Medium Cool (1969) - News Poster



Telluride Film Review: ‘They’ll Love Me When I’m Dead’

  • Variety
Telluride Film Review: ‘They’ll Love Me When I’m Dead’
It is perhaps the most famous movie never made. Orson Welles’ “The Other Side of the Wind” was intended to be his magnum opus, an ambitious meta-movie about a filmmaker’s last night on Earth, intercut with footage of his final project — a parody of an over-stylized 1970s atmospheric art film in the vein of Antonioni, et al. But Welles didn’t finish the movie, and now, Netflix has come to the rescue, ponying up to complete this missing piece of the master’s oeuvre — which is not quite the same thing as a “masterpiece,” alas, though that word will get used plenty.

A companion documentary about Welles’ particular obsession with this film, and the final decade or so of his career, “They’ll Love Me When I’m Dead” is not a traditional making-of, nor is it an especially useful reference to how the movie came to be completed.
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Feature: Warren Beatty, Robert Klein and ‘Medium Cool’ Remember Aug. 28, 1968, in Chicago

Chicago – It was 50 years ago today – August 28th, 1968 – that Chicago Police and Viet Nam War protestors clashed in front of the Hilton Chicago Hotel on Michigan Avenue, while the Democratic National Convention was in town nominating Hubert Humphrey as their presidential candidate. As the police used excessive force on the protestors, the “whole world was watching.” This included witnesses actor/director Warren Beatty, comedian Robert Klein, and the production crew – including future director Andrew Davis – of the Haskell Wexler film “Medium Cool.”

Medium Coolers: Writer/Director/Cinematographer Haskell Wexler and Director Andrew Davis

Photo credit: Joe Arce of Starstruck Foto for

The story of “Medium Cool” (released in 1969) is quite remarkable. Writer/Director Haskell Wexler had already won an Oscar as Director of Photography for “Who’s Afraid of Virginia Woolf,” and was one of the most sought after cinematographers during that era. Although “Medium Cool” was a narrative feature film,
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Slideshow, Audio: Chicago International Film Festival Summer Gala Celebrates Michael Kutza

Previous | Image 1 of 6 | NextCelebration: Michael Kutza, Founder of the Chicago International Film Festival.

Chicago – It was a night of stars, tributes and memories as Cinema/Chicago, the organization that presents the annual Chicago International Film Festival, honored the Founder of the Fest (and longtime Artistic Director) Michael Kutza at their 2018 Summer Gala on July 14th. Appearing on the Red Carpet to honor the Chicago cinema icon, who will be retiring at the end of the year, were movie stars Kathleen Turner and Terrence Howard, directors Andrew Davis (“The Fugitive”) and Steve James (“Hoop Dreams), as well as the iconic movie producer Paula Wagner.

Michael Kutza was 22 years old in 1965, when he founded the Chicago International Film Festival, with former silent film star and Chicagoan Colleen Moore. He was Artistic Director until 2017, and held that title longer than any other festival Ad in history… and in honor of that record and
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Blu ray

Olive Films

1970 /1:85 / Street Date April 24, 2018

Starring Peter Boyle, Susan Sarandon

Cinematography by John Avildsen

Written by Norman Wexler

Directed by John Avildsen

Galvanized by Martin Luther King’s assassination, an army of protestors descended upon 1968’s Democratic convention then playing out on Chicago’s south side. They were greeted by an enraged mayor who made sure there would be no contest between his men in blue and their bell-bottemed adversaries – cops came out swinging and left Michigan Avenue swimming in blood and the smell of tear gas.

Like Vietnam, Richard Daley’s Windy city purge was a living room war – a TV sensation that ensured the whole world would be watching. It took some time for movies to catch up. Films like Medium Cool and Easy Rider met the head-cracking controversy head on but big studio releases related to this particular counter-culture moment tended toward docile
See full article at Trailers from Hell »

Movie Poster of the Week: 60s Verité

  • MUBI
Above: French poster for Chronicle of a Summer (Jean Rouch & Edgar Morin, France, 1961). Design by Raymond Gid.There is an essential and vital film series opening today at Film Forum in New York: a survey of 1960s Cinema Verité productions which brings vividly to life a decade of instability and protest as well as a new era of introspection. While this survey of posters doesn’t give a complete look at the series—“more than 50 modern classics which not only changed the recording of social history, but revolutionized filmmaking itself”—since many of the films are not feature-length (some of the shows pair an hour long film with a 30 minute short) and thus were not theatrically released. But those that I’ve gathered do convey the urgency of the movement as well as its seat-of-the-pants guerrilla style of film marketing as much as film making.I’ve not included the
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Review: Christopher Doyle Visually Dazzles, Narratively Disappoints in ‘Hong Kong Trilogy’

An often serenely meditative exploration of sociopolitical life in contemporary Hong Kong, Christopher Doyle’s Hong Kong Trilogy is a stunningly-photographed blend of documentary and fictional narrative, following real locals playing themselves. We can’t tell where real life ends and fiction begins, and ultimately, we don’t care. The film marks Doyle’s first directorial effort, crowdfunded via a Kickstarter campaign in 2014. Doyle, the self-proclaimed Keith Richards of cinematographers, is one of the most beloved and provocative DPs in the world, endowed with an exquisite eye for composition. His new film, however, meanders around for a merciful 85 minutes before fading to black, never fusing together into anything impacting, beyond a fleetingly casual interest in the characters. Other than that, we’re left with just a handful of dazzling visuals to recall, and little more.

The film is divided across three chapters. The first, titled Preschooled, follows the students of a local private school,
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The Loved One / Broken Arrow

The Loved One


Warner Archives

1965 / B&W / 1:85 / / 122 min. / Street Date May 9, 2017

Starring: Robert Morse, Jonathan Winters, Anjanette Comer.

Cinematography: Haskell Wexler

Film Editor: Hal Ashby, Brian Smedley-Aston

Written by Terry Southern, Christopher Isherwood

Produced by Martin Ransohoff (uncredited), John Calley, Haskell Wexler

Directed by Tony Richardson

Funeral Director: Before you go, I was just wondering… would you be interested in some extras for the loved one?

Next Of Kin: What kind of extras?

Funeral Director: Well, how about a casket?

Mike Nichols and Elaine May – The $65 Dollar Funeral

That routine, a classic example of what was known in the early 60’s as “sick humor”, was nevertheless ubiquitous across mainstream variety shows like Ed Sullivan and Jack Paar. It also popularized the notion of a new boutique industry, the vanity funeral. The novelist Evelyn Waugh, decidedly less mainstream, documented the beginning of that phenomenon over a decade earlier with The Loved One,
See full article at Trailers from Hell »

Springtime in L.A.: Indian Film Festival of Los Angeles

Springtime in L.A.: Indian Film Festival of Los Angeles
It’s over but it opened L.A.’s newest spring season of unlimited international film screenings all over the city throughout the month of April and into Cannes.

The 15th annual Indian Film Festival of Los Angeles (Iffla) opened with “Lipstick Under My Burkha” and its impressive ensemble cast of Konkona Sen Sharma, Ratna Pathak, Aahana Kumra and Plabita Borthakur in a dramatic, but irreverent and vibrant film about women and faith. The film premiered at the Tokyo Film Festival 2016 and has been lighting up the festival circuit, including just winning the Audience Award at the Glasgow Film Festival. Director Alankrita Shrivastava is confirmed to attend and additional talent to be confirmed.

Lipstick Under My Burkha

Iffla concluded on April 9 with a red carpet and gala that featured the Los Angeles premiere of Shubhashish Bhutiani’s “Hotel Salvation” starring Adil Hussain who was in attendance, as well as the
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‘Network’ Turns 40: Here Are 3 Ways It Changed How We Understand News Media

  • Indiewire
‘Network’ Turns 40: Here Are 3 Ways It Changed How We Understand News Media
Because 2016 cares not for subtlety, this month marks the 40th anniversary of “Network.” Since its release in November 1976 to wide praise and an eventual heap of Oscars, director Sidney Lumet and writer Paddy Chayefsky’s excoriation of the exponentially money-driven, bottom-feeding tendencies of television news has only grown in renown, as each angry pundit updates the film’s library of prophecies about The State of Television Today.

With the ascent of an actual reality TV star to the U.S. Presidency following a broadcast news cycle that worked for everything but a dedication to public interest, it would seem that this depressing political season has reached the logical end of the film’s apocalyptic forecast, landing on a reality too absurd for even “Network” to dramatize: Howard Beale as President. However, as we reflect on what’s gone wrong with contemporary news media and political culture, it’s important to
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NYC Weekend Watch: ‘Love Streams,’ ‘Tanner ’88,’ ‘Medium Cool’ & More

Since any New York cinephile has a nearly suffocating wealth of theatrical options, we figured it’d be best to compile some of the more worthwhile repertory showings into one handy list. Displayed below are a few of the city’s most reliable theaters and links to screenings of their weekend offerings — films you’re not likely to see in a theater again anytime soon, and many of which are, also, on 35mm. If you have a chance to attend any of these, we’re of the mind that it’s time extremely well-spent.


The “Cassavetes/Rowlands” series ends on a real high note.

This Saturday, Dead Man plays with Jim Jarmusch and Chris Eyre in-person. It also screens on Sunday as part of “Native to America,” a series that brings the latter’s Smoke Signals on the same day.

Lucio Fulci‘s A Cat in the Brain screens on Saturday.
See full article at The Film Stage »

The Best of Movie Poster of the Day: Part 13

  • MUBI
Above: Us one sheet for Knight Of Cups (Terrence Malick, USA, 2015); designer: P+A.Leaps and bounds ahead of the competition, the beautiful new poster for Terrence Malick’s Knight of Cups was by far the most popular poster (tallied in likes and reblogs) that I have posted on my daily poster Tumblr since last October. Unveiled nearly a whole year after the first poster for the film premiered at last year’s Berlin Film Festival (that which made my top ten posters of 2015), the new poster retains the arcane and antique feel of that design—not to mention the palm trees—while making it only moderately more commercial with its image of star Christian Bale (albeit upside down and barely recognizable) haloed by a giant harvest moon.Sadly, much of the past month or two has been spent commemorating those we lost: Jacques Rivette, Haskell Weller, Ettore Scola, artist
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As we lose two titans of cinematography, we wonder how cinema's future looks

  • Hitfix
As we lose two titans of cinematography, we wonder how cinema's future looks
While the holidays unfolded, we lost two of the greatest photographers to ever work in cinema, and it's only when you look back at the filmography they leave behind and the legacy they passed on to all the cameramen who worked under them and then went on to shoot films of their own that you understand the magnitude of what we've lost. There was a point in my own film education when I stopped going from actor to actor or from director to director in the way I was watching movies and spent a summer going from cinematographer to cinematographer, and doing that proved to be an education in the tricky definition of what we call "authorial voice" in film. I think it is only in collaboration that magic happens, and one of the people who has to be absolutely killing it for that to work is the cinematographer. The
See full article at Hitfix »

Weekly Rushes. 30 December 2015

  • MUBI
Rushes collects news, articles, images, videos and more for a weekly roundup of essential items from the world of film.NEWSThe great cinematographer and filmmaker Haskell Wexler (1922 - 2015), the man behind the images of Who's Afraid of Virginia Woolf, Medium Cool (which he directed) and Coming Home, has died at the age of 93. Keyframe has a roundup of information and remembrance.An unexpected announcement from Film Comment informs us that their Editor of the last 15 years, Gavin Smith, is leaving the magazine after the January/February 2016 issue. The Film Society of Lincoln Center is embarking "upon the search for a new Editor."Recommended VIEWINGQuentin Tarantino discusses the making of The Hateful Eight with Christopher Nolan at the Directors Guild of America.Mann Sparks: Many new videos have been added to director and critic Ryland Walker Knight's video project collaborating with other filmmakers to make "cinematic mixtape[s]" from the films
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Interview: Sean Baker Talks Tangerine

David Opie chats with Tangerine director Sean Baker

Famed for being shot entirely on an iPhone, Tangerine’s fascinating insight into the trans community has led to it becoming the breakout indie of the year, enjoying incredible reviews across the board. With awards season looming, Tangerine has earned its rightful place in many rundowns of the years best movies. David Opie sits down with director Sean Baker to discuss Tangerine’s many astonishing achievements. Our five star review is available to read here…

David Opie: Congratulations on the success of Tangerine. You’ve had an amazing critical response. I keep seeing the film appear on many critics best end of year lists. Did you ever think Tangerine would perform as well as it has? Have you been surprised by the film’s success?

Sean Baker: A little bit, yeah. I thought the film would divide audiences and critics 50/50. I
See full article at Flickeringmyth »

Watch: Step 'Inside the Criterion Collection' With Haskell Wexler

Watch: Step 'Inside the Criterion Collection' With Haskell Wexler
Read More: Haskell Wexler, Legendary Cinematographer, Dead at 93 Since the news broke yesterday that legendary cinematographer and filmmaker Haskell Wexler had passed away at the age of 93, a flood of tributes has been pouring in from across the industry. The two-time Oscar winner — his black-and-white photography on "Who's Afraid of Virginia Woolf" (1966) remains a gold standard for the medium — worked with many of the greats across his nearly seven decades in the business, from Hal Ashby to John Cassavetes, Elia Kazan, Mike Nichols, Milos Forman and Terrence Malick. Wexler was also a director himself, and his 1969 debut "Medium Cool" represents one of the finest dramas ever made centered around American television. Blending fiction and non-fiction in both storytelling and form — it uses an aesthetic akin to cinéma vérité-style documentaries — the movie revolves around a...
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Film News: Cinematographer, Oscar Winner Haskell Wexler of ‘One Flew Over the Cuckoo’s Nest’ Dies at 93

Los Angeles – At the 2013 Chicago International Film Festival awards ceremony at the Ambassador East, an older man started shooting me with a video camera in the bar area. Later that same man, Haskell Wexler, picked up a lifetime award at that ceremony. Haskell Wexler died on Dec. 27, 2015, at the age of 93.

Haskell Wexler, Oscar Winning Cinematographer

Photo credit: Joe Arce of Starstruck Foto for

Wexler won two Oscars for his cinematography, for “Who’s Afraid of Virginia Woolf” – the last separate Oscar given for Black & White cinematography – and “Bound for Glory,” which was also notable for the first use of the Steadicam. The rest of his resume isn’t too shabby either, with Best Picture winners or nominations for “In the Heat of the Night, “One Flew Over the Cuckoo’s Nest.” “America America” and “Coming Home.” Wexler had five Oscar nominations, including his wins, during his career.
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Famed Cinematographer Haskell Wexler Dies At Age 93

Visual consultant Haskell Wexler prior to a screening of “American Graffiti,” presented at Oscars® Outdoors by the Academy of Motion Picture Arts and Sciences on Friday, August 2, 2013. credit: Todd Wawrychuk / ©A.M.P.A.S.

Haskell Wexler, one of Hollywood’s most famous and honored cinematographers and one whose innovative approach helped him win Oscars for “Who’s Afraid of Virginia Woolf?” and the Woody Guthrie biopic “Bound for Glory,” died Sunday. He was 93.

From the AP:

Wexler died peacefully in his sleep, his son, Oscar-nominated sound man Jeff Wexler, told The Associated Press.

A liberal activist, Wexler photographed some of the most socially relevant and influential films of the 1960s and 1970s, including the Jane Fonda-Jon Voight anti-war classic, “Coming Home,” the Sidney Poitier-Rod Steiger racial drama “In the Heat of the Night” and the Oscar-winning adaptation of Ken Kesey’s “One Flew Over the Cuckoo’s Nest.
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Haskell Wexler, Oscar-Winning Cinematographer, Dead at 93

Haskell Wexler, Oscar-Winning Cinematographer, Dead at 93
Haskell Wexler, the director of the cult classic Medium Cool and one of Hollywood's most revered cinematographers, passed away Sunday at the age of 93. The director of photographer's son Jeff Wexler confirmed his father's death, writing on his official website, "It is with great sadness that I have to report that my father, Haskell Wexler, has died. Pop died peacefully in his sleep, Sunday, December 27th, 2015. Accepting the Academy Award in 1967, Pop said: 'I hope we can use our art for peace and for love.' An amazing life has
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R.I.P. Haskell Wexler (1922-2015)

There are few cinematographers who can count the likes of George Lucas, Terrence Malick, Milos Forman, Mike Nichols, and Elia Kazan among the directors they've worked with. Then again, there were few like Haskell Wexler, and sadly, he has passed away at the age of 93. Read More: Haskell Wexler's 'Medium Cool' Comes To Criterion Getting his start with industrial films and documentaries (he won an Emmy for "Paul Jacobs and the Nuclear Gang," Wexler made his major feature debut with "America, America" in 1963, and the next decade and more would be littered with classics. "Who's Afraid Of Virginia Woolf?," "In The Heat Of The Night," "Once Flew Over The Cuckoo's Nest," "Days Of Heaven," "American Graffiti,"  and more all found Wexler's talented eye on set. He was Oscar-nominated five times for Best Cinematography, winning twice, for 'Virginia Woolf' and Hal Ashby's "Bound For Glory." Aside from.
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Haskell Wexler dies at 93 by Amber Wilkinson - 2015-12-27 18:02:09

Haskell Wexler and Seamus McGarvey at Edinburgh International Film Festival in June. Photo: Lloyd Smith, © Eiff, Edinburgh International Film Festival All Rights Reserved Oscar-winning cinematographer Haskell Wexler - whose films included One Flew Over The Cuckoo's Nest and Who's Afraid Of Virginia Woolf - has died at age 93.

His death was confirmed by a post on">his blog. The Chicago born filmmaker - who took part in an In Person event with fellow cinematographer Seamus McGarvey at Edinburgh Film Festival this June - also wrote and directed films including Who Needs Sleep? and Medium Cool. He won Oscars for Who's Afraid Of Virginia Woolf and Hal Ashby's Woody Guthrie biopic Bound For Glory and contributed to Terrence Malick's Days Of Heaven, for which Nestor Almendros was awarded the cinematography Oscar.

Other films in his long career, included In The Heat Of The Night and The Thomas Crown Affair
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