10 items from 2014
The earliest surviving footage of broadcast television in America is a fragment of “The Streets of New York,” an adaptation of playwright Dion Boucicault’s 19th-century drama, aired by the experimental New York NBC affiliate W2XBS on August 31, 1939. All that now remains of the hour-long program is a silent, 11-minute kinescope, filmed off a TV screen and archived at the Paley Center For Media. And there, in those primitive flickering images, you can catch a glimpse of one of the show’s actors: the 24-year-old Norman Lloyd.
Next July, you can see the 99-year-old Lloyd in the Judd Apatow comedy “Trainwreck,” which shot on location in New York this summer and in which Lloyd plays, by his own admission, “a lecherous old man.” In between those unlikely bookends is a career that has quite literally spanned the 20th century and edged into the 21st, during which Lloyd has shared the stage, »
- Scott Foundas
The New York Film Festival is finally about to begin and here is Glenn on one of the must-sees of the fest, Jean-Luc Godard's Goodbye to Language.
Much like the film itself, you’ll have to bear with me here. If I get lost or end up on tangents then don’t worry – it’s not only to be expected, but probably the intent. This will probably be messy, but this is a film titled Goodbye to Language so I feel it’s a safe zone, yes? You see, there is a lot to talk about. How about the use of 3D that is perhaps the best I have ever seen. And then there’s the bravura directions that director Jean-Luc Godard goes even once you think you may have his shtick down. And that’s before we get into the concept of subjectivity of ideas. For all I know, »
- Glenn Dunks
Menahem Golan, who died Aug. 8 at age 85, loved movies, perhaps too much. At its height, Cannon Films — the Hollywood studio Golan ran with his cousin, Yoram Globus — was releasing nearly one film per week: an eclectic bounty of awards bait and bottom-drawer schlock, all foisted on the public with a mix of carnival-barker rhetoric and vaudevillian flair. In the 1980s, the Cannon logo was unmistakable, along with its promise of cut-rate adventure starring Chuck Norris, Charles Bronson, Lou Ferrigno or an up-and-coming Jean-Claude Van Damme. (That Golan never managed to team these signature Cannon brands in a single movie — an “Expendables” — boggles the mind.)
“It was an extraordinary experience to have a man who made decisions without thinking for three minutes,” recalls Andrei Konchalovsky, the Soviet emigre director who made four films for Cannon, including “Runaway Train” (1985). “That was the quality that also ruined the company, but it left me with carte blanche doing films. »
- Scott Foundas
Though his name is most commonly associated with the Charles Bronson and Chuck Norris action movies that Cannon Films churned out in the 1980s, Menahem Golan, who has died at the age of 85, also produced films directed by the likes of John Cassavetes (Love Streams), Andrei Konchalovsky (Maria's Lovers and Runaway Train), Robert Altman (Fool For Love), Franco Zeffirelli (Otello), Barbet Schroeder (Barfly), Norman Mailer (Tough Guys Don't Dance) and, perhaps most famously, Jean-Luc Godard, whose adaptation of Shakespeare's King Lear features Burgess Meredith, Molly Ringwald, Julie Delpy—and Woody Allen. » - David Hudson »
The filmmaker behind the Death Wish sequels and such 1970s and ’80s Cannon Group actioners as The Delta Force the Lou Ferrigno-led Hercules died today in Jaffa, Israel, Haaretz reports. Menahem Golan was 85. The big-personality Israeli producer, writer and director was behind dozens of films during a nearly half-century career, featuring stars including Charles Bronson, Sylvester Stallone, Chuck Norris and Jean-Claude Van Damme. He also directed many of the films, including 1986’s Delta Force with Lee Marvin and Norris, and Stallone’s Over The Top the following year. Those and many others were produced by Cannon Entertainment, which Golan started with his cousin Yoram Globus. Cannon’s output also included such decidedly non-action fare as Bolero (1984), starring Bo Derek and George Kennedy; the Mario Van Peebles starrer Rappin’ (1985); A Cry In The Dark (1988), starring Meryl Streep and Sam O’Neill; and Jean-Luc Godard’s King Lear (1987). But the action »
- The Deadline Team
Photo by Quentin Carbonell
Despite the fact the Festival de Cannes—for whatever reason—did not want Abel Ferrara's Welcome to New York, Cannes itself got the film, first in three separate cinema screenings staged during the festival, and then simultaneously online in France through video on demand. Wild Bunch, the film's producers, staged this alt-Cannes premiere as if it were a real one, complete with a press conference with director Abel Ferrara, screenwriter Christ Zois, and actors Gérard Depardieu and Jacqueline Bisset, as well as a series of interviews with the talent provided for the press.
I was able to participate in a roundtable conversation with the director, who was generous in time, spirit and patience with his surrounding journalists. For more on the film itself, see my report from Cannes, as well as Marie-Pierre Duhamel's report from Paris.
Question: I read somewhere that this film was »
- Daniel Kasman
Both an affectionate tribute and a cautionary tale, “The Go-Go Boys” is a solid documentary that offers, as its subtitle promises, one version of the “inside story of Cannon Films.” Israeli helmer Hilla Medalia (“Dancing in Jaffa”) charts the careers of producers — and cousins — Menachem Golan and Yoram Globus, and the rise and fall of the empire they jointly built. Combining well-chosen archival material with articulate talking heads waxing nostalgic and entertainingly dishing dirt, this celebration of the two legendary showmen also encapsulates the Cannes Film Festival’s divergent impulses: selling schlock and adulating auteurs. Further fest play should segue into global broadcast.
Another version of the Cannon story, “Electric Boogaloo: The Wild, Untold Story of Cannon Films,” from cult documentarian Mark Hartley (“Not Quite Hollywood,” “Machete Maidens Unleashed”), has been in the works for several years but not yet surfaced. But while Medalia’s pic might be the cinematic version of an authorized biography, »
- Alissa Simon
My dear President, dear festival director and dear colleagues,
Once again, I thank you for inviting me to the festival, but you know I haven't taken part in film distribution for a long time, and I'm not where you think I am. Actually, I'm following another path. I've been inhabiting other worlds, sometimes for years, or for a few seconds, under the protection of film enthusiasts; I've gone and stayed.
[Cut to a scene of Eddie Constantine as Lemmy Caution in "Alphaville"]
Eddie Constantine/Lemmy Caution: "I don't feel comfortable in this environment anymore. It's not longer 1923, and I'm not longer the man who fought through the police barricades, the man who fought behind the scenes with a gun in my hand. Feeling alive was more important than Stalin and the Revolution."
The risk of solitude is the risk of losing oneself, assumes the philosopher because he assumes the truth is to wonder about metaphysical questions, which are actually the only ones the everyone's asking. »
Rather than writing a simple letter to explain his absence from the press conference for his latest Cannes entry, "Goodbye to Language," at the Cannes Film Festival today, instead, legendary filmmaker Jean-Luc Godard created a video "Letter in motion to (Cannes president) Gilles Jacob and (artistic director) Thierry Fremaux." The video intercuts from Godard speaking cryptically about his "path" to key scenes from Godard classics such as "Alphaville" and "King Lear" with Burgess Meredith and Molly Ringwald, and quotes poet Jacques Prevert and philosopher Hannah Arendt. You can see the video in motion below, but we've translated the key bits for you as well: My dear President, dear festival director and dear colleagues, Once again, I thank you for inviting me to the festival, but you know I haven't taken part in film distribution for a long time, and I'm not where you think I am. Actually, I'm following another path. »
- Paula Bernstein and Elyse Schein
RatPac Entertainment, the Hollywood financing co-venture between Brett Ratner and James Packer, is investing in Mark Hartley.s documentary on. the once-prodigious filmmakers Menahem Golan and Yoram Globus.
RatPac gets North American rights in return for its investment in Electric Boogaloo: The Wild, Untold Story of Cannon Films.
Hartley (Patrick, Not Quite Hollywood) is shooting the documentary which profiles Golan and Globus, Israeli-born cousins nicknamed the .Go-Go Boys. who bought Cannon in 1979, moved to the Us and churned out dozens of films, mostly cheap and rapidly-shot.
Hartley is interviewing directors and stars who worked for Cannon »
- Inside Film Correspondent
10 items from 2014
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