In the fall of ‘64, while Hollywood was gently satirizing the battle of the sexes with Send Me No Flowers and What a Way to Go!, Europe was at work in the trenches, peppering art houses with piercing dramas like François Truffaut‘s The Soft Skin and André Cayatte’s dual release, Anatomy of a Marriage: My Nights With Francoise and My Days with Jean-Marc (“One Ticket Admits You to Both Theaters”). Perhaps most unforgiving of all was Jack Clayton’s The Pumpkin Eater starring Anne Bancroft, Peter Finch and James Mason.
Bancroft plays Jo Armitage, a fragile beauty who responds to her husband’s infidelities by getting pregnant. Finch is Jake, a screenwriter whose recent success has emboldened him to walk on the wild side thereby provoking Jo to over-crowd the nursery. Mason is, once again, the odd man out, the deceptively genial husband of one of Jake’s conquests.
Bancroft plays Jo Armitage, a fragile beauty who responds to her husband’s infidelities by getting pregnant. Finch is Jake, a screenwriter whose recent success has emboldened him to walk on the wild side thereby provoking Jo to over-crowd the nursery. Mason is, once again, the odd man out, the deceptively genial husband of one of Jake’s conquests.
- 12/17/2019
- by Charlie Largent
- Trailers from Hell
Shout! Factory has released a highly impressive Blu-ray boxed set, "The Anne Bancroft Collection" containing key films from the Oscar-winner's career. Here is the official press release:
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Los Angeles, CA – Celebrate the extraordinary film career of actress/writer/director Anne Bancroft in the first-ever collection of her most iconic performances, The Anne Bancroft Collection, on Blu-ray™ December 10th from Shout! Factory. From Annie Sullivan to Mrs. Robinson, and from Helene Hanff to Anna Bronski, this Oscar®-winning and profoundly versatile actress delivered some of the most poignant and sharply comic characters in modern film.
The collection, curated by Bancroft’s husband, the inimitable writer/director/producer Mel Brooks, includes the films Don’t Bother To Knock (1952), The Miracle Worker (1962), The Pumpkin Eater (1964), The Graduate (1967), Fatso (1980), To Be Or Not To Be (1983), and for the first time on Blu-ray™, Agnes Of God (1985), and...
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Los Angeles, CA – Celebrate the extraordinary film career of actress/writer/director Anne Bancroft in the first-ever collection of her most iconic performances, The Anne Bancroft Collection, on Blu-ray™ December 10th from Shout! Factory. From Annie Sullivan to Mrs. Robinson, and from Helene Hanff to Anna Bronski, this Oscar®-winning and profoundly versatile actress delivered some of the most poignant and sharply comic characters in modern film.
The collection, curated by Bancroft’s husband, the inimitable writer/director/producer Mel Brooks, includes the films Don’t Bother To Knock (1952), The Miracle Worker (1962), The Pumpkin Eater (1964), The Graduate (1967), Fatso (1980), To Be Or Not To Be (1983), and for the first time on Blu-ray™, Agnes Of God (1985), and...
- 12/5/2019
- by nospam@example.com (Cinema Retro)
- Cinemaretro.com
By Todd Garbarini
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A Summer Story is the unassuming title of a classy and ultimately emotionally wrenching romantic drama of class differences set in Great Britain in the early 1900’s. Originally released in the United States in the summer of 1988 in a small number of theaters, the film is an adaption of John Galsworthy’s 1916 short story “The Apple Tree” which was also made into two separate radio programs over forty years earlier: Lady Esther Almanac on CBS in 1942 and Mercury Summer Theatre in 1946. Obviously the source material proved to be palatable enough to audiences to warrant adaptations in both the aural and visual spectrums. Director Piers Haggard, known for more sinister fare such as The Blood on Satan’s Claw (1971) and Venom (1981), directs from the late Penelope Mortimer’s adapted screenplay.
Frank Ashton is played by James Wilby, who was coming off...
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A Summer Story is the unassuming title of a classy and ultimately emotionally wrenching romantic drama of class differences set in Great Britain in the early 1900’s. Originally released in the United States in the summer of 1988 in a small number of theaters, the film is an adaption of John Galsworthy’s 1916 short story “The Apple Tree” which was also made into two separate radio programs over forty years earlier: Lady Esther Almanac on CBS in 1942 and Mercury Summer Theatre in 1946. Obviously the source material proved to be palatable enough to audiences to warrant adaptations in both the aural and visual spectrums. Director Piers Haggard, known for more sinister fare such as The Blood on Satan’s Claw (1971) and Venom (1981), directs from the late Penelope Mortimer’s adapted screenplay.
Frank Ashton is played by James Wilby, who was coming off...
- 5/18/2018
- by nospam@example.com (Cinema Retro)
- Cinemaretro.com
Dirk Bogarde: ‘Victim’ star took no prisoners in his letters to Dilys Powell Letters exchanged between film critic Dilys Powell and actor Dirk Bogarde — one of the most popular and respected British performers of the twentieth century, and the star of seminal movies such as Victim, The Servant, Darling, and Death in Venice — reveals that Bogarde was considerably more caustic and opinionated in his letters than in his (quite bland) autobiographies. (Photo: Dirk Bogarde ca. 1970.) As found in Dirk Bogarde’s letters acquired a few years ago by the British Library, among the victims of the Victim star (sorry) were Academy Award winner Vanessa Redgrave (Julia), a "ninny" who was “so utterly beastly to [Steaming director Joseph Losey] that he finally threw his script at her face”; and veteran stage and screen actor — and Academy Award winner — John Gielgud (Arthur), who couldn’t "understand half of Shakespeare" despite being renowned for his stage roles in Macbeth,...
- 9/23/2013
- by Andre Soares
- Alt Film Guide
Our critic has been awarded an OBE for services to film. Here he reflects on a life of cinema and chooses extracts from five of his movie reviews
Casting my mind back to my Observer debut, it occurred to me that, had I been celebrating half a century of writing on films for the paper in 1963, I would have been reflecting on a career begun by reviewing the arrival of Charlie Chaplin and going on to Dw Griffith's Birth of a Nation. But the Observer didn't have a movie critic until the mid-1920s, when the Honourable Ivor Montagu (a peer's son, table tennis champion, lifelong communist, the man who saved Hitchcock's bacon by re-editing The Lodger) joined the paper. He was succeeded in 1928 by the Manchester Guardian's critic, CA Lejeune, who helped create the view widely held in Fleet Street that reviewing films was women's work. Indeed, her first...
Casting my mind back to my Observer debut, it occurred to me that, had I been celebrating half a century of writing on films for the paper in 1963, I would have been reflecting on a career begun by reviewing the arrival of Charlie Chaplin and going on to Dw Griffith's Birth of a Nation. But the Observer didn't have a movie critic until the mid-1920s, when the Honourable Ivor Montagu (a peer's son, table tennis champion, lifelong communist, the man who saved Hitchcock's bacon by re-editing The Lodger) joined the paper. He was succeeded in 1928 by the Manchester Guardian's critic, CA Lejeune, who helped create the view widely held in Fleet Street that reviewing films was women's work. Indeed, her first...
- 12/30/2012
- by Philip French
- The Guardian - Film News
W Stephen Gilbert writes: I first met Alastair Reid (obituary, 10 September) in 1972 when I was a trainee script editor at the BBC and shadowing a Penelope Mortimer play called Three's One under his direction. It was an awkward beast, centred on therapy sessions in which the analyst (the dapper Fulton Mackay) went unseen. Alastair got away with it – as I would now reckon – in the way he did much else, for he was he was fleet of foot, always pulling an eye-catching trick if he thought a script was flagging.
When later in the 70s I wrote about television, especially drama, in the London listings magazine Time Out, I would refer to Alastair in print as Flash Harry, which made him roar with laughter. I was thinking particularly of how he applied his inventiveness in his ghastly, lurid, modish feature Baby Love (1968).His later work matured into something lucid, judicious and humane.
When later in the 70s I wrote about television, especially drama, in the London listings magazine Time Out, I would refer to Alastair in print as Flash Harry, which made him roar with laughter. I was thinking particularly of how he applied his inventiveness in his ghastly, lurid, modish feature Baby Love (1968).His later work matured into something lucid, judicious and humane.
- 9/19/2011
- The Guardian - Film News
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