Georges Méliès - News Poster


‘King of Jazz’ Blu-ray Review (Criterion)

Stars: Paul Whiteman, John Boles, The Rhythm Boys, Laura La Plante, Jeanette Loff | Written by Harry Ruskin | Directed by John Murray Anderson

John Murray Anderson’s sole foray into cinema was this lavish revue, released in 1930. It missed the zeitgeist and bombed at the box office and Anderson retreated to the theatre thereafter. Like many a sketch show, the quality of its content is highly variable. Some of it is starkly dated – and some of its omissions are highly questionable – but as a time capsule it’s a fascinating piece of cinema (not least because it’s the film debut of a certain Bing Crosby). The film is presented by an Mc and is comprised of music and dance performances, along with comedy skits. While fixed firmly in the stage tradition, it comes across as an early showcase for the possibilities of cinema, most obviously in its liberal use of close-up.
See full article at Blogomatic3000 »

Video Games Invade Reality as ‘Fortnite’ Creates a Narratively-Driven Shared Moment

  • Variety
Lama piñatas are appearing across Europe. The Durr Burger showed up in a California desert. Epic’s “Fortnite” is bleeding into the real world, and the mystery of their dimensional warp has players scrambling both online and in that dusty thing we call the real world to figure just what’s happening next.

Car-sized burger restaurant mascots and piñatas aside, it was on June 30 that “Fortnite” actually broke a barrier. The megapopular battle royale game did a remarkable thing. Without changing the rules of its world, they got players to stand still and stare up into the sky together, and watch an event that would happen just once. The game stopped, a story began, and “Fortnite” is likely to be caught in the momentum of this narrative breakthrough for more than the foreseeable future.

In their short history, video games have most often accomplished the deliverance of awe unto their
See full article at Variety »

Anthology Film Archives: The First Screenings, 1970

After years of planning, the Anthology Film Archives first opened its doors in New York City towards the end of 1970. That opening came with great interest and fascination of how the world’s first “museum of film” was going to operate like no other theater before it.

Articles on the Anthology’s grand opening ran in both the New York Times and New York magazine in late November. Plus, the Anthology itself ran a full page ad in the Times with the screening calendar of its first four days. Through that printed material, those early days can be pretty well reconstructed.

The Anthology itself says that it opened its doors on November 30, 1970; but, according to an article in the Times the previous day by film critic Vincent Canby, that opening was an invitation-only event at which work by George Méliès, Joseph Cornell, Jerome Hill and Harry Smith was screened. Jonas Mekas
See full article at Underground Film Journal »

Women at the Cannes International Film Festival 2018

Women at the Cannes International Film Festival 2018
The Cannes Film Festival’s Jury President Cate Blanchett and the Camera d’Or Jury President Ursula Meier put on a good front for the festival but still, Competition had only three out of 21 films directed by women while Un Certain Regard had eight out of 18 (44%) and Short Films in Competition had two out of eight (25%). Cinefondation had eight of 17 shorts (47%) by women; Critics’ Week four out of seven (57%) while Critics’ Week Shorts had three out of ten (30%). Directors’ Fortnight had five out of 20 (25%) and Directors’ Fortnight Shorts had four out of 11 (36%).International key women players of the film industry — directors, crew members, actresses, producers, screenwriters, sales agents, distributors, talent agents, editors — climbed the steps of the Cannes Film Festival.

Among them, Cate Blanchett and Agnès Varda read a collective statement.

Of the eight Special Screenings of the festival none was by a woman. Cannes Classics showed six out of 33 (18%) by women.
See full article at SydneysBuzz »

Saving Brinton documentary review: the man with a mission to rescue a slice of cinema history

MaryAnn’s quick take… A charming tribute to one remarkably dedicated cinema fan and historian, and to his decades-long hard work to save an essential piece of the pop-culture past and cultivate its story for the future. I’m “biast” (pro): nothing

I’m “biast” (con): nothing

(what is this about? see my critic’s minifesto) women’s participation in this film

(learn more about this)

Who’da thunk that a small town in the rural American Midwest would be such a hot stop on a global tour of the history of cinema? Thirty years ago, former history schoolteacher Michael Zahs, of Washington, Iowa, was gifted a collection of old film memorabilia from the estate of Frank and Indiana Brinton, a husband-and-wife team of entertainment impresarios who brought fun, news, and visions of distant lands to audiences across the heartland of America in the days before radio, TV,
See full article at FlickFilosopher »

Google Celebrates Pioneering Filmmaker Georges Méliès With First-Ever Vr Doodle

  • Variety
Google is bringing virtual reality (Vr) to its biggest web property yet: The search giant is releasing a new animated 360-degree short film called “Back to the Moon” that celebrates the life and work of pioneering French filmmaker Georges Méliès as a doodle on the homepage Thursday. The doodle went live early Thursday local time across Asia and Europe, and is set to hit the U.S. at midnight Eastern time.

Visitors of will then be able to click through to a 360-degree YouTube video that illustrates some of Méliès’ pioneering work in a kind of animated medley. Viewers get to explore the video in 360 degrees either by navigating with their mouse or finger, or by tilting their mobile phone in a magic-window-like mode.

“Back to the Moon” was created by Google’s doodle team in collaboration with Google Spotlight Stories, Google Arts & Culture and Cinémathèque Française teams,
See full article at Variety »

Rushes. Spielberg's Best Set Pieces, Nicholas Ray's Final Interview, Georges Méliès's Autobiography

  • MUBI
Get in touch to send in cinephile news and discoveries. For daily updates follow us @NotebookMUBI.NEWSThis year the Directors' Fortnight (Quinzaine des réalisateurs) in Cannes is celebrating its 50th anniversery. The poster for this year's festival uses a photo by William Klein, whose film The Pan-African Festival of Algiers was in the 1971 edition.Recommended VIEWINGThe trailer for Paul Schrader's fabulous new film First Reformed. Our critics raved about it (here and here) last year from the Toronto International Film Festival.Recommended READINGThe last interview Hollywood filmmaker Nicolas Ray (Johnny Guitar) recorded was in 1979 with Sarah Fatima Parsons and Kathryn Bigelow. The Italian film magazine La Furia Umana has the full text in English.With last week's release of Ready Player One getting all fans of Steven Spielberg in a tizzy, the A.V. Club has run a compendium of the best set pieces of the director's career.The Courtisane
See full article at MUBI »

A Trip to the Moon

A Trip to the Moon

Blu ray

Flicker Alley

1902 / 1:33 / 15 Min. / Street Date March 20, 2018

Starring Georges Méliès

Cinematography by Théophile Michault, Lucien Tainguy

Written by Georges Méliès

Edited by Georges Méliès

Produced and directed by Georges Méliès

In the fall of 1886 the magician Georges Méliès was filming near the Place de l’Opera when his camera jammed for a few fateful moments. Those missing frames resulted in an unexpected optical illusion that for Méliès was a new kind of a magic trick; “I suddenly saw a Madeleine-Bastille omnibus change into a hearse and men into women.”

Embracing that happy accident, Méliès established himself as the foremost fantasy filmmaker of his generation – it could be said that he was responsible for the multitude of special effect extravaganzas occupying multiplexes to this day. But let’s not judge him too harshly.

Méliès first made his mark as an illusionist and for 16 years
See full article at Trailers from Hell »

Celebrating French cinema by Anne-Katrin Titze

Serge Toubiana‬ with Anne-Katrin Titze: "I've known Jeanne Balibar a long time. I know Tonie Marshall since 40 years, we are very close. Isabelle Huppert - I made a documentary on Isabelle Huppert in 2002."

Serge Toubiana, president of uniFrance, shared with me during the Rendez-Vous with French Cinema reception at the Film Society of Lincoln Center some background on the 25 exhibitions he organised when he was the director of the Cinémathèque Française. They included Tim Burton, Pedro Almodóvar, Dennis Hopper, Stanley Kubrick, François Truffaut, Jacques Demy, and the terrific opening installation in the new Cinémathèque building designed by Frank Gehry on Auguste Renoir and Jean Renoir - Renoir: Father and Son / Painting and Cinema.

Number One (Numéro Une) director Tonie Marshall Photo: Anne-Katrin Titze

We discussed Isabelle Huppert's theatre work with Sarah Kane, his tribute to Mathieu Amalric, which filmmaker said yes because of Costa-Gavras, Georges Méliès and Paris, and how
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Win The Geek’s Guide to Sf Cinema book

  • HeyUGuys
Author: Competitions

To mark the release of The Geek’s Guide to Sf Cinema by Ryan Lambie on 15th February, we’ve been given a bundle of The Geek’s Guide to Sf Cinema by Ryan Lambie and 2001: A Space Odyssey by Arthur C. Clarke to give away, courtesy of Little, Brown Book Group.

The Geek’s Guide To Sf Cinema provides an entertaining and in-depth history of the science fiction genre’s pivotal and most influential movies. From the pioneering films of Georges Méliès to such blockbusters as Avatar and Inception in the 21st century, the book will explore how these key movies were made, how they reflected the mood of the time in which they were released and how they have influenced other filmmakers in the years since.

Historians and experts contribute to answer questions such as: ‘How important was Fritz Lang’s contribution to cinema?’; and
See full article at HeyUGuys »

The Best Visual Effects Oscar Winners of the 21st Century, Ranked from Worst to Best

  • Indiewire
The Best Visual Effects Oscar Winners of the 21st Century, Ranked from Worst to Best
When people talk about the magic of cinema, they’re usually not referring to monologues. More often than not, it’s the awe-inspiring visuals and imaginary worlds coming to life that give the phrase “movie magic” the ring of truth. None of that would be possible without visual effects, an ever-evolving field that pushes filmmakers like James Cameron and Peter Jackson further and further in their quest to create that special spark.

The films that have won the Oscar for Best Visual Effects represent the most innovative visual storytelling of the last two decades. Using motion capture technology, computer-generated imagery, miniatures and giant puppets, these films create fantasy worlds and creatures beyond our wildest imaginations.

Read More:The 20 Best Sequels of the 21st Century

Here are the winners of the Oscar for Best Visual Effects of the 21st century, ranked by their visual storytelling.

17. “The Golden Compass” (2007)

While “The Golden Compass
See full article at Indiewire »

Review: "Cyborg 2087" (1966) Starring Michael Rennie; Kino Lorber Blu-ray Release

  • CinemaRetro
By Hank Reineke

Though often dismissed as a low-budget “Made for TV” feature, director Franklin Adreon’s Cyborg 2087 enjoyed a brief theatrical run prior to its debut on broadcast television in March of 1968. In April of 1967 the film was packaged alongside such similarly low-budgeted, independent features as Death Curse of Tartu, Sting of Death, and even a second Adreon “time travel” themed film, Dimension 5. Though this somewhat lackluster film seemed destined for relegation to the late-night drive-in horror movie circuit, Cyborg 2087 nonetheless displayed some small measure of staying power. That same summer, Adreon’s film was still making the rounds of the secondary flea-pit theater circuit, sometimes serving as the under bill to Sidney J. Furie’s contemporary political thriller The Naked Runner featuring Frank Sinatra.

Though he had worked on serials and a handful of feature films in the early stages of his career, director Adreon was laboring
See full article at CinemaRetro »

Book Review: "American Gothic" By Jonathan Rigby; Expanded And Updated Edition

  • CinemaRetro
By Adrian Smith

American filmmakers have been fascinated by horror and the fantastical since the birth of cinema itself, with one early example cited here being an 1898 New York screening by the Thomas Edison Company of a short film featuring a witch and an appearance from Mephistopheles. Partially inspired by the work of French magician Georges Méliès, it was not long before ghosts, demons, witches and devils would become commonplace in the silent films being produced in New York, and eventually Hollywood itself.

Jonathan Rigby’s American Gothic (Signum publishing) is a fascinating and idiosyncratic exploration of the American horror film, a genre which has inspired filmmakers to create some of the most memorable moments in cinema history. More than a simple encyclopaedia, the book charts the historical development of the genre through not only the classics such as Phantom of the Opera, Dracula and The Cat and the Canary,
See full article at CinemaRetro »

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
See full article at Trailers from Hell »

Four-Time Oscar Winner Joe Letteri To Receive Ves’ George Méliès Award

Four-Time Oscar Winner Joe Letteri To Receive Ves’ George Méliès Award
Joe Letreri, who has won four Visual Effects Oscars for two The Lord Of The Rings movies, King Kong and Avatar, will be given the Visual Effects Society’s Ves Georges Méliès Award, bestowed for “pioneering significant and lasting contributions to the art and science of the visual effects industry by way of artistry, invention and groundbreaking work.” The annual award will be handed out February 13 at the 16th annual Ves Awards at the Beverly Hilton. Leterri, currently…
See full article at Deadline Movie News »

Visual Effects Society: The Top 70 VFX Films of All Time Include ‘Star Wars,’ ‘Blade Runner,’ and ‘Citizen Kane’

  • Indiewire
Visual Effects Society: The Top 70 VFX Films of All Time Include ‘Star Wars,’ ‘Blade Runner,’ and ‘Citizen Kane’
In honor of its 20th anniversary, the Visual Effects Society polled its membership to list the 70 most influential VFX films of all time. James Cameron led the pack with six entries (“The Abyss,” “Aliens,” “Avatar,” “Terminator,” “Terminator 2: Judgment Day,” and “Titanic”); Steven Spielberg followed close behind with five (“Close Encounters of the Third Kind,” “E.T. the Extraterrestrial,” “Jaws,” “Raiders of the Lost Ark,” and “Jurassic Park”); and Peter Jackson had four Oscar winners (“The Lord of the Rings” trilogy and “King Kong”).

“The Ves 70 represents films that have had a significant, lasting impact on the practice and appreciation of visual effects as an integral element of cinematic expression and storytelling,” said Ves board chair Mike Chambers. “We see this as an important opportunity for our members, leading visual effects practitioners worldwide, to pay homage to our heritage and help shape the future of the global visual effects community. In
See full article at Indiewire »

Remembering Forgotten Early Female Documentarian and That Talkies Began Long Before 'The Jazz Singer'

'Amazing Tales from the Archives': Pioneering female documentarian Aloha Wanderwell Baker remembered at the San Francisco Silent Film Festival – along with the largely forgotten sound-on-cylinder technology and the Jean Desmet Collection. 'Amazing Tales from the Archives': San Francisco Silent Film Festival & the 'sound-on-cylinder' system Fans of the earliest sound films would have enjoyed the first presentation at the 2017 San Francisco Silent Film Festival, held June 1–4: “Amazing Tales from the Archives,” during which Library of Congress' Nitrate Film Vault Manager George Willeman used a wealth of enjoyable film clips to examine the Thomas Edison Kinetophone process. In the years 1913–1914, long before The Jazz Singer and Warner Bros.' sound-on-disc technology, the sound-on-cylinder system invaded the nascent film industry with a collection of “talkies.” The sound was scratchy and muffled, but “recognizable.” Notably, this system focused on dialogue, rather than music or sound effects. As with the making of other recordings at the time, the
See full article at Alt Film Guide »

The Early History of One Actor Playing A Shit Ton of Roles In A Single Film

Containing multitudes is a time-honored cinematic tradition.

Sure, featuring a single actor as more than one character in your movie smells a bit like a gimmick—but at the end of the day, it’s an efficient and often effective means of showcasing the versatility of a performer. And that can hardly be faulted. We caught a whiff of it with Split this year, though McAvoy might be disqualified for being a Legion of One rather than a cast with a shared face. Personally, I had no idea the trend cast such a wide-reaching historical net — I’d stupidly assumed it was something made possible by the advent of modern makeup and digital tech. Again, stupidly.

Be it gimmick or something more nuanced (or both!) — it’s particularly fascinating that it has such a long standing history as a marketing device. Film quality aside, the main draw is often the performative tour-de-force itself. Some
See full article at FilmSchoolRejects »

Review: Going in Both Directions—Julia Ducournau’s “Raw”

  • MUBI
France has a rich history of horror. There’s the sadomasochistic novels of the Marquis de Sade as well as the blood and guts of Grand Guignol theatre. In cinema, the horror lineage runs deep. There’s Georges Méliès’ shorts and trick films (The Haunted Castle [1896], The Four Troublesome Heads [1898]); the eye-slicing of Salvador Dalí and Luis Buñuel’s Un chien andalou (1929); Georges Franju’s nauseating documentary on slaughterhouses, Blood of the Beasts (1949), as well as his clinical and poetic Eyes Without a Face (1960); there’s Henri-Georges Clouzot’s nasty Diabolique (1955); and the rotting poetry of Jean Rollin’s collective work. Flash forward a few decades, to the mid-1990s and 2000s, where we find the intense and brutal "New French Extremity" films by Philippe Grandrieux, Bruno Dumont, Gaspar Noé, Marina de Van, and others. And there are the genre filmmakers creating work around the same time as the more
See full article at MUBI »

Meet the First Woman Filmmaker Most People Have Never Even Heard Of — Watch

Meet the First Woman Filmmaker Most People Have Never Even Heard Of — Watch
If you ask most people familiar with the history of film to name some of the early trailblazers, you’re bound to hear Georges Méliès and the Lumière Brothers quite a few times. As for Alice Guy-Blaché? Well, even if she is mentioned, her name will reoccur far less than her male contemporaries, despite the fact that she is just as influential, if not more so.

Read More: 18 Films Made by Women, Starring Women, That We Absolutely Love

An informative new video essay from Catherine Stratton has been released via Fandor to celebrate Women’s History Month, and it walks viewers through the history of Alice Guy-Blaché’s essential contributions to film. Her 1896 film “The Cabbage Fairy” is largely credited as one of the first narrative features ever made, produced and shot at a time when filmmakers like the Lumière Brothers were simply capturing scenes of every day life.

Between 1896 and 1920, Guy-Blaché wrote,
See full article at Indiewire »
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