6 items from 2012
Some of the best onscreen uses of everyone's favourite bombastic orchestral classic
Adam Scovell is a writer and film-maker who runs celluloidwickerman.com
In his ninth symphony, Beethoven put all of humanity into a piece of art. The fire, the madness, the sheer audacity was there for all to behold. In film history, many directors have used movements of the piece to subvert or comment on the realities they create.
Music in Kubrick's film is interesting for its importance in the narrative as well as in a non-diegetic sense. Alex the droog is as partial to a bit of Beethoven as he is to ultraviolence. The introduction to the symphony's second movement gives Alex an ecstasy as he apparently masturbates, while later in the film it becomes a pain-inducing leitmotif in his "rehabilitation".
Watch clip on YouTube
Though the ninth is used more famously in Andrei Tarkovsky's Stalker, »
- Guardian readers
If you’re a fan of action movies, particularly those that went direct to video in the 1990′s, you might know the name Maria Ford. A recurring co-star of Don “The Dragon” Wilson (she appeared alongside Wilson in four of his films, including Futurekick, Ring of Fire 1 & 2 and Night Hunter), Ford was also a staple performer in many of Roger Corman’s Dtv efforts in the same decade…
However for everyone who isn’t a hardcore action movie nerd like myself (or indeed if you didn’t grow vicariously through VHS rental during the decade), Maria Ford is probably a name you won’t recognise, but a face you will. With over 50 credits to her name, she’s appeared everything from sleazy skin flicks such as The Key to Sex to family-friendly comedies such as Addams Family Reunion and Beethoven’s 5th…
These are 10 of her best films:
1) Angel of »
Andrei Tarkovsky would have turned 80 years old on Wednesday and the Tumblr and Twitterverses were buzzing with tributes to the Russian grand master. My favorite was the concise observation by one Raúl Pedraz [Update: actually a quote from Chris Marker’s One Day in the Life of Andrei Arsenevich] that Tarkovsky was the only filmmaker whose entire work lies between two children and two trees.
It’s a couple of days late but I wanted to offer my own tribute to one of my very favorite filmmakers (Mirror being the film that I always hold up as my favorite film of all time). It is very hard to find Tarkovsky posters that have not been seen before so I was happy to stumble upon this rare East German poster for Tarkovsky’s first feature, Ivan’s Childhood, featuring, happily, a boy and a tree.
[Update: Thanks to Criterion I just discovered that, by happy coincidence, Ivan’s Childhood had its world premiere in Moscow exactly 50 years ago today!]
Tarkovsky is one filmmaker for whom I’d gladly have posters that simply feature gorgeous images from his film (of which there »
Andrei Tarkovsky, who would have been 80 today — he died too young, 54, at the end of 1986 — has been brought back to many minds lately. One prompt would be the passing just last month of screenwriter Tonino Guerra, with whom Tarkovsky wrote Nostalghia (1983). The two documented the long gestation of Tarkovsky's first film made outside of the Soviet Union in Voyage in Time (shot in 1979 but only officially released in 1983). In this entry, you'll find not only a clip from Voyage but also an excerpt from Pj Letofsky's forthcoming documentary Tarkovsky: His God, His Devil in which Guerra, filmed in 2009, looks back on his collaboration with Tarkovsky.
For a few months now, Geoff Dyer has been sparking conversations about Tarkovsky with Zona: A Book About a Film About a Journey to a Room, which, as Ethan Nosowsky puts it in the Believer, "Dyer dons a metaphorical head-lamp to mine the ore" of »
On what would be his 80th birthday, we take a look back at Andrei Tarkovsky and his profound mark on cinema.
“The director’s task is to recreate life, its movement, its contradictions, its dynamic and conflicts. It is his duty to reveal every iota of the truth he has seen, even if not everyone finds that truth acceptable. Of course an artist can lose his way, but even his mistakes are interesting provided they are sincere. For they represent the reality of his inner life, of the peregrinations and struggle into which the external world has thrown him.” ― Andrei Tarkovsky
As a young man, filmmaker Andrei Tarkovsky visited a gypsy to have his fortune told, specifically, about his cinematic future. She bluntly told him he would only live to make seven films, but that each one would be an important and cherished work. The details surrounding this urban legend »
- firstname.lastname@example.org (thefilmstage.com)
A very English dissection of Tarkovsky's Stalker
Among the many tributes that the film critic J Hoberman received after he was fired by the Village Voice last month came one from a former student named Matt Singer. Now a writer and TV host, he compiled a list of the most important things he'd learned from a seminar Hoberman had taught as a side gig at New York University. It contained a good deal of sound advice – "Watch for excess words. If there's a shorter word, use it"; "Vent your spleen. In criticism, it's better to be angry than depressed" – but the most basic and important message was this: "Plot synopses automatically ruin a review."
Rightly or wrongly, the synopsis is regarded as one of the lowest forms of writing. Two-thirds of the way into Zona, his characteristically singular book about Andrei Tarkovsky's Stalker (1979), Geoff Dyer declares: "There are few things »
- Sukhdev Sandhu
6 items from 2012
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