(Keine Gnade für Ulzana)
All-region Blu-ray + Pal DVD
1972 / Color / 1:85 widescreen / 103 min. / Street Date November 9, 2017 / available through the Amazon Germany website / Eur 17,99
Starring: Burt Lancaster, Richard Jaeckel, Bruce Davison, Jorge Luke, Joaquín Martínez, Lloyd Bochner, Karl Swenson, Douglass Watson, Dran Hamilton, Gladys Holland, Aimee Eccles, Tony Epper, Nick Cravat, Richard Farnsworth, Dean Smith.
Cinematography: Joseph Biroc
Film Editor: Michael Luciano
Original Music: Frank De Vol
Written by Alan Sharp
Admission is Free though we will be setting out a jar to take donations for the National Children’s Cancer Society.
First up Is Arthur (1981)
Dudley Moore’s (Oscar-nominated) greatest performance carries the heart-warming romantic comedy Arthur (1981) about a ridiculously wealthy man who does what he wants whenever he wishes, but lacks the happiness he craves. Arthur’s life looks up though when he meets waitress Linda (Liza Minnelli), but he’s already engaged to the rich Susan (Jill Eikenberry) so that’s a major problem since his rich granny threatens to cut him out of the will.
Reviewed by Glenn Erickson
Director Robert Aldrich had come through with successes for Burt Lancaster's production company (Apache, Vera Cruz
Mad Max: Fury Road 3-D Blu-ray, 2-D Blu-ray, DVD, Digital HD
Mad Max: Fury Road 3-D Blu-ray, 2-D Blu-ray, DVD, Digital HD Warner Home Video 2015 / Color / 2:35 widescreen / 120 min. / Street Date March 24, 2015 / 44.95 Starring Tom Hardy, Charlize Theron, Nicholas Hoult, Hugh Keays-Byrne, Josh Helman, Nathan Jones, Zoöe Kravitz, Rosie Huntington-Whiteley, Riley Keough, Abbey Lee, Courtney Eaton, John Howard, Richard Carter, Iota, Angus Sampson, Jennifer Hagan, Megan Gale, Melissa Jaffer. Cinematography John Seale Editor Margaret Sixel Original Music Tom Holkenborg Written by George Miller, Brendan McCarthy, Nick Lathouris Produced by George Miller, Doug Mitchell, P.J. Voten Directed by
One of the most consistently fascinating collaborations in cinema is that of the director and actor.
This article will examine some of the great director & actor teams. It’s important to note that this piece is not intended as a film history survey detailing all the generally revered collaborations.
There is a wealth of information and study available on such duos as John Ford & John Wayne, Howard Hawks & John Wayne, Elia Kazan & Marlon Brando, Akira Kurosawa & Toshiro Mifune, Alfred Hitchcock & James Stewart, Ingmar Bergman & Max Von Sydow, Federico Fellini & Giulietta Masina/Marcello Mastroianni, Billy Wilder & Jack Lemmon, Francis Ford Coppola & Al Pacino, Woody Allen & Diane Keaton, Martin Scorsese & Robert DeNiro
Looking at the Best Actor Academy Award nominations for the film year 2012, the one miss that clearly cries out for more attention is Liam Neeson’s powerful performance in Joe Carnahan’s excellent survival film The Grey, easily one of the best roles of Neeson’s career.
In Neeson’s case, his lack of a nomination was a case of neglect similar to the Albert Brooks snub in the Best Supporting Actor category for the film year 2011 for Drive(Nicolas Winding Refn, USA).
Along with negligence, other factors commonly prevent outstanding lead acting performances from getting the kind of critical attention they deserve. Sometimes it’s that the performance is in a film not considered “Oscar material” or even worthy of any substantial critical attention.
Alan Sharp, who has died of brain cancer aged 79, once claimed that as a screenwriter he was most interested in "moral ambiguity, mixed motives and irony", all of which are applicable to two of his best movies, the western Ulzana's Raid (1972), directed by Robert Aldrich, and the thriller Night Moves (1975), directed by Arthur Penn. Most of his screenplays were written in the 1970s and reflect the era in which America was suffering the effects of the Vietnam war and post-Watergate paranoia. This goes some way to explaining the bleakness and cynical sense of destiny in Sharp's films, which he called "existential melodramas".
He was born in Alyth, near Dundee. Although the majority of his scripts were set in the Us, where he lived for many years, Scotland remained pre-eminent in his character and culture. His script for Rob Roy (1995), a
I’ve always loved this Polish poster for Billy Wilder’s Love in the Afternoon, with its ethereal collage of photography and daubs of paint (not to mention perfectly tasteful type), and I knew that its designer, Wojciech Fangor, had designed a number of other posters in a similar style. But until I started looking into him for Movie Poster of the Week, I had no idea that he is one of Poland’s pre-eminent artists and is still alive and well at the age of 90. Not only that, but he is currently being fêted with a major exhibition, titled Space as a Game, at the National Museum in Krakow (it closes tomorrow if you’re lucky enough to be in the vicinity).
Born in 1922, Fangor was reared on the paintings of Picasso, Matisse and Léger that he would see
During the Old Hollywood era, Westerns typically had been B-caliber productions, most of them favoring gunfights and barroom brawls over dramatic substance, and nearly all adhering to Western tropes which ran back to the pre-cinema days of dime novelist Ned Buntline. With the 1960s, however, the genre began to change; or, more accurately, expand, twist, and even invert.
To be sure, there would
The American movie – a celluloid telling that was more than a skit – was born in a Western: Edwin S. Porter’s 11- minute The Great Train Robbery (1903). Thereafter, Westerns grew longer, they grew more complex. The West – hostile, endless, civilization barely maintaining a toehold against the elements, hostile natives, and robber barons – proved an infinitely plastic setting. In a place with no law, and where
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"An extraordinary movie is being screened at Anthology Film Archives [today] through Sunday," writes the New Yorker's Richard Brody: "Unfinished Business, a bitterly passionate romantic drama with a relentless comic tone, from 1941, starring Irene Dunne and Robert Montgomery and directed by Gregory La Cava. It's part of the ongoing series Stuck on the Second Tier: Underknown Auteurs, programmed by Miriam Bale, and you can't get it on home video." And it's "a minor masterwork of performance, direction, and screenwriting."
Unknown Auteurs is actually a set of series running at various locations in New York, with Anthology focusing on La Cava; the Film Society of Lincoln Center and the Museum of the Moving Image, for example, will have other editions soon, but for now, Michael Rawls has an overview of the La Cava selections in Cinespect and David Cairns wrote about Unfinished Business here in the Notebook yesterday.
Blow Out (Criterion) Brian De Palma’s greatest Hitchcock homage, with a dash of Antonioni thrown in for good measure. John Travolta gives one of his best turns as a sound-effects engineer who unwittingly records a political assassination, then finds himself hunted by a ruthless hitman (John Lithgow, a memorably creepy psycho) after saving the life of the kindly, albeit dim-witted call girl (Nancy Allen, excellent) who was with the deceased. Terrific blend of suspense and very black humor, perhaps De Palma’s finest hour as an auteur. Beautifully shot by Vilmos Zsigmond. Also available on Blu-ray disc. Bonuses: Interviews with De Palma, Allen, cameraman Garrett Brown; Photo gallery; De Palma’s 1967 feature Murder a la Mod; Trailer. Widescreen. Dolby and DTS-hd 2.0 surround.
Kes (Criterion) Ken Loach’s landmark 1970 film is both a heart-rending portrait of adolescence, and a pointed socio-political commentary on life in the North of England.
The film, by a director with whom I have no familiarity, was quite a discovery: a dark, morose, low-budget Western (and crypto Korean War film) that stars Gregory Peck as a "valiant" cavalry officer who leads a ragtag group of miscreant soldiers and non-coms on a suicide mission to defend a strategic pass from the Apache. The story and atmosphere is absolutely post-WW2; there's both a nastiness of the soldiers (anticipating films by Robert Aldrich, including the somewhat similar The Dirty Dozen) which reflects the more cynical attitude towards war and violence of the era, as well as an abstraction to the cause and ideology of
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