John Wick: Chapter 2 with a bloody nose and a limp that refuses to be shaken off. It’s a ballet of bullets, a grand opera of all things “fu.” Alongside a few others, I had the pleasure of talking with director and veteran stunt man Chad Stahelski about Keanu, Chan and forcing friends to fall downstairs.

See Also: Read our review of John Wick: Chapter 2

Was That The Most Difficult Scene (an opening sequence involving a “gang bang of cars” as Wick attempts to steal back his own) To Coordinate?

Actually no, it was pretty easy. When you come from that background-one of my best friends Darren Prescott, our stunt coordinator for that-we started doing stunt work way back in 1992 and he did a lot of the Bourne films.
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Porn Actress Nikki Benz Says Brazzers Director Assaulted Her On-Camera

  • The Wrap
Porn Actress Nikki Benz Says Brazzers Director Assaulted Her On-Camera
(Update: Adds comment from Cal/Osha.) Porn actress Nikki Benz said in a series of tweets that she was assaulted by a porn director who assaulted and choked her with the camera rolling, despite her protests. “Did you see the part where I said cut, where I said I’m not Ok with this? … I said no,” she tweeted, calling out porn company Brazzers for using the director, known as Tony T. “I guess rape scenes are in now, huh?” Attempts to locate Tony T were unsuccessful, in part because more than one performer-director goes by the name Tony T.
See full article at The Wrap »

Shocking: Rekha was allegedly molested by actor Biswajeet at the age of 15

Shocking: Rekha was allegedly molested by actor Biswajeet at the age of 15
It has been only a few days since Hollywood industry was completely left in shock when Academy award nominee and Italian filmmaker Bernardo Bertolucci admitted that he and Marlon Brando had conspired against Maria Schneider and that the rape scene in Last Tango In Paris was non-consensual. He admitted that he felt guilty but didRead More

The post Shocking: Rekha was allegedly molested by actor Biswajeet at the age of 15 appeared first on Bollywood Hungama.
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Frank & Lola – Review

Michael Shannon and Imogen Poots in Frank & Lola. Photo courtesy of Falco Ink. Universal Pictures and Paladin Films ©

Michael Shannon and Imogene Poots star in a dark, sexy tale about a twisted romance between aspiring fashion designer Lola and gifted chef Frank in Frank & Lola. Secrets and half-truths suffuse this noir-ish tale which is set, appropriately, partly in Las Vegas, a city of illusions that touts itself as a place of secrets, and partly in Paris, city of lights and love, of haute couture, haute cuisine, and heartbreak.

Opposites attract but this mix may just be too hot. From the first scene, which opens with the two in bed, the sexy, edgy Frank & Lola will bring Last Tango In Paris to mind for some audiences. It is clear from the very beginning that these two are a mismatch but they are both strongly draw together, each finding in the other
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Facebook Live: Watch us live on NewsFire, where we take on the week’s top headlines

A.V. Club Live is our daily chat show, broadcasting live via Facebook every weekday at 10:30 a.m. Central.

It’s Friday, so A.V. Club Live is going deep. First, we’ve got NewsFire, our every-single-Friday show where we dive head first into the week’s biggest news stories. Sean “MacNeil/Lehrer” O’Neal will lead the panel in discussions about Last Tango In Paris’ dirty dealings, the incursion of the “alt-right” in pop culture, and the Grammy nominations. Then we’ll zoom over to Chicago’s Saved By The Max, a Saved By The Bell-themed restaurant, where a time-traveling Sean will pepper Dennis “Mr. Haskins” Belding with Bayside-tinged trivia questions. Finally, we’ll be joined by chef and renowned competitive eater Patrick “Deep Dish” Bertoletti, who’ll be teaching our own poor David Anthony how to speed-eat hot dogs. Please pray for him.
See full article at The AV Club »

Rape on Television: Showrunners Call Increase in Sexual Violence ‘A Plague on the Industry’

  • Indiewire
Rape on Television: Showrunners Call Increase in Sexual Violence ‘A Plague on the Industry’
The recent comments from “Last Tango In Paris” director Bernardo Bertolucci putting to rest a misunderstanding about whether a rape scene in the film was consensual have sparked a larger dialogue about the depiction of rape on TV.

Read More: ‘Elle’: Why Paul Verhoeven’s Rape Revenge Drama is Essential Viewing, Even for the Squeamish

The Exorcist” creator Jeremy Slater recently told Variety that depicting sexual assault for shock value was “a plague on the industry.” Slater added that while reading more than 200 script submissions for his new show, he came to a startling discovery. “I would say out of those 200 scripts, there were probably 30 or 40 of them that opened with a rape or had a pretty savage rape at some point,” he told Variety.

HBO’s “Game Of Thrones” has attracted criticism for using rape as a device for shock value, specifically for showing it from the point
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‘Last Tango in Paris’ Cinematographer Refutes Controversy: ‘Nothing Happened During the Shooting’

  • Indiewire
‘Last Tango in Paris’ Cinematographer Refutes Controversy: ‘Nothing Happened During the Shooting’
Following last weekend’s seeming confirmation from Bernardo Bertolucci that an infamous rape sequence in “Last Tango in Paris” was non-consensual and his subsequent clarification that it was all a “ridiculous misunderstanding,” the film’s cinematographer has weighed in on the controversy. Vittorio Storaro has spoken to the Hollywood Reporter about the “butter scene” involving Marlon Brando and Maria Schneider, saying that “nothing happened…Nobody was raping anybody. That was something made up by a journalist.”

Read More: Bernardo Bertolucci Calls ‘Last Tango in Paris’ Rape Scene Controversy a ‘Ridiculous Misunderstanding’

After a few more choice comments for journalists, Storaro explains that “probably Bernardo felt that maybe he didn’t explain it completely to Maria from the beginning and that’s why he felt a little guilty and nothing more than that. What Bernardo said later was he would like to apologize to Maria, only because he probably didn’t
See full article at Indiewire »
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