Archive for December, 2012


by Allan Fish

Into the first of the new decade…the last great one for American film, but the beginning of Europe’s decline…

Best Picture The Conformist, Italy (10 votes)

Best Director Bernardo Bertolucci, The Conformist (8 votes)

Best Actor Jack Nicholson, Five Easy Pieces (9 votes)

Best Actress Catherine Deneuve, Tristana & Barbara Loden, Wanda (4 votes each, TIE)

Best Supp Actor Yves Montand, Le Cercle Rouge (5 votes)

Best Supp Actress Dominique Sanda, The Conformist (7 votes)

Best Cinematography Vittorio Storaro, The Conformist (7 votes)

Best Score Georges Delerue, The Conformist (4 votes)

Best Short Interviews with My Lai Veterans, US, Joseph Strick (3 votes)


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by Bob Clark

Of all the early pioneers of animation in Hollywood, perhaps none have gone so unduly forgotten as Hugh Harman and Rudolf Ising. The crucial part they played in the genesis in many of the first great cartoon characters has been largely overlooked nowadays. Few remember the work they did in the “Oswald the Lucky Rabbit” shorts alongside Ub Iwerks and Walt Disney, and how their designs paved the way for the likes of Mickey Mouse. A few more may remember the role they played in the foundation of Warner Bros.’ landmark animation studios, which would go on to spawn characters including Porky Pig, Daffy Duck and Bugs Bunny. But when modern-day critics recall their collaborations on with the Looney Tune and Merrie Melodies series, it is rarely with the same appreciation that later talents like Tex Avery, Friz Freleng and Chuck Jones would be granted, men who elevated the art of animation to comedic heights that can stand alongside the works of Mark Twain as first-rate works of American satire.


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By Roderick Heath

More than 20 years since the end of the Cold War, and nearly a half-century since the film was released, why is Stanley Kubrick’s seventh feature, a modish fantasia dealing with the perverse id and assailed mentality of its specific era, still so lauded, so beloved, so vital? How can a film with such subject matter still be considered a titanic work of cinematic comedy? Why does it stand tall when attempts to update it or reproduce its unstable blend of elements usually fall very, very short? Some answers: a great filmmaker at the height of his craft. A great comic actor also at his height, backed up by other superlative talents. A screenplay possessed of a pitiless intelligence and ornery wit. A time when taking risks in cinema was rapidly becoming more permissible, even necessary. Over and above all this, Dr. Strangelove helped to define something about the modern world that has survived even as the Cold War has faded. The apocalyptic anxiety it diagnosed and treated with mockery and gallows humour has hardly vanished, but has rather faded to the background static in our daily lives. Dr. Strangelove is a purgative rather than a wallow, however, a work of fatalistic fervour that is nonetheless perversely cheering precisely because it considers the worst the world had to offer and yet still finds the joie de vivre in it.

Dr. Strangelove began evolving when Kubrick, interested in dealing with the threat of nuclear war, had a book recommended to him credited to the pseudonym of former RAF officer Peter Bryan George. George’s novel, variously titled Two Hours to Doom or Red Alert, was a sober thriller depicting Armageddon almost brought about by a combination of human frailty and technological estrangement. Kubrick had been pushed close to the summit of Hollywood success in helming Kirk Douglas’ earnest projects Paths of Glory (1957) and Spartacus (1960) only a few years after the precocious former photographer had broken into the industry with self-financed films. But frustrating experiences making Spartacus and One-Eyed Jacks (1961), from which he was fired, soured him on Hollywood. Kubrick had recently made what proved a permanent move to Britain to shoot Lolita (1962), a movie that established him as a more eccentric and individualistic director than anyone had realised, gifted at tackling taboo subjects whilst maintaining an ironic but fervent empathy for tragically human protagonists. (more…)

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by Allan Fish

(UK 2004 180m) not on DVD

We will defeat what doesn’t exist

p/d/w  Adam Curtis  narrated by  Adam Curtis

We live in an age of conspiracy theories, of shadows in light and evil lurking around the corner.  On film we already have a skewerer in the shape of Michael Moore, and if his films are more cinematic than those of Adam Curtis, they are more heavily biased, more bombastic and self-dating.  Will anyone watch Fahrenheit 9/11 twenty years from now?  I don’t think so, but I think that Adam Curtis’ three part TV series (later edited down for film) will be seen and is far more intriguing as a piece of investigative journalism than Michael Moore’s.  There’s nothing technically innovative about Curtis’ film, as formulaic in its making as any one of a hundred Panorama or 60 Minutes investigations.  And yet the satirical wit and the sense of what could only be described as the ridiculous will I think prevent it from dating as much as it may otherwise have done. (more…)

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By Marilyn Ferdinand

Among the many genius works of renaissance man Charlie Chaplin, City Lights stands as a singular achievement. It is not that other Chaplin films aren’t as funny, and the story for City Lights is certainly not as ambitious as, say, Modern Times (1936) or The Great Dictator (1940). If it were made today, we’d call it, perhaps dismissively, a romcom, a slapstick story of a poor man who loves a blind girl and uses his dubious encounters with the more prosperous outside world to help her.

Some may say that City Lights gets its reputation as Chaplin’s greatest film because of its miraculous last scene. No less a writer and film critic than James Agee had this to say about that famous scene:

“At the end of City Lights the blind girl who has regained her sight, thanks to the Tramp, sees him for the first time. She has imagined and anticipated him as princely, to say the least; and it has never seriously occurred to him that he is inadequate. She recognizes who he must be by his shy, confident, shining joy as he comes silently toward her. And he recognizes himself, for the first time, through the terrible changes in her face. The camera just exchanges a few quiet close-ups of the emotions which shift and intensify in each face. It is enough to shrivel the heart to see, and it is the greatest piece of acting and the highest moment in movies.”

As I watched that ending for the umpteenth time, and the hubby saw it for the very first time, our eyes moistened and our hearts agreed—this scene is indeed the finest ever committed to film. He and I, however, didn’t agree about what happened in the scene, and indeed, I don’t agree with Agee about The Tramp suddenly seeming inadequate to himself when The Girl’s realization of who he really is is reflected back to him. But more on that later. (more…)

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by Ed Howard

The General is one of the purest delights that the cinema has to offer. Its construction, and its appeal, is utterly simple, and yet there’s a visual poetry to it that goes far beyond its minimalist surface. Buster Keaton’s most famous feature, co-directed with Clyde Bruckman, is quite possibly also his best, and certainly the most direct, undiluted example of his kinetic, visceral comedic action. The film has not a shred of fat on it, not a wasted moment. There’s none of the sometimes meandering set-up that kicks off some of Keaton’s lesser features, no need here for extended exposition or narrative. It’s just one great scene, one great pantomime gag, after another.

Keaton plays Johnny Gray, a train engineer on a Southern rail line during the Civil War. When the war starts, he tries to enlist and is rejected because his civilian job is too important, but his girlfriend Annabelle (Marion Mack) and her family just thinks he’s a coward, so the serious young man — who, a title card informs us, loves only his train and his girl, probably in that order — is eager to prove his bravery and his masculinity. With that out of the way, the film then hurtles forward into the two extended railroad chase sequences that together comprise virtually the entirety of its running time. The film is neatly halved: in the first half, Keaton pursues a group of Union train thieves across Union lines, and in the second half he steals back his train and is chased by the Union army back across Confederate lines, in a race to warn the South before a sneak attack is sprung. (more…)

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by Jaime Grijalba.

a.k.a. In Another Country

director Hong Sang-soo

(South Korea, 89 min)

Hong Sang-soo is another of those korean directors that are always being talked about in certain circuits of film fanatics, critics and scholars, sometimes with more praise and analysis than any of those I mentioned in last week’s article about the south korean film Pieta, directed by Kim Ki-Duk. He seems to be regarded as a director who has a distinct sensibility and set of themes that he puts forward in every one of his films, and he also seems to be pretty regular and prolific in that sense too, putting at least one movie a year for the past 5 years, and more or less a movie every 2 years since 1996 with his debut ‘The Day a Pig Fell into the Well’ (1996). As important as the director is in this concept for a film, and its (sometimes innecesary) intricate storytelling, the most important and noticeable thing about this film is its main character: the talented and famous french actress Isabelle Huppert. It’s amazing to see how her career has advanced and expanded as years have gone by, specially in these recent years, as we see many of the most important directors of the world look for her to star in their movies, and so she has only gone up and above any expectation, with over a 100 movies in her repertoire, and with only 62 years of age (you wish you looked like her when you were 62 sistah). Just in 2012 she starred in the italian film ‘Bella addormentata’ (2012) directed by Marco Bellocchio, the portuguese production ‘Linhas de Wellington’ (2012) directed by Raúl Ruiz’s widow Valeria Sarmiento (since he died when it was in pre-production, she was suggested to continue it), the pinoy film ‘Captive’ (2012) directed by the famous Brillante Mendoza, the french film ‘Amour’ (2012) directed by the german director Michael Haneke (where she plays a brilliant supporting performance), and in this south korean film… and here we’re talking just about this year, if we go back in time we see many collaborations with directors like Raúl Ruiz, Michael Haneke, Claire Denis, Ursula Meier, David O. Russell, François Ozon and even in an episode of ‘Law and Order: Special Victims Unit’ of all series that she could’ve starred in. (more…)

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By Jon Warner

At my parent’s house in Chicago there is this photo album with a slightly yellowed and faded photo. In it, is an image of a small boy, about age 4, who is holding an RCA videodisc in his hand. It is a copy of Duck Soup. He has a beaming smile. Yes….that was me. It sometimes strikes me as I look back at that photo and realize how much that film and the Marx Brothers have meant to me throughout my life. Back then, we would go visit my grandparents in Davenport, IA and my uncle would come over to visit in the evenings. He had an RCA videodisc player which he would bring over. He had a remarkable collection of titles. We would watch Shane, The Great Escape, The Bridge on the River Kwai, The Treasure of the Sierra Madre, among many others. He also had The Marx Brothers, who were my favorite. He had  Animal Crackers, A Day at the Races, and what I consider their best film and a landmark of comedy…Duck Soup. My brother and I would sit down in my grandparent’s basement watching these movies and laughing our heads off. This routine went on for years. (more…)

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by Allan Fish

(UK 2005 285m) DVD1/2

Aka. Auschwitz: The Nazis and the Final Solution

Arbeit Macht Frei

p  Laurence Rees  d  Martina Balazova, Dominic Sutherland, Detief Siebert  w  Laurence Rees  ph  various  ed  Alan Lygo  m  “Sarabande” by Georg F.Handel, W.A.Mozart (excerpts from “Requiem”), Arvo Pärt (“Spiegel im Spiegel”), Franz Schubert (“Piano Trio in E Flat”), etc.  narrated by  Samuel West

In 1947, actual Auschwitz inmate Wanda Jakubowska returned to the actual camp of Auschwitz now so much a euphemism for the entire Holocaust, to film her masterpiece The Last Stage.  The dust had hardly settled when she produced her unsettling insight into life in the camp.  Yet perhaps it would be more accurate to say a camp, not the camp.  The camp, the one spoken of still in such hushed tones of shock and abhorrence, was barely featured.  Her film was more about the Polish political prisoners working as slave labour.  Chimneys and crematoriums were kept in the background, though the sight in the distance of the unforgettable image of the main tower under which the trains brought their cargo of death signposted you really were at the real location.  Documentaries came and went on the subject, from Nuit et Brouillard to Shoah, but many years passed before a detailed look at the atrocities in the camp and its place in infamy would come forth. (more…)

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by Sam Juliano

The following is the transcript of classroom introduction, and post-film discussion in an undergraduate cinema studies class held in the Margaret Crowden Auditorium at Jersey City State College on the morning of Friday, September 10, 1972.

Professor Harold KeatonHello ladies and gentleman.  My name is Professor Harold Keaton and I would like to welcome you all to ‘Introduction to Cinema Studies till 1941’ Please check your schedule and make sure you are presently in the right class.  This is the Margaret Crowden Auditorium.  The class will convene every Friday morning from 8:30 till 11:40 A.M.  Depending on the running time of some of the features you can generally figure on a 15 minute break, at which time you are welcome to indulge in a snack that either was brought in or obtained at the student union building directly across from the entrance to this building.  I do not permit smoking in my class, so for those who indulge, you can avail youself of the break time outdoors.  The current fall semester, as many of you are already aware will run for fourteen weeks until the first week of December, when final exams will be administered.  The grade you earn in this class will be based on three components.  The first will be the cumulative average of two term papers that will deal with assigned topics that tie in with the weekly screenings.  The topics will be given out on the third week of class, and will be accepted voluntarily.  The best strategy is to complete the first before the halfway point, so that the final seven weeks can be utilized to negotiate the second one.  The second component is the final exam, which will be given during the second week in December.  The exam will take into account the films that are screened and the lectures and discussion that preceed and follow the viewings.  The last requirement to figure into your final grade will be active participation in class discussion and analysis.  I will closely monitor the contributions of each and every one of you, and can only advise you to be as animated as possible in your invlovement in class discussion.  I’d go as far as to say that this component may well be the weightiest of all three.  If there are any people who define themselves as shy, I’m sorry to say that this is not the class for you.  The first three weeks will cover silent comedy, with today’s sceening of The Gold Rush set to launch during today’s session.  Has anyone in this class ever seen the film, or have heard of the director and lead actor, Charles Chaplin?  Please state your name at all times before responding.

James Woods: I have seen a few shorts by Chaplin, that were once shown on Ch. 13, but I haven’t seen The Gold Rush.

Brian Leary: (coughing) I saw it once, but I can’t remember too much about it.  My father took me to some theatre across the river in Manhattan when I was about 11.  I remember my father laughing himself silly, and a few times I joined him. (more…)

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