6 items from 2011
When AfterElton asked me if I'd be interested in doing a story on full-frontal male nudity in the movies, I said, “Interested? I've been researching it since I was 12!” What prompted the idea is of course the film Shame, which stars Michael Fassbender as a man addicted to sex. When the film debuted at the Venice Film Festival earlier this year it set off a shockwave because of its sexual explicitness, including a much-discussed full-frontal reveal by Fassbender. Add to that the recent flurry of attention that stills of Jonathan Groff's nude scene in Twelve Thirty hitting the Internet generated, and it seems like these days cinema penises are a trending topic.
Everyone from film critics to Freudian analysts to gender theorists has written about male nudity in film. And sorting through the pronouncements on the male gaze and Lacanian mirrors and power inequities between the sexes in Hollywood »
Ok. So it’s not an exclusive interview with The King of All Monsters, but it is the featured beast of John Landis’s sole commentary on our latest DVD. It’s Gorgo and he is gorgeous. Just look at him and then read Joe Dante’s thoughts. Just look!
Click to make Gorgo-sized.
Looks like dinnertime for Gorgo. He especially likes those diving bells because of their tangy metallic taste.
How acclaimed production designer Eugene Lourie ended up directing one movie three times (The Giant Behemoth waddled out in between this one and The Beast from 20,000 Fathoms) is anyone’s guess, but he certainly had an affinity for them.
He wasn’t a fan of the “suitmation” technique, preferring stop-motion, but he did enjoy shooting the panic-in-the-streets sequences. Nonetheless he quit directing after Gorgo, claiming the repetition was just too much. »
Rep houses in San Francisco, like those in most American cities, are struggling to stay open. But for something like thirty nights a year, the clouds lift and big crowds materialize for films of the past: call it the noir exception. To be sure, one needn’t actually attend the Film Noir Foundation’s annual Noir City festival at the Castro or Elliot Lavine’s grittier programs at the Roxie to know that the generic fantasy of film noir (style, sex and violence washed together) still holds powerful allure. You could hardly miss the bus stop advert for Rockstar Games’ latest blockbuster, L.A. Noire, outside the Roxie during Lavine’s latest marathon, “I Wake Up Dreaming: The Legendary and the Lost”. For those of us still invested in the non-interactive cinema experience, however, the popularity of these series is a remarkable if curious thing. »
Michael York dashes onto the cinematic scene as the blundering but very enthusiastic D'Artagnan in Richard Lester's hugely enjoyable period comic romp. The late great Roy Kinnear is the long-suffering vassal of aristocratic swordsmen Oliver Reed, Richard Chamberlain and Frank Finlay, whilst Raquel Welch and Faye Dunaway shine as heroine and villainess, respectively. Producers Alexander and Ilya Salkind filmed the following year's sequel back-to-back with this more successful first part, which approach they would revisit shortly for Superman and Superman II. Dumas with wit, energy and integrity.
Notable Quotable: "That man in his time has insulted me, broken my father's sword, had me clubbed to the ground, laid violent hands on the woman I love! He is inconvenient. "
Chicago – The cinema of Terrence Malick has been a process of discovery, for its director and his devoted audience. His work is fueled by spontaneous miracles, typified by the moment when an illuminated cloud formation creates an image of astounding, temporary beauty. His films aren’t just breathtakingly brilliant and hauntingly provocative. They’re also curiously soul-cleansing.
Malick’s fluid gaze and restless imagination requires an adventurous cinematographer to assist him in fully exploring the world of his movie during production. Nature itself becomes a major character on his canvas. The filmmaker makes no secret about his love for the trunks of towering trees, the movement of the wind through tall grass, the look of bodies underwater. His childlike reverence for earthly creations is utterly intoxicating, and has routinely reawakened my own awe of existence. Yet beauty also takes on an ominous quality, providing an ideal hiding place for menace. »
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Cineaste Magazine and curator Jed Rapfogel present two early documentaries by filmmaker Jim McBride: Pictures From Life’s Other Side and My Girlfriend’s Wedding. Both movies are intensely personal and chronicle McBride’s relationship with his then-girlfriend, Clarissa Ainley.
My Girlfriend’s Wedding, made in 1969, is 60 minutes of McBride interviewing Ainley about her life, particularly her decision to marry another man she’s only known for a week in order to obtain a Green Card. However, the more Ainley reveals about herself, it becomes more apparent that the film is all about McBride’s personal feelings. In fact, McBride has been known to describe the film as a fiction film in that it’s a projection of his own personal idea of what Ainley was like, not who she actually was.
Pictures From Life’s »
6 items from 2011
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