Reviewed by Glenn Erickson
In the late 1960s there were these things called Head Shops, see, where various hippie consumer goods were sold.
AFI Fest will take place November 5 – 12, 2015, in the heart of Hollywood. Screenings, Galas and events will be held at the historic Tcl Chinese Theatre, the Tcl Chinese 6 Theatres, Dolby Theatre, the Lloyd E. Rigler Theatre at the Egyptian, the El Capitan Theatre and The Hollywood Roosevelt.
World Cinema showcases the most acclaimed international films of the year; Breakthrough highlights true discoveries of the programming process; Midnight selections will grip audiences with terror; and Cinema’s Legacy highlights classic movies and films about cinema. World Cinema and Breakthrough selections are among the films eligible for Audience Awards. Shorts selections are eligible for the Grand Jury Prize, which qualifies the winner for Academy Award®consideration. This year’s Shorts jury features filmmaker Janicza Bravo,
The festival includes 38 films directed/co-directed by women, 17 documentaries and 10 official foreign-language Oscar contenders, including Argentina’s entry “The Clan,” Hungary’s “Son of Saul” and Romania’s “Aferim!” along with Cannes Palme d’Or winner “Dheepan.” The screenings and events will take place at the Tcl Chinese Theatre, Tcl Chinese 6 Theatres, Dolby Theatre, Lloyd E. Rigler Theatre at the Egyptian, El Capitan Theatre and Hollywood Roosevelt.
AFI has already announced a trio of world premieres: the opening night film, Angelina Pitt Jolie’s “By the Sea,” on Nov. 5; the Will Smith drama “Concussion” on Nov. 10; and the closing night film, Adam McKay’s “The Big Short” on Nov. 12. It’s also scheduled galas for Michael Moore’s documentary “Where to Invade Next” on Nov. 7 and the Chilean miners drama “The 33” on Nov.
Starring: Joel McCrea, Veronica Lake, Robert Warwick, William Demarest, Franklin Pangborn, Porter Hall, Byron Foulger
Running Time: 90 Minutes
Extras: Audio commentary by Terry Jones, Preston Sturges: The Rise and Fall of an American Dreamer, Kevin Jackson on Sullivan’s Travels, The Preston Sturges Stock Company, Safeguarding Military Information,
Going back in film over 70 years, it is amazing to find features that still resonate today. Sullivan’S Travels is a film with both a brave and important message which can still speak to filmmakers and film audiences today. The message it contains is brave, as it challenges those that wish to tackle suffering, but have never suffered themselves, and asks “What is suffering and what is happiness?”
Joel McCrea plays the titular Sullivan, a film director celebrated for his delightful comedies that certainly fill out the picture houses. However, this is just not enough for Sullivan,
"They all appear to be too perfectly adjusted to life to require minds, and, in place of hearts, they seem to contain an old scratch sheet, a glob of tobacco juice, or a brown banana. The reason their faces--each of which is a succulent worm's festival, bulbous with sheer living--seem to have nothing in common with the rest of the human race is precisely because they are so eternally, agelessly human, oversocialized to the point where any normal animal component has vanished. They seem to be made up not of features but a collage of spare parts, most of them as useless as the vermiform appendix."
There are things I don't love about Farber—his insistence upon virility as a
But everyone knows that only happens on television and not in real life. Especially when are sixty-something, are better known for your theater and writing work, and only became an actor because you’d been teaching about it for so long, you decided you needed some practical experience.
But that is exactly what happened to Robert Michael Morris whose first audition was in 2005 for Lisa Kudrow and her new sitcom The Comeback. One could argue that Morris’ luck ran out there as The Comeback only lasted for thirteen episodes, but even though those thirteen episodes were then the extent of his television resume, Morris went on to play parts on Will & Grace,
Photo credit: Steve Granitz/WireImage
Once upon a time in Hollywood, there was the Hays Code, a set of rules that major motion picture studios were forced to follow. The code forbade, among other things, nudity, crude language, mockery of religion and “lustful kissing.” Also not allowed were references to “sex perversion,” including homosexuality.
Did that mean there were no gay characters in movies? Heck, no. They were just “coded.” The persnickety and purse-lipped Franklin Pangborn, constantly exasperated by the foibles of W.C. Fields, or the fey Edward Everett Horton, forever complicating romantic matters between Fred Astaire and Ginger Rogers, were never identified as gay men. But they didn’t have to be — the audience saw their demeanor, their behavior, the way they spoke, acted, and dressed, and their queerness was forthrightly implied if never directly named.
Franklin Pangborn (left) and Edward Everett Horton
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