Archive for April 1st, 2014

Miracle find in basement of this Liverpool fish n chips shop in the U.K.


The unthinkable has happened, and film fans around the world are in frenzied celebration.  The owner of a Liverpool fish n chips store, Edward Fotheringham came forward late last night with news that has rocked the earth on it’s axis.  Once owned by a collector who dealt with underground acquisitions during the war, but who subsequently vanished, mint condition complete prints of the two most hoped for mutilated films were housed in a safe that Fotheringham said was found during basement excavation.  The print for GREED runs nine hours, while THE MAGNIFICENT AMBERSONS runs close to four.

Film historians and authorities are estimating the find to yield Fotheringham tens of millions at auction later this month at Southbys, and early reports indicate Queen Elizabeth will be active in the bidding.

The winner will no doubt be besieged by film fans to commission a theatrical run and corresponding blu ray release.  The great grand daughter of Greed’s venerated director Erich von Stroheim told The Daily Mail that her famous ancestor is celebrating in heaven, while descendants of Welles are envisioning the iconic director lighting up the biggest Cuban cigar after the incredible news.

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morning a

by Allan Fish

(Yugoslavia 1967 75m) not on DVD

Aka. Jutro

Freedom starts in the morning

d/w Mladomir Djordjevic ph Mihajlo Popovic ed Mirjana Mitic m Miodrag Ilic-Beli

Ljubisa Samardzic (Mali), Neda Arneric (girl), Milena Dravic (Slobodanka), Mija Aleksic (Capt.Straja), Ljuba Tadic (Gen.Milan Prekic), Neda Spasojevic (Marklena), Jelena Jovanovic (Ruza), Olga Jancevecka (Stana),

When it comes to Yugoslavian cinema, the west remains fairly ignorant. Essentially, it’s based around two figures; Makavejev in the sixties and Kusturica either side of the war that would tear the country into six or seven pieces. Yet Makavejev was only one of many directors at work in the sixties, and there are many whose work is worthy of some attention; Branko Bauer, Velkjo Bulajic, France Stiglic, Alexander Petrovic, Zvonimir Berkovic, Vojislav Rakonjac, Bostjan Hladnik, Ante Babaja or Zivojin Pavlovic, whose The Awakening of the Rats and When I am Dead and White came to embody the ‘black wave’ of Yugoslavian film of the period.

Only one or two of those directors have work represented here, but this is quite possibly a defect on my part, for Yugoslavian film has always been the odd one out amongst the old eastern bloc cinemas. We know Polish film, we know Czech, we know Hungarian. Yugoslavian was different. The people were different, the Romany DNA and the close proximity to Italy lent itself to exaggerated passions and structureless anarchy. Like Czech film, Yugoslavian film was subversive, but Czech film was gentler; its films seemed to ring the doorbell of authority and run. Yugoslav films rather seemed to put a Molotov cocktail through authority’s letterbox. (more…)

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