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Bernard Herrmann’s Vertigo / North by Northwest Vinyl Ep from Silva Screen Records Released April 21st for Record Store Day UK

  • CinemaRetro
By Darren Allison

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Composer Bernard Herrmann was often described as being ‘temperamental’ and ‘explosive’ by nature. However, very few could ever criticize his approach and dedication in regards to his work. His collaborations with director Alfred Hitchcock are today reflected upon as legendary; a clash of personalities which proved that both fire and gasoline didn’t necessarily have to end in utter devastation.

To tie in with Record Store Day UK 2018, Silva Screen Records have released a strictly limited edition 7” Ep showcasing the very best of this turbulent and tremendous partnership. The Double A Side single (SIL71566) features two tracks from Vertigo (Prelude / The Nightmare) with the flipside featuring Overture / Main title from North by Northwest. The music is perfectly executed by the highly respected City of Prague Philharmonic Orchestra and conducted by Paul Bateman.

Vertigo crackles with tension as James Stewart’s
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Full Release Details for Scream Factory’s It’S Alive Trilogy Blu-ray Box Set

Early this year, Scream Factory revealed that they would release Larry Cohen's It's Alive trilogy in high-def, and now they've revealed the full release details for the Blu-ray box set, including new interviews with Cohen and other cast and crew members:

Press Release: For the first time on Blu-ray, and in a new, deluxe box set, the It’s Alive trilogy is reborn! On May 15, Scream Factory will release the It’s Alive Trilogy in a 3-disc set packed with bonus features, including new interviews, and new 2K scans of each film.

It's newborn and … It's Alive … and murder is what it knows best! A proud couple's bundle of joy is really a newborn terror in filmmaker Larry Cohen's cautionary cult hit that tapped into environmental fears. The horror grows when multiple child monsters rampage in the first sequel It Lives Again as two brave parents try to stop
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Don’t Look Down! Hitchcock’s Vertigo Back on the Big Screen March 18th & 21st

Fathom Events, Turner Classic Movies and Universal Pictures team up to screen Alfred Hitchcock’s classic Vertigo (1958) on the big screen Sunday, March 18th – 2:00 p.m. and 7:00 p.m. (local time) and Wednesday, March 21st – 2:00 p.m. and 7:00 p.m. (local time). Ticket information and a list of participating theaters can be found Here

Widely considered one of Alfred Hitchcock’s greatest cinematic achievements, the dreamlike, mesmerizing Vertigo returns to movie theaters across the country in celebration of its 60th anniversary on Sunday, March 18, and Wednesday, March 21, as part of the yearlong TCM Big Screen Classics Longtime fans and moviegoers who have never experienced the film’s dark secrets will be dazzled by the unforgettable sights and sounds of Vertigo.

The San Francisco-set thriller is a unique combination of ghost story, mystery and romance. James Stewart stars as John “Scottie” Ferguson, a detective with a crippling
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Rushes. Stan Lee & Alain Resnais, Transgender Cinema, Quay Brothers Imaginary Posters

  • MUBI
Get in touch to send in cinephile news and discoveries. For daily updates follow us @NotebookMUBI.NEWSThe Weinstein Company has continued its descent after the many sexual assault accusations fired at Harvey Weinstein. According to Variety, the company is now filing for bankruptcy after a sale fell through.Recommended VIEWINGJust a few weeks ago we shared the trailer for Hong Sang-soo's latest film, Grass. Now, in the event of its U.S. distribution (provided by Cinema Guild), there's a new trailer for one of Hong's 2017 ventures: Claire's Camera. You can read our review for the lovingly quaint film in our Cannes 2017 coverage.Marvel mastermind Stan Lee recounts his surreal near-collaboration with the great late French director Alain Resnais for Criterion. February 16th, 2018 was the 100th anniversary of the creation of the state of Lithuania. Thus the nation's avant-garde maestro, Jonas Mekas, has kindly shared his 2008 epic Lithuania and the Collapse of the Ussr on Vimeo.
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Listen to Paul Thomas Anderson’s ‘Phantom Thread’ Mixtape Featuring Beyoncé, Bruce Springsteen, Rihanna & More

You’ve seen Phantom Thread, perhaps multiple times. You’ve been playing Jonny Greenwood’s score on repeat. And now you’re wondering what to do until the Blu-ray arrives this April. Well, Paul Thomas Anderson has you covered. In special screenings around the country, you might have heard a few songs play before the film begins, and now Tiff has revealed those were hand-selected by the director for a special pre-viewing playlist.

They’ve now revealed the full list of songs, clocking in at 23 and ranging from Beyoncé to Bruce Springsteen to Rihanna to Neil Young to Carly Simon and far beyond. Of course, there’s also some Bernard Herrmann thrown in for good measure. Ahead of 70mm screenings at the Tiff Bell Lightbox starting Friday, they’ve collected the tracks into a Spotify list, which can be listened to below, followed by a round-up of recent extensive Phantom Thread talks with its creators.
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Paul Thomas Anderson Shares His 23-Song ‘Phantom Thread’ Mixtape, From Beyoncé to Rihanna

Paul Thomas Anderson Shares His 23-Song ‘Phantom Thread’ Mixtape, From Beyoncé to Rihanna
Paul Thomas Anderson is here to help you set the mood before your “Phantom Thread” viewing. While Jonny Greenwood’s Oscar-nominated score is well worth numerous streams, the director has curated his own mixtape of 23 songs he suggests you listen to before watching his romance drama. Anderson shared the playlist with Tiff., All 70mm screenings of “Phantom Thread” at the Tiff Bell Lightbox theater will play the songs before showtime.

The mixtape is pretty incredible on its own, featuring hits from Beyoncé, Rihanna, Carly Simon, Neil Young, and more, but it’s even better for those who have seen “Phantom Thread” and understand the relationship between Daniel Day-Lewis’ Reynolds Woodcock and Vicky Krieps’ Alma. Rihanna’s “Stay” is especially appropriate for the two lovers.

The full “Phantom Thread” playlist is below, courtesy of Tiff. The film is up for six Oscars at the Academy Awards, including Best Picture and Best Director.
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Berlin Film Review: ‘Museum’

Berlin Film Review: ‘Museum’
Made of dazzle and wit and melancholy, Alonso Ruizpalacios’ fabulously entertaining “Museum” is loosely inspired by the tale of Mexico’s most infamous museum heist: the theft of 140 Mayan and Mesoamerican objects of inestimable value from the National Museum of Anthropology on Christmas Eve, 1985. In just his second feature after 2014’s cheekily stylish “Güeros,” Ruizpalacios spins an irresistibly inventive and unusually intelligent tall tale from this kernel of truth. All the mischief, however, is precisely counterbalanced by a deep affection for his funny, flawed (largely fictional) characters and shot through with a surprisingly biting assessment of the compromised nature of the museum trade: Who’s a thief if everything was stolen anyway? If you’re going to pick history’s pocket to tell a shaggy-dog story of distant fathers, weak sons and friendship so steadfast it can withstand even the bad weather of one’s worst ideas, you better do it with movements this deft and fingers
See full article at Variety - Film News »

Hollywood Burns Release Must-Hear Track From Upcoming Album Invaders

Just last week, I wrote a piece about Hollywood Burns and their upcoming album Invaders. Today, the retro-infused synthwave artist has released the first track from that album and, readers, it’s a fucking banger. Dubbed “Scherzo No. 5 in Death Minor”, the song starts with an homage to Bernard Herrmann’s Psycho overlain with theremin “Oooohs” […]

The post Hollywood Burns Release Must-Hear Track From Upcoming Album Invaders appeared first on Dread Central.
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Oscar-Nominated Music Scores Find Life Beyond Big Screen, Thanks to Radio and Concerts

Oscar-Nominated Music Scores Find Life Beyond Big Screen, Thanks to Radio and Concerts
Classical radio station Kusc has programmed Film-Music Week starting Feb. 12, with a movie theme playing every hour during the workday, as part of the station’s pre-Oscar buildup.

It’s a reminder that a film score has life beyond the big screen.

Robert Kraft, who heads production-management company Kraftbox Entertainment, says, “A great composer knows what a movie needs and he or she provides emotional amplification. But their score can also work as a stand-alone, because these are often great works of art, performed by great musicians.”

This year’s five Oscar nominees will all be heard on Kusc film week, aka Kusc at the Movies: Carter Burwell, “Three Billboards Outside Ebbing Missouri”; Alexandre Desplat, “The Shape of Water”; Jonny Greenwood, “Phantom Thread”; John Williams, “Star Wars: The Last Jedi”; and Hans Zimmer, “Dunkirk.”

Many of them have already been part of the regular Kusc rotation, along with such classic and current composers as Miklos Rozsa, [link
See full article at Variety - Film News »

Film Review: ‘The Green Fog’

Film Review: ‘The Green Fog’
To close its 60th anniversary edition last spring, the San Francisco International Film Festival had the excellent idea of commissioning Guy Maddin (along with his “Forbidden Room” collaborators, siblings Evan and Galen Johnson) to make a San Francisco-centric feature. “The Green Fog” compiles bits from about 100 San Fran-set movies and TV shows into a quasi-narrative pastiche that ostensibly pays tribute to Hitchcock’s “Vertigo.” Only faint echoes of that classic can be detected here, but this ingenious gizmo will nonetheless delight Maddin fans, or anyone else who enjoys games played with and about old movies. “Green Fog” is making its regular theatrical debut with short runs at San Fran’s Roxie and New York’s IFC Center. The film’s short (62-minute) runtime is its principal hurdle to wider exposure.

While there’s only one fleeting, incidental actual shot from “Vertigo” here, “The Green Fog” is suffused with a very Hitchcockian sense of intrigue, romance and suspense
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Review: Vertigo Remade: Guy Maddin, Evan Johnson & Galen Johnson's "The Green Fog"

  • MUBI
There's a new genre in town. The first example of it I can name is Bill Morrison's Spark of Being (2010), which retells the story of Mary Shelley's Frankenstein using aged found footage. In this version, as Morrison puts it, the movie itself is the monster, assembled from pieces of the dead.I may be missing earlier and later examples of this form, but so far as I know Guy Maddin and colleagues Evan and Galen Johnson are the first to respond to that celluloid gauntlet, with The Green Fog, a remake of Hitchcock's Vertigo (1958) using footage culled from ninety-eight feature films and three TV series shot or set in the San Francisco area. I guess the movie is also in the genre of city symphonies, and has a nodding acquaintance with Thom Andersen's pirate-video documentary Los Angeles Plays Itself (2003).The Madden/Johnsons have several advantages over Hitchcock:
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Mark Hamill Hails ‘Star Wars’ Composer John Williams: ‘He Elevates Every Scene’

Mark Hamill Hails ‘Star Wars’ Composer John Williams: ‘He Elevates Every Scene’
“Aside from George Lucas, nobody deserves more credit for the success of `Star Wars’ than John Williams,” says Mark Hamill.

It’s a pretty bold statement from the actor who plays Luke Skywalker in five of the eight “Star Wars” movies, including a leading role in “The Last Jedi,” now the biggest-grossing movie of 2017. But then, perhaps more than most actors, Hamill appreciates the role of music in movies.

Hamill’s interest was sparked as a child, first taking note of Carl Stalling’s name as composer on old Warner Bros. cartoons, then Bernard Herrmann’s on the fantasy films of special-effects wizard Ray Harryhausen. “I saw ‘Jason and the Argonauts’ on a double bill with ‘7th Voyage of Sinbad,'” Hamill tells Variety. “I could hum the main-title themes from the time I saw them.

Once he realized that Herrmann was the same composer who had terrified moviegoers with his music for “Psycho,” he was even
See full article at Variety - Film News »

Hitchcock’s North By Northwest with Live Music by The St. Louis Symphony Orchestra February 24th and 25th

“That wasn’t very sporting, using real bullets.”

Directed by Alfred Hitchcock, nominated for three Academy Awards and celebrated as one of the most popular spy thrillers of all time, North By Northwest comes to life on the big screen at Powell Hall in St. Louis (718 N Grand Blvd). Join the St. Louis Symphony Orchestra as they perform Bernard Hermann’s exhilarating, gentle, pulsating and moving score live!

The performances are Saturday, February 24, 2018 7:00Pm and Sunday February 25th at 3:00Pm. Tickets can be purchased Here

Cary Grant, Eva Marie Saint, James Mason and Martin Landau give fast and furious chase across the country, from the skyscrapers of Manhattan to the dizzying peaks of Mount Rushmore, set to the music of Bernard Herrmann, vibrant VistaVision cinematography — and, in this special presentation with the St. Louis Symphony Orchestra

The post Hitchcock’s North By Northwest with Live Music by The St.
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How Scores to ‘Three Billboards,’ ‘Get Out’ and ‘Murder on the Orient Express’ Tune Up Intensity

How Scores to ‘Three Billboards,’ ‘Get Out’ and ‘Murder on the Orient Express’ Tune Up Intensity
A newcomer and two past Oscar nominees scored 2017’s crop of suspense dramas. Each tells a story — musical and otherwise — vastly different from its competitors but all yield a similar result: intensity. A look at three of the contenders in this year’s awards races.

Get Out

Score by Michael Abels

In scoring “Get Out,” Los Angeles composer Michael Abels looked to writer, director and star Jordan Peele for direction to the social satire in horror-film guise. “In our first meeting, we came up with this idea of ‘gospel horror,'” says Abels, who first came to Peele’s attention via YouTube. After hearing a classical piece by Abels, Peele tracked him down while the film was still in pre-production. “We talked about African-American music and how it usually has elements of hopefulness. He wanted this to be very suspenseful and without that hope.”

According to Abels, Peele looked for an African-American voice to be present, both literally
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From ‘Citizen Kane’ to ‘The Post,’ a History of Newspaper Movie Scores

From ‘Citizen Kane’ to ‘The Post,’ a History of Newspaper Movie Scores
When Steven Spielberg’s “The Post” opens on Friday, John Williams will join an exclusive club: that handful of composers who have successfully tackled one of the most difficult genres to score: the newspaper movie.

The Post” is Williams’ 28th film for the director and could, when the Oscar nominations are announced a month from now, become his 51st. He already has five Academy Awards and is the most-nominated living person.

In general, composers say, newspaper movies are tough assignments. First, they tend to be verbose and expository; and second, they are often as objective as the journalists they depict, and manipulative music may seem out of place. Yet, over the years, some have produced compelling music to complement powerful dialogue.

Orson Welles’ “Citizen Kane” (1941) was the first film score to composed by the legendary Bernard Herrmann, who had spent much of the previous decade working with Welles in radio. Here, the Boston Pops
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Hangover Square

No, it’s not a the-day-after sequel to The Lost Weekend, but a class-act mystery-horror from 20th-Fox, at a time when the studio wasn’t keen on scare shows. John Brahm directs the ill-fated Laird Cregar as a mad musician . . . or, at least a musician driven mad by a perfidious femme fatale, Darryl Zanuck’s top glamour girl Linda Darnell.

Hangover Square


Kl Studio Classics

1945 /B&W / 1:37 Academy / 77 min. / Street Date November 21, 2017 / available through Kino Lorber / 29.95

Starring: Laird Cregar, Linda Darnell, George Sanders, Faye Marlowe, Glenn Langan, Alan Napier.

Cinematography: Joseph Lashelle

Film Editor: Harry Reynolds

Original Music: Bernard Herrmann

Written by Barré Lyndon

Produced by Robert Bassler

Directed by John Brahm

Here’s a serious quality upgrade for horror fans. Although technically a period murder thriller, as a horror film John Brahm’s tense Hangover Square betters its precursor The Lodger in almost every department. We don
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The Wonderful Worlds Of Ray Harryhausen, Volume Two: 1961-1964

Indicator follows up The Wonderful Worlds of Ray Harryhausen, Volume One: 1955-1960 with, wait for it, Volume 2: 1961-1964, featuring three of Harryhausen’s most ambitious productions. Good news for fans, the UK company delivers another robust box set with beautiful transfers and an abundance of extras including newly produced interviews, a small treasure trove of promotional ephemera and a limited edition 80-page book with essays from Kim Newman and Tim Lucas. The set is region free, playable on Blu-ray devices worldwide.

The Wonderful Worlds of Ray Harryhausen, Volume 2: 1961-1964

Blu-ray – Region Free


Street Date November 13, 2017

Starring Herbert Lom, Joan Greenwood, Niall MacGinnis, Nigel Green, Lionel Jeffries, Edward Judd

Cinematography by Wilkie Cooper

Produced by Charles Schneer, Ray Harryhausen

Directed by Cy Endfield, Don Chaffey, Nathan Juran

Raging thunderstorms and a tempestuous score from Bernard Herrmann kick off 1961’s Mysterious Island as a water-logged crew of Union
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Flickering Myth Film Class: The Audio/Visual depiction of mental breakdown

In the latest instalment of Flickering Myth’s film class, Tom Jolliffe looks at the audio and visual tools a film-maker can effectively use to portray a characters descent into madness…

In previous film classes (which I should say are merely showcases for films that excel in whatever subject springs to my mind before writing) I’ve covered a range of aspects from the technical to the aesthetic and more. However in this instalment I want to delve deeper into character, and in particular the audio and visual tools a film-maker can use in order to effectively portray a descent into madness.

It’s particularly important that these tools are used creatively when the character in question is generally quiet. When he seems inactive until that inevitable moment when he fully unravels into explosive behaviour. I’ve covered films in previous instalments (and other articles) which I could easily have focused on here.
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8 ways The Twilight Zone influenced modern TV and film

Louisa Mellor Nov 25, 2017

The Twilight Zone casts a long shadow over today’s film and TV. We salute the legacy left by Rod Serling’s seminal series…

“Damn near immortal” is how Stephen King described The Twilight Zone in his 1981 study of creepy fiction Danse Macabre, and who could argue with that. Like any decent horror monster, Rod Serling’s 1960s anthology series keeps coming back from the grave. Only last week it was announced that CBS is planning to resurrect its award-winning show once again. The new series will be the latest of several revivals over the decades, including an upcoming stage production set to enjoy its world premiere at London’s Almeida Theatre this December.

See related Black Mirror series 3 review Black Mirror series 3 interview: Charlie Brooker and Annabel Jones How Black Mirror series 3 is eerily coming true

The Twilight Zone doesn’t just keep returning in its own right,
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78/52 review

Psycho’s shower scene is one of the most iconic scenes ever filmed. But does just one 45 second scene warrant an entire documentary?

Seventy-eight. Fifty-two. Just numbers, sure, but also the precise alchemical formula for creating the most iconic scene in cinematic history. In around 45 seconds, the legendary auteur Alfred Hitchcock used seventy-eight setups and fifty-two cuts to craft Psycho’s shower scene, an unforgettable sequence that transcended the confines of the screen into immortality. Not only are film students destined to pore over it for generations to come, trying to unlock its many secrets, but it has also shaped key areas of our shared cultural consciousness. How? As well as restyling the depiction of violence on screen for future filmmakers to come, the shower scene reimagined the representation of violence onscreen towards women, with Karyn Kusama, director of several thrillers herself, calling it the "first modern expression of the
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