Jacques Tourneur (I) - News Poster


A Citizen Without Civilization: Christian Petzold Discusses "Transit"

  • MUBI
A German, possibly a Jew, is on the run from occupation forces through wartime France in Christian Petzold’s Transit. Is he a hero? This is a difficult question, and one muddied all the more by the German director’s at once bold and simple concept of transposing of Anna Seghers’ novel, written and set during the Second World War, to today’s Marseille—all the while retaining the plotting and references to Germany’s invasive path through France. Stranded in the French port and trying to find a way out of the country, Georg (Franz Rogowski) is mistaken for a dead writer who has been granted a visa to Mexico. Flustered at first, the refugee soon takes advantage of this other identity, but while waiting for his boat to leave Georg is drawn to the son of his dead comrade, a half German, half African boy, as well as
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Why Aardman Animation Still Has a Leg Up on Pixar

While countless filmmakers have strived and failed to recapture the magic and inexplicable eeriness of classic monster movies – as much the Universal canon as Jacques Tourneur’s line of wild horror noirs – Aardman Animation cast a similar spell in ostensibly parodying those films. Nick Park and Steve Box's The Curse of the Were-Rabbit, the inaugural feature from Aardman’s beloved mainstays Wallace and Gromit, took the bare elements of The Wolf Man and melded it to the wondrous idiosyncrasies of the man-dog duo, from Wallace’s obsessive desire for cheese to Gromit’s innumerable deadpan stares. From …
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Errol Morris on Wormwood: 'There’s no guarantee you’ll find the truth. Sometimes you’re just lucky'

The documentary film-maker discusses his Netflix series that takes in the CIA and conspiracy theories, and – he thinks – still has something to say about the era of ‘fake news’

There’s a quote that I have always liked in Jacques Tourneur’s film noir Out of the Past: “All I can see is the frame. I’m going in there now to look at the picture.” What does that mean to a detective? You know there’s something wrong with a story but you can’t put your finger on what it is. Things don’t quite add up. Part of the effort in my recent Netflix project Wormwood was to construct a picture from various narrative fragments and pieces of evidence. But it’s even more complicated than that. You have various narratives, but part of the narrative is a desire to efface that narrative – to obscure it,
See full article at The Guardian - TV News »

Rest in Peace – Peggy Cummins

If you’ve never seen Jacques Tourneur’s 1957 classic flick Curse of the Demon (aka Night of the Demon), then you need to right that wrong immediately as it is Required viewing for horror fans. That being said, we’re sad to report that its star, Peggy Cummins, has passed on at age 92. The news came […]

The post Rest in Peace – Peggy Cummins appeared first on Dread Central.
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Off the Shoulder Wardrobe in ‘Anne of the Indies’

By Jacob Oller

Jacques Tourneur’s pirate classic had sexuality pulling off its sleeves. irector Jacques Tourneur made a lot of eclectic films during his career, though few were as positioned as amorously in their genre as Anne of the Indies. Featuring a female pirate captain that takes what- (or whom-) ever she wants and a trove of suggestively […]

The article Off the Shoulder Wardrobe in ‘Anne of the Indies’ appeared first on Film School Rejects.
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Four Faces West

Westerns are all about values: good and bad, law and lawlessness, etc. Joel McCrea and Frances Dee’s ‘bad man’ saga isn’t faith based, exactly, but it’s great for humanitarian values, the simple notion that the good in people should be encouraged. And one important detail may make it unique. Hint: John Milius might be strongly prejudiced against this picture.

Four Faces West


Kl Studio Classics

1948 / B&W / 1:37 flat Academy / 89 min. / Street Date December 19, 2017 / available through Kino Lorber / 29.95

Starring: Joel McCrea, Frances Dee, Charles Bickford, Joseph Calleia, William Conrad.

Cinematography: Russell Harlan

Film Editor: Edward Mann

Original Music: Paul Sawtell

Written by C. Graham Baker, Teddi Sherman, William & Milarde Brent from the novel Pasó por aquí by Eugene Manlove Rhodes

Produced by Vernon E. Clark, Harry Sherman

Directed by Alfred E. Green

Faith-based westerns exist, but much more numerous are lightly inspirational sagebrush pictures that deal
See full article at Trailers from Hell »

Indonesia’s ‘The Seen and Unseen,’ ‘Marlina’ Share Tokyo FILMeX Grand Prize

Two films that play this week at the Singapore International Film Festival, Kamila Andini ‘s “The Seen and Unseen,” and Mouly Surya’s “Marlina the Murderer in Four Acts” split the Grand Prize at Tokyo FILMeX.

FILMeX unspooled at venues in Tokyo Nov. 18-26 and gave its prizes on Saturday.

Both winning directors are Indonesian women whose films have traveled the international festival circuit. “Seen,” a drama that enters a child’s dream world, has played at Vancouver, Toronto and Busan, while “Marlina” debuted in this year’s Cannes Directors’ Fortnight.

The FILMeX audience award went to “Sennan Asbestos Disaster,” veteran documentarian Kazuo Hara’s film about a lawsuit filed by victims of asbestos poisoning in Osaka. Eight years in the making, the 215-minute film earlier played at the Yamagata documentary festival in October. Hara also served as Filmex jury chairman, a fact he jokingly alluded to in accepting the award.

In addition
See full article at Variety - Film News »

Movie Poster of the Week: The Illustrated Hedy Lamarr

  • MUBI
Above: Italian personality poster for Hedy Lamarr. Art by Sergio Gargiulo.Once promoted as “Hollywood’s No. 1 Glamour Girl,” Hedy Lamar (1914-2000) was much more than a pretty face, as the new documentary Bombshell: The Hedy Lamarr Story gloriously attests. Born Hedwig Eva Maria Kiesler in Austria, Lamarr was catapulted to fame as the star of the scandalous 1933 Czech import Ecstasy, in which she appeared nude (and ecstatic). In America she became one of the biggest stars of the 1940s, often called the most beautiful woman in Hollywood, a designation she thought of as a curse. But she was also blessed with a curious and inventive mind. As an amateur inventor she pioneered what is known as “frequency hopping” during World War II to prevent the Nazis jamming Allied torpedoes, a technology which has become the basis of Bluetooth and Wi-fi. With that in mind, it might seem perverse to
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Crypt of Curiosities: The Cat People Films

  • DailyDead
Next to Universal, few studios have had such a big impact on horror than Rko Radio Pictures. Started in 1927, Rko was the first studio founded to make exclusively sound films, a then-brand-new invention that served as a major draw for the studio. Rko’s life was relatively short (it was killed just 30 years after forming), but during their time, they put out a seriously impressive number of classics, including Top Hat, It’s a Wonderful Life, The Informer, and most notably, Citizen Kane.

Of course, Rko didn’t shy away from horror. While their output wasn’t nearly as prolific as, say, Universal’s, it was still quite impressive, boasting some of the most formative and important horror films of old Hollywood. Rko saw the release of a few all-time classics, including I Walked With a Zombie, The Thing From Another World, King Kong, and the topic of today’s Crypt,
See full article at DailyDead »

Edgar Wright’s 100 Favorite Horror Movies, From ‘Nosferatu’ to ‘The Witch’

Edgar Wright’s 100 Favorite Horror Movies, From ‘Nosferatu’ to ‘The Witch’
Your ultimate Halloween horror movie binge is here. Edgar Wright has joined forces with Mubi to list his 100 favorite horror movies, and the collection is full of classics and surprising choices that range from 1922 to 2016. The director, who himself has given the genre a classic title thanks to “Shaun of the Dead,” names recent horror hits like “Raw,” “The Witch,” and “Train to Busan,” as well as classics from horror masters James Whale and Mario Bava.

Read More:Edgar Wright’s 40 Favorite Movies Ever Made (Right Now): ‘Boogie Nights,’ ‘Suspiria’ and More

Wright wrote an introduction to his list, in which he makes it clear this is simply a list of 100 favorite titles and not his definitive list of the best horror films ever. You can read Wright’s statement below:

Here, for Halloween, is a chronological list of my favorite horror movies. It’s not in any way
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The Curious Languor of Robert Mitchum

  • MUBI
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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Crime of Passion

Witness the ‘fifties transformation of the femme fatale, from scheming murderess to self-deluding social climber. Barbara Stanwyck redefines herself once again in Gerd Oswald’s best-directed picture, a searing portrayal of needs and anxieties in the nervous decade. With fine support from Raymond Burr, Virginia Grey and Royal Dano.

Crime of Passion



1957 / B&W / 1:85 widescreen / 84 min. / Street Date September 5, 2017 /

Starring: Barbara Stanwyck, Sterling Hayden, Raymond Burr, Fay Wray, Virginia Grey, Royal Dano.

Cinematography: Joseph Lashelle

Art Direction: Leslie Thomas

Original Music: Paul Dunlap

Original Story and Screenplay by Jo Eisinger

Produced by Herman Cohen, Robert Goldstein

Directed by Gerd Oswald

A key title in the development of the Film Noir, 1957’s Crime of Passion shows how much the style had departed from the dark romanticism and expressive visuals of the previous decade. The best mid-’50s noirs strike a marvelously cynical and existentially bleak attitude regarding crime and society.
See full article at Trailers from Hell »

‘It’ is Loud: For Too Many Horror Movies, Soundtracks are Scariest Part

  • Indiewire
‘It’ is Loud: For Too Many Horror Movies, Soundtracks are Scariest Part
Back in the day, scary movies made frightened viewers cover their eyes. Today, younger audiences know better: They cover their ears.

Try it yourself: Find a trailer for a recent horror movie on YouTube, then watch it both with and without sound. Likely what you’ll find is as the trailer mounts toward a fright, so does the soundtrack until the scare, when it becomes a speaker-rattling blast of noise. Muffle the sound, and you’ve got a series of visuals that don’t say ‘boo!’ until the final moment.

Read More:‘mother!’: Why Darren Aronofsky and Jóhann Jóhannsson Scrapped the Original Score for a More Expressive Soundscape

However, this isn’t the sole domain of trailer editors. It’s also become a staple of modern horror movies, including the hit adaptation of Stephen King’s “It.”

“It” features a terrifying character/supernatural force, disgusting hard-to-look-at-gore, spooky atmospherics that
See full article at Indiewire »

Catching Up with Olivier Assayas

  • MUBI
Olivier Assayas. Photo by Locarno Festival / Massimo PedrazziniAt this year’s edition of the Locarno Festival, French filmmaker Olivier Assayas was the head of the main competition jury. As the festival drew to a close, we caught up with Assayas in the lobby of his hotel for an informal chat about viewing habits, mobile phones in cinema, and his upcoming project Ebook.Notebook: Have you seen any of the Jacques Tourneur movies from the festival's retrospective? Olivier Assayas: I’ve seen Out of the Past (1947) and Berlin Express (1948). Out of the Past I saw ages ago and Berlin Express I thought I had seen but no, this was the first time.Notebook: Do you like him?Assayas: I love Tourneur. I think he’s a genius—a great filmmaker. Well, I don’t know about a genius. Certainly a great filmmaker [laughs]. Notebook: I really like Berlin Express. It’s
See full article at MUBI »

Locarno 2017. Awards and Coverage Roundup

  • MUBI
Mrs. Fang director Wang BingBelow you will find the awards for the 70th Locarno Festival, as well as an index of our coverage.AWARDSInternational CompetitionGolden Leopard: Mrs. Fang (Wang Bing) Special Jury Prize: Good Manners (Juliana Rojas, Marco Dutra) Best Direction: F.J. Ossang (9 Doigts) Best Actress: Isabelle Huppert (Madame Hyde) Best Actor: Elliott Crosset Hove (Winter Brothers)Filmmakers of the Present Golden Leopard: ¾ (Ilian Metev) Special Jury Prize: Milla (Valerie Massadian) Prize for Best Emerging Director: Kim Dae-hwan (The First Lap) Special Mentions: Distant Constellation (Shevaun Mizrahi), Damned Summer (Pedro Cabeleira)Signs of Life Best Film: Cocote (Nelson Carlo De Los Santos Arias) Mantarraya Award: Phantasiesätze (Dane Komljen)First Feature Best First Feature: Scary Mother (Ana Urushadze)Art Peace Hotel Award: Meteors (Gürcan Keltek)Special Mention: Those Who Are Fine (Cyril Schäublin)Favorite MOMENTSFestival coverage by Daniel KasmanYacht Strafing, Gym Rivalry, Alcatraz Island: On Jacques Tourneur's Nick Carter, Master
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Rushes. Jerry Lewis, Locarno Festival, Serge Daney in English, "Nocturama" Debate

  • MUBI
Get in touch to send in cinephile news and discoveries. For daily updates follow us @NotebookMUBI.NEWSWe are devastated by the death of performer and director Jerry Lewis this week at the age of 91, one of the 20th century's greatest—and most inspiring—artists. Dave Kehr for The New York Times has penned an excellent obituary, and it's worth revisiting Christoph Huber's 2013 coverage of the Viennale's epic retrospective of Lewis's work as an actor and a filmmaker. Last year, Adrian Curry published a selection of the international poster designs for Lewis's films.The Locarno Festival wrapped last week, with the top prize going to Chinese documentarian Wang Bing's Mrs. Fang. We were at the festival covering it day by day, including its retrospective of Hollywood genre director Jacques Tourneur (Cat People, Out of the Past). See all the awards and read our coverage from the Swiss film festival.Recommended VIEWINGThe
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Locarno Film Review: ‘Good Manners’

Locarno Film Review: ‘Good Manners’
Some genre films are enjoyable to watch but leave no trace in the brain’s synapses, whereas others dig deeper, playing with fantasy elements to address issues that matter in the real world, where mythical creatures (and superheroes for that matter) don’t exist. “Good Manners” falls into that latter category, thanks to the diligence shown by writer-directors Juliana Rojas and Marco Dutra, who use werewolf mythology to comment on class, difference and desire. Shrewder than their previous collaboration “Hard Labor,” a more heavy-handed parable on economic disparity, the duo’s new film is also more stylized, grounded in a 1940s and ’50s Hollywood aesthetic, yet updated for today. Although definitely overstretched at more than two hours, and not certain how to negotiate certain tonal shifts, “Manners” has much to recommend it, as recognized by Locarno’s Special Jury award. A lesbian subtheme means that specialty festivals besides genre ones will increase exposure, which
See full article at Variety - Film News »

Favorite Moments from Locarno Festival 2017: Confronting Death, Raúl Ruiz Returns, Japan Diaries

  • MUBI
The Wandering Soap OperaThis year at the Locarno Festival I am looking for specific images, moments, techniques, qualities or scenes from films across the 70th edition's selection that grabbed me and have lingered past and beyond the next movie seen, whose characters, story and images have already begun to overwrite those that came just before.***The camera’s brief tracking movements in Jacques Tourneur's Appointment in Honduras (1953). This filmmaker, to whom Locarno is devoting an extensive retrospective, is not a formalist like some of his more acclaimed contemporaries like John Ford, Otto Preminger, or Hitchcock, whose overt and idiosyncratic use of the camera makes far more obvious each director’s perspective on their stories. But that doesn't mean Tourneur didn't have formal flourishes, and none are so lyrically charged as the subtle and surprising times in his films when there’s a cut and suddenly the camera is floating
See full article at MUBI »

Favorite Moments from Locarno Festival 2017: Astrologic/Catastrophic, Wild Cowboys, Endless Partying

  • MUBI
This year at the Locarno Festival I am looking for specific images, moments, techniques, qualities or scenes from films across the 70th edition's selection that grabbed me and have lingered past and beyond the next movie seen, whose characters, story and images have already begun to overwrite those that came just before.***The astrologic and the catastrophic in Gürcan Keltek’s Meteors (Filmmakers of the Present). Like Patricio Guzmán’s Nostalgia for the Light, this poetic documentary finds deeply painful but also awesome connection between cosmic phenomenon and a nation’s internal bloodshed: the occurrence in 2015 of a meteor shower over Turkey at a time of martial law and violent repression of the Kurds. In beautifully grainy video, the luminous streaks across the night sky rhyme with and contrast against the gunfire and smoke of the government action. Cell phones record the bullet scars on the buildings, virtual evidence of material tragedy,
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Favorite Moments from Locarno Festival 2017: Piano Practice, D.Y.I. Sci-Fi, Modernist Action

  • MUBI
3/4This year at the Locarno Festival I am looking for specific images, moments, techniques, qualities or scenes from films across the 70th edition's selection that grabbed me and have lingered past and beyond the next movie seen, whose characters, story and images have already begun to overwrite those that came just before.***A girl on the verge of womanhood practicing piano in the living room of her instructor in Ilian Metev’s ¾ (Filmmakers of the Present). It hardly matters if actress Mila Mikhova is actually playing the piano or not in Metev’s loose, gently improvising Bulgarian drama of a three-member family—adolescent boy, teen sister and their father—each on the cusp of a new movement in their lives. We see her face pursed but pretty, concentrating hard, deep in her attempt, frustrated at her limitations, and embarrassed by her perceived faults. The music flows and halts, the kindly
See full article at MUBI »
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