Nicholas Ray (I) - News Poster


2 Weeks in Another Town

A quick Jet-set ride takes us to Rome of 1962, which for a couple of years was the movie capital of the world. Washed-up actor Kirk Douglas reinvents himself amid the vipers of his past — an abusive director (Edward G. Robinson), a medusa-like ex-wife (Cyd Charisse) and a parade of show-biz creeps that want him to fail and grovel. But wait — redemption springs eternal through the love of a simple innocent unspoiled Italiana with no agenda of her own (Daliah Lavi). Will Douglas be reborn? Director Vincente Minnelli tries his hardest to get MGM in on the Italian art-movie gold rush.

2 Weeks in Another Town


The Warner Archive Collection

1962 / Color / 2:35 widescreen / 107 min. / Street Date June 19, 2018 / available through the WBshop / 21.99

Starring: Kirk Douglas, Edward G. Robinson, Cyd Charisse, George Hamilton, Daliah Lavi, Claire Trevor, Rosanna Schiaffino, James Gregory, Joanna Roos, George Macready, Mino Doro, Stefan Schnabel, Vito Scotti, Leslie Uggams.
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Odds Against Tomorrow

“Racial Tolerance: It’s Good for America And good for Criminals!” Harry Belafonte’s second production is a noir keeper, thanks to a top-flight cast and sharp direction by Robert Wise. The big heist is on, but Robert Ryan’s anger management problem all but assures doom and disaster. It’s Wise’s last gritty action picture before moving up to big-scale audience pleasers; he pulls off some slick images with film sensitive to infra-red light.

Odds Against Tomorrow


Olive Films

1959 / B&W / 1:77 widescreen / 96 min. / Street Date May 29, 2018 / available through the Olive Films website / 24.95

Starring: Harry Belafonte, Robert Ryan, Shelley Winters, Ed Begley, Gloria Grahame, Will Kuluva, Kim Hamilton, Mae Barnes, Richard Bright, Carmen De Lavallade, Lew Gallo, Lois Thorne, Wayne Rogers, Zohra Lampert, Mel Stewart, Cicely Tyson.

Cinematography: Joseph C. Brun

Film Editor: Dede Allen

Original Music: John Lewis

Written by John O. Killens (fronting for Abraham Polonsky), Nelson Gidding,
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Rushes. New Fassbinder, "Stalin" Banned, De Havilland Sues

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Get in touch to send in cinephile news and discoveries. For daily updates follow us @NotebookMUBI.Recommended VIEWINGWe're very much in love with Zama, Lucrecia Martel's long-anticipated return to filmmaking. The new trailer calls us back to our encounter of the film at Toronto last year and our conversation with the director.We all know that Rainer Werner Fassbinder made a lot—a whole lot—of films in his all too brief 15 years of activity, but it's truly remarkable how new (old) work of his keeps appearing. First there was the revelation of World on a Wire (1973) and now another made-for-tv epic has been restored and is being re-released, Eight Hours Are Not a Day (1972-1973). We wonder what other future delights and provocations Rwf has in store for us!Recommended READINGDoll & EmAt The Guardian, Lili Loofbourow takes a look at how stories about women are perceived and received differently than those about men.
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‘Lady Bird’ Was Snubbed By the Oscars, But It’s a Historic Coming of Age Movie

‘Lady Bird’ Was Snubbed By the Oscars, But It’s a Historic Coming of Age Movie
This article was originally produced as part of the Nyff Critics Academy.

“Lady Bird always said she lived on the wrong side of the tracks, I didn’t know there were actual tracks.” So says Danny (Lucas Hedges) almost flippantly in “Lady Bird.” In the film, class plays a large role in how the titular character interacts with everyone she comes in contact with. The movie is seemingly a coming of age story about a girl who’s simply trying to make her social ends meet as she transitions from high school to college, but that would almost be too superficial of a reading. “Lady Bird” and “The Florida Project” didn’t win any of the Oscars they were nominated for on Sunday, but their legacies are secure as part of a growing trend to break the mold of the old coming-of age model. In doing so, have become more
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Foreplays #10: João César Monteiro's "Passeio com Johnny Guitar"

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Passeio com Johnny Guitar (“A Walk with Johnny Guitar”) conjures up a chapter in João César Monteiro’s own histoire(s) du cinéma. Occurring at that insomniac, delirious hour at which night gives way to day, this short film manages to travel a great distance in only three and a half minutes. Tracing the relations between sound and image, body and memory, gesture and affect, Monteiro unfolds a vast cinephiliac constellation that gravitates around one scene of Nicholas Ray’s Johnny Guitar (1954). *** A lanky old man, preceded by his cough, walks home alone. He smokes a cigarette and advances through a typical cobblestoned Lisboan street, biding good night to another solitary smoker. Installed in his head, the soundtrack of the most famous scene of Johnny Guitar—the re-encounter between Vienna (Joan Crawford) and Johnny (Sterling Hayden)—starts playing out. Viewers familiar with Monteiro’s œuvre know that this slightly hunched man,
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Review: Nicholas Ray's “The Savage Innocents” (1960) Starring Anthony Quinn; Blu-ray Release From Olive Films

  • CinemaRetro
By Jeremy Carr

The beginning of Nicholas Ray’s The Savage Innocents—by no means the most typical or best film from this iconoclastic director—touts the ethnographic appeal of its Inuit focus. With debatable accuracy, the 1960 international coproduction illuminates, in somewhat superficial fashion, a “race of nomads” called “The Men.” The narrator says we call them Eskimos, individuals who live a life of ostensible simplicity “in the age of the atom bomb.” For a good portion of the movie, this is the basic premise, in terms of theme and (loose) narrative. It is a fictional, cursory study of a small and select segment of this Arctic population. On the outside looking in, there is a fundamental crudity in their behavior, their stilted English dialogue, their purity and naiveté, and the animalistic manners and utterances of main character Inuk (Anthony Quinn). But try as it might to make this all
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Meeting Mr. Lewis

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Part of the Jerry Lewis tribute A Mubi Jerrython. Over the course of my forty years as the Los Angeles correspondent for Cahiers du cinema, I wrote about what was happening in American cinema, inventing a way of doing so inspired by Joan Didion’s essay “Having Fun,” which first appeared in The New Yorker. Ironically, Didion’s essay was a blast at the seriousness of people writing about film from outside the business who didn’t understand the inner workings of the studio system. When I met Serge Daney, the editor-in-chief of the Cahiers, at the New York apartment of Jackie Raynal and Sid Geffen on the occasion of the first Semaine des Cahiers in New York in 1977, which I had helped organize, we hit it off immediately. But he was understandably reluctant to entrust to someone who appeared to have been living in a subway the job I
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Cry Me a River: The Radical and Revolutionary Power of Melodrama

Within the first ten minutes of Nicholas Ray’s unimpeachable classic Rebel Without a Cause Jim Stark (James Dean) wails, “You’re tearing me apart!!!!!” This is not an instance where the film crescendos with an emotional breakdown, but begins. Jim Stark is a staggering portrait of apocalyptic masculine adolescence ripping apart a young body through expectations put on him by society and his own self-imposed fears that he could turn into his passive father. Jim Stark is one of the defining characters of cinematic melodrama with his unbridled emotional honesty laid bare for the world to see. He physically cannot keep himself from gnashing, wailing, and screaming in the face of emotions that bubble to the surface. Melodrama opens the lid on these reactions and rides that feeling to cinematic honesty and authenticity. Melodrama is realer than real; a hyper-stylized evocation of feelings that we’re all familiar with as human beings.
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A Weakness for Complexity: An Interview with the Philosopher George M. Wilson

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In the late 1970s, an associate professor in the Philosophy department at Johns Hopkins (thesis title: "The Nature of the Natural Numbers") began publishing essays on Hollywood movies. George M. Wilson wasn't the first person to undergo this shift in specialism. At the start of the decade, Stanley Cavell had published The World Viewed, a series of "reflections on the ontology of film." But Cavell had always been concerned with how works of art enable us to think through philosophical themes such as knowledge and meaning, and he held a chair, at Harvard, in Aesthetics. Wilson differed in that he brought a range of analytic gifts to an ongoing revolution: the close reading of American cinema, conceived as part of the "auteur" policy of Truffaut and other writers at Cahiers du cinéma in the 1950s, and concertedly developed in the following decades by critics in England such as V. F.
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In a Lonely Place review – Bogart still captivatingly cynical in noir classic

Humphrey Bogart’s boozy screenwriter plays off perfectly against a marvellous Gloria Grahame in Nicholas Ray’s hardboiled thriller from 1950

Humphrey Bogart’s world-weariness and romanticism take on something brutal and misogynist in this 1950 noir masterpiece directed by Nicholas Ray – and it’s a marvellous performance by Gloria Grahame. This national rerelease is linked to the Grahame retrospective at BFI Southbank, in London. It is adapted from the hardboiled thriller by Dorothy B Hughes, changing her story and rehabilitating the male lead in one way, but in another, introducing a new strain of pessimism and defeat.

Bogart is Dixon Steele, a boozy, depressive Hollywood screenwriter whose tendency to violence and self-hatred isn’t helped by the fact that he hasn’t had a hit in years. Like the directors, producers and actors he occasionally sees in bars, his best days were before the second world war. One night at a restaurant,
See full article at The Guardian - Film News »

Made in England: Three Classics by Powell and Pressburger

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Mubi is showing Michael Powell and Emeric Pressburger's The Small Back Room (1949), The Tales of Hoffmann (1951) and Michael Powell's Peeping Tom (1960) in November and December, 2017 in the United States in the series Powell & Pressburger: Together and Apart.The story goes that when they were casting their first flat-out masterpiece together, The Life and Death of Colonel Blimp (1943), Michael Powell and Emeric Pressburger sent a letter to an actress outlining a manifesto of their production company, called "the Archers." At the time, the Archers was freshly incorporated, with Powell and Pressburger sharing all credit for writing, directing, and producing, and their manifesto had five points. Point one was to ensure that they provided their financial backers with "a profit, not a loss," which may raise eyebrows among those who are used to manifestos burning with anti-capitalist fire—but then, in a system like commercial cinema, profitability buys freedom.
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Canon Of Film: Rebel Without A Cause

In this edition of Canon Of Film, we look at the James Dean classic, ‘Rebel Without a Cause‘. For the story behind the genesis of the Canon, you can click here.

Rebel Without A Cause (1955)

Director: Nicholas Ray

Screenplay: Stewart Stern; adapted by Irving Shulman, from a story by Nicholas Ray

When I was 12-years old, I don’t know exactly what it was that possessed me to do so, but I sat down one night and watched ‘Rebel Without a Cause.’ I was into old-time 50s nostalgia, such as ‘Grease,’ and ‘Happy Days,’ and decided to see this movie and the James Dean persona/image that influenced many of that decade. Yet, what I found was something else that day. the realization that a film could reveal hidden messages, meanings, and metaphors that aren’t just what the film is about. I remember it distinctly, Jim Backus, who you
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Movie Poster of the Week: “Maigret Sets a Trap” and the Art of Nathan Gelgud

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This beautiful pair of illustrated posters for two late 50s Maigret adaptations by Jean Delannoy is the work of Nathan Gelgud, an artist who by now should be well known to cinephiles in New York and Los Angeles. Nathan is the creator of the auteur tote bag, an essential cinephilic fashion accessory for the 2010s, more on which later. Full disclosure: I was involved in the art direction on these posters at Kino Lorber, whose repertory division is re-releasing Maigret Sets a Trap (originally released in the Us as Inspector Maigret and later re-released as Woman Bait) at Metrograph today and will be releasing both films on Blu-ray in December. I’d been aware of Nathan’s work for a while, but it was his comic-book style resumé poster for Metrograph’s Alain Tanner retrospective this summer that convinced me he’d be perfect for Maigret. And, as luck would have it,
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Classics Film Fest Unspools in Colombia (Exclusive)

Classics Film Fest Unspools in Colombia (Exclusive)
With Sean Baker, Trey Edwards, Chris Newman, Ed Lachman, Peter Webber and Mike Hausman among its board members, a new film festival of classic films will unspool from Nov. 10 -13 in Bogota, Colombia.

Dubbed The Classics – Festival of the Films That Will Live Forever, the new film fest is founded by producer Ivonne Torres and Juan Carvajal, co-founder and artistic director of the three-year old Bogota Independent Film Festival, IndieBo.

Buoyed by sell-out crowds at IndieBo last July when the festival screened restored classics via a new pact with Martin Scorsese’s Film Foundation, Carvajal said: “I saw how these movie gems – rescued and restored with the support of the Film Foundation – deserved nothing better than to be enjoyed where they belong: the big screen.”

For many moviegoers in Bogota, it was the first time to see such classics as Joseph L. Mankiewicz’s “All About Eve,” Elia Kazan’s “On the Waterfront,” and [link=nm
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Junior Bonner

Sam Peckinpah was a fine director of actors when the material was right, and his first collaboration with Steve McQueen is an shaded character study about a rodeo family dealing with changing times. Joe Don Baker and Ben Johnson shine, but the movie belongs to Ida Lupino and Robert Preston.

Junior Bonner


Kl Studio Classics

1972 / Color / 2:35 widescreen / 100 min. / Special Edition / Street Date October 31, 2017 / available through Kino Lorber / 29.95

Starring: Steve McQueen, Robert Preston, Ida Lupino, Joe Don Baker, Ben Johnson, Mary Murphy, Dub Taylor, Don ‘Red’ Barry, Bill McKinney.

Cinematography: Lucien Ballard

Film Editors: Frank Santillo, Robert L. Wolfe

Second Unit Director: Frank Kowalski

Bud Hurlbud: Special Effects

Original Music: Jerry Fielding

Written by Jeb Rosebrook

Produced by Joe Wizan

Directed by Sam Peckinpah

I suppose there were plenty of successful rodeo-themed westerns back in the day, perhaps the kind interrupted by a cowboy song every ten minutes or so.
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A Twist of Fate: Close-Up on "The Chase"

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Close-Up is a feature that spotlights films now playing on Mubi. Arthur Riplye's The Chase (1946) is playing from September 30 - October 30, 2017 in the United States.“It’s happened again.” This almost throwaway admission by the protagonist of The Chase, Arthur Ripley’s way-out 1946 noir, comes just after the film’s jolting third act twist. It sets the viewer up for the unexpected, but is delivered with such exasperation that, at least for the beleaguered hero of the picture, the situation may perhaps be all too familiar, a possibility that in itself makes the occurrence that much more significant. Prior to this point, The Chase had been a solid, atmospheric thriller, with sufficient quirkiness to keep it in thoroughly fresh territory. But with this derailing revelation, there is really no preparing for how The Chase plays out, and what that, in turn, means for the preceding story. On its surface set-up,
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‘Call Me by Your Name’ Team on Romance, Sufjan Stevens, Maurice Pialat, and Sequel Potential

Call Me By Your Name came to the 55th New York Film Festival last week and both screenings were met with rapturous applause and standing ovations (a rare occurrence at the fest). Director Luca Guadagnino participated a press conference with the Film Society of Lincoln Center’s Dennis Lim, and also did a public Q&A at Nyff Live with actors Armie Hammer, Michael Stuhlbarg, and Timothée Chalamet at the Elinor Bunin Munroe Film Center Amphitheater.

In the press conference, Guadagnino discussed his collaboration with cinematographer Sayombhu Mukdeeprom (who also shot his upcoming Suspiria remake), Sufjan Stevens writing two original songs for the film when only one was requested, and avoiding romantic film cliches.

Hammer and Chalamet talked about the non-verbal sensuality of their character’s relationship at Nyff Live. Stuhlbarg discussed his character’s famous conversation with Elio in the film, and Guadagnino lists all the things he hates
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The Curious Languor of Robert Mitchum

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Everyone notices the eyes first, languid, those of a somnambulist. Robert Mitchum, calm and observant, is a presence that, through passivity, enamors a viewer. His face is as effulgent as moonlight. The man smolders, with that boozy, baritone voice, seductive and soporific, a cigarette perched between wispy lips below which is a chin cleft like a geological fault. He’s slithery with innuendo. There’s an effortless allure to it all, a mix of malaise and braggadocio, a cocksure machismo and a hint of fragility. He’s ever-cool, a paradox, “radiating heat without warmth,” as Richard Brody said. A poet, a prodigious lover and drinker, a bad boy; his penchant for marijuana landed him in jail, and in the photographs from his two-month stay he looks like a natural fit. He sits, wrapped in denim, legs spread wide, hair shiny and slick, holding a cup of coffee. His mouth is
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Capturing The Screaming Man on the Bridge by Anne-Katrin Titze - 2017-09-16 22:13:47

Harry Dean Stanton with Nastassja Kinski and Wim Wenders Photo: Tom Farrell

Tom Farrell, who started out studying with Nicholas Ray, also has a long history with Sam Shepard and Wim Wenders, who co-directed Ray's final film Lightning Over Water. Tom appeared in Wim's Until the End of the World, Faraway, So Close!, Don't Come Knocking, and had a very memorable scene with Harry Dean Stanton in Paris, Texas, written by Sam Shepard.

Tom Farrell with Harry Dean Stanton on the bridge in Paris, Texas

After hearing of Harry Dean Stanton's passing on September 15, 2017 from natural causes at the age of 91 in Los Angeles, Tom sent a remembrance of what is now famously called "The Screaming Man on the Bridge with Harry Dean Stanton" that was shot by Robby Müller in December of 1983, cued by assistant director Claire Denis.

"The film crew drove north of Los Angeles for about
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Tiff 2017. Correspondences #4

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Dear Kelley and Fern,We are all on the same page for John Woo's Manhunt, no doubt—a film that casts my mind back with wry, chuckling nostalgia to first discovering the action maestro's days of glory. Such backward glances have been common to me this week. I must admit, it's been more than a bit hard to be present at Toronto—my heart, mind and soul still feels battered aghast from last week’s devastating, gaping conclusion of David Lynch and Mark Frost’s Twin Peaks: The Return. The 25 years that separate that series from the show’s second season are a gulf of time, a void of aging and loss that you feel in every shot—a span, the finale implies, that is ultimately impossible to surmount.This gap was very much in my mind watching Youth, a nostalgic re-envisioning of the Cultural Revolution in the
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