william hill casino club no deposit bonus_free login betvictor poker_login bonus casino 500% first deposit bonus 2019 https://www.google.com//fbe/ Celebrating Films of the 1960s & 1970s en Serendipity 1.5.2 - http://www.s9y.org/ Tue, 17 Feb 2015 05:30:03 GMT /fbe/templates/default/img/s9y_banner_small.png RSS: Cinema Retro - David Savage - Celebrating Films of the 1960s & 1970s https://www.google.com//fbe/ 100 21 REVIEW: "FOXES" (1980) STARRING JODIE FOSTER AND SCOTT BAIO; BLU-RAY SPECIAL EDITION FROM KINO LORBER STUDIO CLASSICS https://www.google.com//fbe/index.php?/archives/8488-REVIEW-FOXES-1980-STARRING-JODIE-FOSTER-AND-SCOTT-BAIO;-BLU-RAY-SPECIAL-EDITION-FROM-KINO-LORBER-STUDIO-CLASSICS.html David Savage /fbe/index.php?/archives/8488-REVIEW-FOXES-1980-STARRING-JODIE-FOSTER-AND-SCOTT-BAIO;-BLU-RAY-SPECIAL-EDITION-FROM-KINO-LORBER-STUDIO-CLASSICS.html#comments /fbe/wfwcomment.php?cid=8488 0 /fbe/rss.php?version=2.0&type=comments&cid=8488 nospam@example.com (Cinema Retro) <p><!-- s9ymdb:7581 --><img class="serendipity_image_center" width="450" height="547" src="/fbe/uploads/FOXES1.jpg" /> </p> <p><strong>BY DAVID SAVAGE</strong></p><span id="docs-internal-guid-bae70b5f-95bc-ad55-8e5f-5577896a4d08"> <p dir="ltr" style="line-height: 1.38; margin-top: 0pt; margin-bottom: 0pt;"><span style="font-size: 13px; font-family: Verdana; color: #000000; vertical-align: baseline; white-space: pre-wrap; background-color: transparent;">Kino Lorber was right to bring out </span><span style="font-size: 13px; font-family: Verdana; color: #000000; font-style: italic; vertical-align: baseline; white-space: pre-wrap; background-color: transparent;">Foxes</span><span style="font-size: 13px; font-family: Verdana; color: #000000; vertical-align: baseline; white-space: pre-wrap; background-color: transparent;"> (1980) in Blu-ray under their KL Studio Classics series. The elegant re-issue seems aimed at convincing film snobs that this little gem from the last days of disco finally deserves their attention after a distance of 35 years, during which time it was either dismissed as another insignificant teen comedy of the &80s, or as a guilty pleasure. But longtime champions of the film, myself included, need no convincing. We owned the clamshell VHS, we owned the first-generation DVD, and now, if anything, I*d venture to say we feel vindicated that it now carries the stamp as a bonafide classic by a home video label as respected as Kino Lorber. Indeed, a major fist-pump moment comes during director Adrian Lyne*s remark in the audio commentary that Roger Ebert selected it as his favorite film of 1980 and took it with him to the Dallas Film Festival that year. </span></p> <p> </p> <div class="serendipity_imageComment_center" style="width: 400px;"> <div class="serendipity_imageComment_img"><!-- s9ymdb:7584 --><img class="serendipity_image_center" width="400" height="310" src="/fbe/uploads/FOXESFRENCH.jpg" /></div> <div class="serendipity_imageComment_txt">French lobby card.</div> </div> <p> </p><br /> <p dir="ltr" style="line-height: 1.38; margin-top: 0pt; margin-bottom: 0pt;"><span style="font-size: 13px; font-family: Verdana; color: #000000; vertical-align: baseline; white-space: pre-wrap; background-color: transparent;">Speaking of the commentary, British director Lyne*s (※Fatal Attraction,§ ※Flashdance,§ ※9 ? Weeks§) fascinating and intimate recollections are worth the price of the disc alone. He made his directorial debut with the movie and is at times almost apologetic over what he sees as the wobbly choices of a first-time director. Viewers will note scenes that contain what came to be known as his signature style in movies like ※Jacob*s Ladder§ and ※Fatal Attraction§: single-source lighting, using smoke on set to create light rays, and other stylistic techniques from his background as a commercial director. He is refreshingly candid and modest throughout, revealing misgivings over a scene he feels should have been cut or one that goes on too long, as well as revealing funny anecdotes about the actors. Randy Quaid, for example, donned a carnival mask in an umpteenth take of a scene that Lyne felt he just wasn*t getting right; Kandace Stroh had to be screamed at in her face so she could cry, and other funny reminiscences.</span></p><br /> <p dir="ltr" style="line-height: 1.38; margin-top: 0pt; margin-bottom: 0pt;"><span style="font-size: 13px; font-family: Verdana; color: #000000; vertical-align: baseline; white-space: pre-wrap; background-color: transparent;">Sally Kellerman*s on-camera interview is another bonus, but she seems hard-pressed to remember much about filming ※Foxes,§ since at the time of production she was also shooting another feature in Israel. As a result she had to repeatedly jump on transatlantic flights between LA and Tel Aviv to shoot both pictures simultaneously. Kellerman is nonetheless a hoot just to listen to, as her trademark breathy, blousy way of talking just seduces you all over again, a la ※Hot Lips O*Houlihan.§ At one point she interrupts a story to ask her interviewer, ※What is </span><span style="font-size: 13px; font-family: Verdana; color: #000000; font-style: italic; vertical-align: baseline; white-space: pre-wrap; background-color: transparent;">Blu-ray</span><span style="font-size: 13px; font-family: Verdana; color: #000000; vertical-align: baseline; white-space: pre-wrap; background-color: transparent;"> anyway?§</span></p> <p><!-- s9ymdb:7585 --><img class="serendipity_image_center" width="400" height="323" src="/fbe/uploads/foxesgroup.jpg" /> </p><br /> <p dir="ltr" style="line-height: 1.38; margin-top: 0pt; margin-bottom: 0pt;"><span style="font-size: 13px; font-family: Verdana; color: #000000; vertical-align: baseline; white-space: pre-wrap; background-color: transparent;">※Foxes§ is a portrait of a group of teen girlfriends in LA*s San Fernando Valley at the cusp of the &80s, mothered by bossy and precocious Jeanie, played by Jodie Foster. They are real Valley Girls at varying degrees of promiscuity and jadedness. The baby-face of the group, bespectacled Madge (Marilyn Kagan) wears her virginity as a badge of shame, while druggie Annie (Cherie Currie of The Runaways) is trying to hide out from her abusive cop father, who wants to commit her to a mental hospital. They*re all trying to act older than they are, hosting awkward dress-up dinners in homes not their own, sleeping around and cutting class. Scott Baio plays a skateboarding drifter who*s dropped out of school and now fills fire extinguishers to make money. He seems to be everyone*s kid brother, when he*s not trying to sleep with one or another of the girls. Jeanie (Foster) seems to be hopelessly devoted to saving doomed Annie, to the point of suggesting lesbian longing, especially given Jeanie*s indifference to her part-time boyfriend Scott (Robert Romanus) but it never goes that far. That*s pretty much the whole plot: a loosely woven series of moments in their lives, punctuated by concerts, fights with parents, and cruising Hollywood Boulevard -- until an inevitable tragedy strikes one of them and closes the story, offering an open-ended but decidedly down take on teen life.</span></p><br /> <p dir="ltr" style="line-height: 1.38; margin-top: 0pt; margin-bottom: 0pt;"><span style="font-size: 13px; font-family: Verdana; color: #000000; vertical-align: baseline; white-space: pre-wrap; background-color: transparent;">In one of the film*s key scenes, Jeanie and her mother, Mary (Sally Kellerman) have it out at home after Mary has picked up her daughter from another police station. Mary, herself a divorced mother who sleeps around, tells her daughter: ※I don*t like your friends#.You*re all a bunch of short forty year-olds and you*re tough.§ But Mary*s honesty gets the better of her when minutes later she breaks down and admits that when she sees them lying around ※half out of your clothes#.you*re beautiful. I admit it, you*re all beautiful -- and you make me hate my hips. I hate my hips.§ Lyne calls out the scene as his favorite and pays tribute to screenwriter Gerald Ayres for its emotional truth. </span></p> <p><!-- s9ymdb:7582 --><img class="serendipity_image_center" width="400" height="222" src="/fbe/uploads/FOXES400.jpg" /> </p><br /> <p dir="ltr" style="line-height: 1.38; margin-top: 0pt; margin-bottom: 0pt;"><span style="font-size: 13px; font-family: Verdana; color: #000000; vertical-align: baseline; white-space: pre-wrap; background-color: transparent;">Visually, ※Foxes§ is beautiful to watch in this Blu-ray edition, whereas previous home video issues made the cinematography look murky. ※Midnight Express§ and ※Fame§ cinematographer Michael Seresin*s artful camerawork gives the picture a soft-focus and pastel coloring, even managing to make the smoggy sunlight of Los Angeles look like an oil painting. Lyne says he shot some of the Hollywood Boulevard scenes himself, and they give the film an authentic sense of time and place, with glimpses of street life that remind the viewer of a pre-gentrified Hollywood, much like New York*s 42nd Street at the same time. </span></p> <p><span style="color: #000000; font-family: Verdana; font-size: 13px; white-space: pre-wrap; line-height: 1.38; background-color: transparent;">As Lyne explains, the picture was put together by producer David Puttnam and Casablanca Records founder Neil Bogart, who was obviously keen to use the movie as a vehicle for his hottest artists of the time, most prominent being Donna Summer. Her beautiful disco classic ※On the Radio§ plays over the opening titles, while Cher -- another Casablanca artist -- literally plays on a radio in the opening scene, post-credits. Is it a duel between the two, top disco divas of &79-80? Fragments of ※On the Radio§ repeat throughout the film, taking on a more melancholy tone as the story comes to a close. Euro-disco composer Giorgio Moroder provided the score -- containing echoes of his music for ※Midnight Express§ (1978) -- and other artists to listen for on the soundtrack include Janice Ian, Foreigner and Brooklyn Dreams. When the girls go to see Angel in concert at the Shrine Auditorium, Lyne confirms in the commentary a suspicion I have had for years: They couldn*t get KISS, who was on tour during filming.</span></p> <p><!-- s9ymdb:7583 --><img class="serendipity_image_center" width="400" height="269" src="/fbe/uploads/FOXESB.jpg" /> </p><br /> <p dir="ltr" style="line-height: 1.38; margin-top: 0pt; margin-bottom: 0pt;"><span style="font-size: 13px; font-family: Verdana; color: #000000; vertical-align: baseline; white-space: pre-wrap; background-color: transparent;">Released between two movies that became classics of the L.A. High School genre, </span><span style="font-size: 13px; font-family: Verdana; color: #000000; font-style: italic; vertical-align: baseline; white-space: pre-wrap; background-color: transparent;">Rock &n Roll High School</span><span style="font-size: 13px; font-family: Verdana; color: #000000; vertical-align: baseline; white-space: pre-wrap; background-color: transparent;"> (1979) and </span><span style="font-size: 13px; font-family: Verdana; color: #000000; font-style: italic; vertical-align: baseline; white-space: pre-wrap; background-color: transparent;">Fast Times at Ridgemont High</span><span style="font-size: 13px; font-family: Verdana; color: #000000; vertical-align: baseline; white-space: pre-wrap; background-color: transparent;"> (1982), </span><span style="font-size: 13px; font-family: Verdana; color: #000000; font-style: italic; vertical-align: baseline; white-space: pre-wrap; background-color: transparent;">Foxes</span><span style="font-size: 13px; font-family: Verdana; color: #000000; vertical-align: baseline; white-space: pre-wrap; background-color: transparent;"> dared to silence its teen audience with issues of heavy drug use and overdoses, teen pregnancy, domestic abuse and premature death. In fact, Lyne reveals that writer Gerald Ayres (※The Last Detail,§ ※Rich and Famous§) based Jodie Foster*s character on his own teen daughter, whom he accompanied to high school and on friend outings to gain more authentic insights into her world. Tonally, ※Foxes§ is more of a true companion piece to ※Little Darlings§ (1980), starring Tatum O*Neal and Kristy McNichol, or ※The Last American Virgin§ (1982), both of which satisfy their audiences* demands in the sexual-initiation and awkward-high-school-moments departments, but manage to slip in moments of true pathos. </span></p><br /> <p dir="ltr" style="line-height: 1.38; margin-top: 0pt; margin-bottom: 0pt;"><span style="font-size: 13px; font-family: Verdana; color: #000000; vertical-align: baseline; white-space: pre-wrap; background-color: transparent;">Someday, perhaps, Jodie Foster will participate in reminiscing about the making of ※Foxes§ as an indulgence to the movie*s fans, as she has done on numerous other commentary tracks of her other, ※serious§ films. Likewise Scott Baio. In the meantime, Kino Lorber*s Blu-Ray is the definitive collector*s edition to date and one to enjoy for years to come.</span></p> <p><strong><a href="http://www.amazon.com/exec/obidos/ASIN/B00OZ8XHFI/cinemaretroco-20">CLICK HERE</a> TO ORDER FROM AMAZON</strong> </p></span> Tue, 17 Feb 2015 11:13:00 +0000 /fbe/index.php?/archives/8488-guid.html http://creativecommons.org/licenses/by/3.0/ Cinema Retro Pays Tribute to Cult Director Jeff Lieberman at Anthology Film Archives, Aug. 17-19, 2012 https://www.google.com//fbe/index.php?/archives/6929-Cinema-Retro-Pays-Tribute-to-Cult-Director-Jeff-Lieberman-at-Anthology-Film-Archives,-Aug.-17-19,-2012.html David Savage /fbe/index.php?/archives/6929-Cinema-Retro-Pays-Tribute-to-Cult-Director-Jeff-Lieberman-at-Anthology-Film-Archives,-Aug.-17-19,-2012.html#comments /fbe/wfwcomment.php?cid=6929 0 /fbe/rss.php?version=2.0&type=comments&cid=6929 nospam@example.com (Cinema Retro) <p><!-- s9ymdb:5900 --><img class="serendipity_image_center" width="400" height="500" src="/fbe/uploads/JeffLieberman20122.jpg" /> </p> <p><strong>By David Savage</strong></p> <p> </p> <p> </p> <p class="MsoNormal"><span style="font-size: 10pt; line-height: 115%; font-family: Verdana, sans-serif; color: black; ">One of the most idiosyncratic and inventive voices of genre filmmaking to emerge in the 1970s was Jeff Lieberman (born 1947), whose three best known films, <strong><em>Squirm</em></strong> (1976) &#160;<strong><em>Blue Sunshine</em></strong> (1978) and <strong><em>Just Before Dawn</em></strong> (1981) have become classics of horror and sci-fi. Cited as an influence on such directors as Eli Roth and Quentin Tarantino (the latter lists <em>Squirm</em> as an essential viewing if he*s to take you seriously), Lieberman*s filmmaking captures the low-budget resourcefulness of Roger Corman and combines it with a singular point of view -- one that seems both quirky and at times, deliriously demented.</span><span style="font-size: 10pt; line-height: 115%; font-family: Verdana, sans-serif; "><br /> <br /> </span><span style="font-size: 10pt; line-height: 115%; font-family: Verdana, sans-serif; color: black; ">Here at <em>Cinema Retro</em>, these are exactly the types of directors we enjoy tipping our hat to. So I*m excited to announce that I*ve organized a tribute to Lieberman built around these three films with the generous participation and hosting of Anthology Film Archives in New York City, where the retrospective will take place, August 17-19th. (</span><span style="font-size: 10pt; line-height: 115%; font-family: Verdana, sans-serif; "><a href="about:blank"><span style="color: #1155cc; ">www.anthologyfilmarchives.org)</span></a><br /> <br /> </span><span style="font-size: 10pt; line-height: 115%; font-family: Verdana, sans-serif; color: black; ">※3 X Jeff Lieberman§ will mark the first time these three films have been screened in 35mm in New York since their theatrical premieres, a remarkable event considering how much word-of-mouth cachet each has, like prized baseball trading cards for cult film fans.</span><span style="font-size: 10pt; line-height: 115%; font-family: Verdana, sans-serif; "><br /> <br /> </span><span style="font-size: 10pt; line-height: 115%; font-family: Verdana, sans-serif; color: black; ">※It all comes down to story,§ Lieberman often says in interviews, and watching these three films, it*s clear why. All three cohere around a tight, well crafted narrative that does not look to the supernatural as the locus of horror, but at the inherently corrupt nature of people as a means to bespoil nature and society. It*s a tough-minded, cynical worldview that runs throughout his work, and the man himself. Perhaps updating the famous line from Sartre*s <em>No Exit</em>, ※hell is other people,§ Lieberman*s work is shot through with an even simpler maxim: Humanity is horror.</span><span style="font-size: 10pt; line-height: 115%; font-family: Verdana, sans-serif; "><br /> <br /> </span><span style="font-size: 10pt; line-height: 115%; font-family: Verdana, sans-serif; color: black; ">Lieberman*s first film credit was co-authoring the screenplay for the police thriller <em>Blade </em>(1973), directed by his mentor Ernest Pintoff, but his debut as a writer-director came in 1976 when his AIP-distributed <strong><em>Squirm</em></strong> burst upon drive-in screens and became a sizeable hit, considering its low budget. The fictional town of Fly Creek, Georgia is terrorized by a killer worm infestation after a thunderstorm, which sends power lines crashing to the ground and electrifying the ground -- and thousands of earthworms -- in the process. As a result, they go on a killer rampage, invading homes and most shockingly, burrowing into their victims* skin. It stars a young Don Scardino (<em>Cruising</em>, <em>He Knows You*re Alone</em>) as Mick, the interloping city-slicker beau of Geri Sanders (Patricia Pearcy) the local redhead beauty of Fly Creek. Together with Geri*s sister Alma (Fran Higgins), they attempt to survive the killer worm onslaught overnight, without power and without a clue as to what has happened to nature.</span><span style="font-size: 10pt; line-height: 115%; font-family: Verdana, sans-serif; "><br /> </span></p> <p class="MsoNormal"><span style="font-size: 10pt; line-height: 115%; font-family: Verdana, sans-serif; "><!-- s9ymdb:5901 --><img class="serendipity_image_center" width="400" height="611" src="/fbe/uploads/squirmposter2.jpg" /><br /> </span><strong><em><span style="font-size: 10pt; line-height: 115%; font-family: Verdana, sans-serif; color: black; "></span></em></strong></p> <p class="MsoNormal"><strong><em><span style="font-size: 10pt; line-height: 115%; font-family: Verdana, sans-serif; color: black; ">Squirm</span></em></strong><strong><span style="font-size: 10pt; line-height: 115%; font-family: Verdana, sans-serif; color: black; "> </span></strong><span style="font-size: 10pt; line-height: 115%; font-family: Verdana, sans-serif; color: black; ">-- still Lieberman*s most popular film -- feels like a double-feature twin to 1972*s <em>Frogs</em> (1972, with Sam Elliott), another swampy, ※nature*s revenge§ tale of eco-horror put out by AIP. &#160;Featuring early makeup work by eventual seven-time Oscar-winner Rick Baker, and co-starring thousands of real worms, the film was shot on location in Port Wentworth, Georgia and aside from Don Scardino, used a cast made up mostly of locals, who contribute to its earthy and authentic atmosphere, not unlike the drive-in mainstay <em>The Legend of Boggy Creek</em> (1972), which was shot in similar circumstances. And speaking of earthy, we should pay special tribute to the actors, who braved thousands and thousands of real live earthworms on set. Not a rubber worm among them! The original idea, Lieberman revealed to an interviewer this year, came from a real event. His brother, in order to get earthworms out of the ground, electrified the soil inserting a electric model train transformer into the soil. When they slithered out, they noticed they burrowed back in when light was shined on them. But are earthworms scary? Not in real life, but as Lieberman explained: ※I had to go to great lengths to make [the worms] scary, because they*re not scary...until you*re shown otherwise you can just step on it. So I had to make that scary by it burrowing into the face...so that was the big assignment and I guess it worked.§ An interesting footnote: When a 25 year-old Lieberman wrote the original title on a legal pad, (then spelled <em>Skworm</em>) and sketched down a paragraph containing the story, he showed it to his wife. ※She said it was the stupidest idea she*d ever heard. Two years later we*re buying a house with the money that Squirm built.§</span><span style="font-size: 10pt; line-height: 115%; font-family: Verdana, sans-serif; "><br /> <br /></span><br /></p> <br /><a href="/fbe/index.php?/archives/6929-Cinema-Retro-Pays-Tribute-to-Cult-Director-Jeff-Lieberman-at-Anthology-Film-Archives,-Aug.-17-19,-2012.html#extended">Continue reading " Cinema Retro Pays Tribute to Cult Director Jeff Lieberman at Anthology Film Archives, Aug. 17-19, 2012 "</a> Tue, 31 Jul 2012 18:03:00 +0000 /fbe/index.php?/archives/6929-guid.html http://creativecommons.org/licenses/by/3.0/ MIDNIGHT MOVIES NOW THROUGH AUGUST 31 AT LINCOLN CENTER https://www.google.com//fbe/index.php?/archives/6808-MIDNIGHT-MOVIES-NOW-THROUGH-AUGUST-31-AT-LINCOLN-CENTER.html David Savage /fbe/index.php?/archives/6808-MIDNIGHT-MOVIES-NOW-THROUGH-AUGUST-31-AT-LINCOLN-CENTER.html#comments /fbe/wfwcomment.php?cid=6808 0 /fbe/rss.php?version=2.0&type=comments&cid=6808 nospam@example.com (Cinema Retro) <p> <!-- s9ymdb:393 --><img class="serendipity_image_center" width="450" height="352" src="/fbe/uploads/logan.jpg" /></p> <p><strong>By David Savage</strong></p> <p> <strong><span style="font-size: 10pt; line-height: 115%; font-family: Verdana, sans-serif; ">NYC*s Film Society of Lincoln Center Screening a Whole Summer*s Worth of Midnight Movies</span></strong></p> <p class="MsoNormal"><span style="font-size: 10pt; line-height: 115%; font-family: Verdana, sans-serif; ">Midnight movies have been, in effect, the homeless orphans of filmdom for the past 20 years.<br /> Since the demise of their theatrical homes -- second or third-run movie houses and drive-ins -- back in the 1980s, they've been regarded as too niche for corporate cable channels like IFC or TCM. With no local-channel late shows in existence to air them, their only home has been the home video market and the art-house repertory circuit in cities like the New Beverly Cinema and Cinefamily in Los Angeles, NYC's Anthology Film Archives, and a handful of other venues around the country. In these politically sensitive times, there are only so many places that will host a screening of <em>Torso</em> (1973).<br /> <br /> This is strange, because midnight movies are not, in fact, unloved orphans. They are obsessively loved, collected, talked about, fetishized, blogged, tweeted and traded by a huge swath of filmgoers, basically anyone old enough to remember attending one in their heyday of the early 60s--late 80s. But their theatrical outlet remains severely limited due to a number of factors, mostly due to the shortage of amenable venues, screenable prints (their fan base is slow to warm to digital projections) and difficulty in marketing to younger generations. But their influence continues to be felt in everything from fashion and advertising to more mainstream feature films, particularly those of Eli Roth and Quentin Tarantino -- both of whom owe their careers to the recreation of the midnight movie phenomenon and aesthetic. (It was through Tarantino's enormous generosity that the New Beverly Cinema was rescued from closure when he quietly bought it from the owners in 2010 but allowed them to continue running it as they saw fit.)<br /> <br /> This is one reason why museums and cultural institutions around the country are taking notice and<br /> programming midnight movies into their film calendars, in effect, giving these genre films a second home in the 21st century, and in so doing elevating their stature through the critical lens of the museum imprimatur. <o:p /></span></p> <p class="MsoNormal"><span style="font-size: 10pt; line-height: 115%; font-family: Verdana, sans-serif; ">Another reason is that these same museums and cultural institutions contain millennial-generation<br /> staff, for who anything from the 1980s is sacred. That is a less a scientific observation than<br /> an anecdotal one, but I'm standing by it. <o:p /></span></p> <p class="MsoNormal"><span style="font-size: 10pt; line-height: 115%; font-family: Verdana, sans-serif; ">I saw a screening of<em> Zardoz</em> (1974) at the Oklahoma City Museum of Art last March in a <em>Mystery Science 3000</em>-inspired format, including a hilarious trailer reel as an intro, before an audience of mostly twenty-somethings. And NYC*s Museum of Art and Design in 2010 devoted an entire week to Italian zombie films, which they called <em>Zombo Italiano</em>. The trend is picking up heat elsewhere.<br /> <br /> Which leads me to my main point: The Film Society of Lincoln Center is presenting a new series of Midnight Movies every Friday night, all summer long! Now through August 31st.<br /> <br /> In total contradiction to my above thesis, <em>Film Comment</em> Editor-in-Chief series co-programmer Gavin Smith says: &quot;Sometimes I sit in my office and wonder why B谷la Tarr couldn*t have filmed a live-action version of the game Sodoku. Because if he had, we would program it in a second. But since he hasn*t (at least so far, anything*s possible), we might as well throw <em>The Texas Chain Saw Massacre</em> and <em>Fritz the Cat</em> on the screen and see what happens.&quot;<br /> <br /> Among the rarely screened gems in the series are: <em>Logan's Run</em> (June 15); <em>Lost Highway</em> (July 6); <em>The Evil Dead</em>a nd <em>The Evil Dead II</em> (July 13 and 20, respectively); and <em>The House by the Cemetery</em> (August 3).<br /> <br /> Films and showtimes: <a href="http://www.filmlinc.com/films/series/midnight-movies">http://www.filmlinc.com/films/series/midnight-movies</a><br /> <br /><br /><o:p /></span></p> <p> </p> Sat, 09 Jun 2012 15:58:30 +0000 /fbe/index.php?/archives/6808-guid.html http://creativecommons.org/licenses/by/3.0/ "WILLY WONKA AND THE CHOCOLATE FACTORY": CINEMA RETRO COVERS THE WARNER BROTHERS DVD JUNKET IN NEW YORK (PART 1) https://www.google.com//fbe/index.php?/archives/6283-WILLY-WONKA-AND-THE-CHOCOLATE-FACTORY-CINEMA-RETRO-COVERS-THE-WARNER-BROTHERS-DVD-JUNKET-IN-NEW-YORK-PART-1.html David Savage /fbe/index.php?/archives/6283-WILLY-WONKA-AND-THE-CHOCOLATE-FACTORY-CINEMA-RETRO-COVERS-THE-WARNER-BROTHERS-DVD-JUNKET-IN-NEW-YORK-PART-1.html#comments /fbe/wfwcomment.php?cid=6283 0 /fbe/rss.php?version=2.0&type=comments&cid=6283 nospam@example.com (Cinema Retro) <!-- s9ymdb:5348 --><img width="637" height="412" class="serendipity_image_center" src="/fbe/uploads/WILLIEWONKASET.jpg" /><br /> <p><!--[if gte mso 9]><xml> <o:OfficeDocumentSettings> <o:RelyOnVML/> <o:AllowPNG/> </o:OfficeDocumentSettings> </xml><![endif]--><!--[if gte mso 9]><xml> <w:WordDocument> <w:View>Normal</w:View> <w:Zoom>0</w:Zoom> <w:TrackMoves/> <w:TrackFormatting/> <w:DoNotShowComments/> <w:PunctuationKerning/> <w:ValidateAgainstSchemas/> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> 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mso-hansi-theme-font:minor-latin;} </style> <![endif]--><strong><span style="font-size: 10pt; line-height: 115%; font-family: &quot;Verdana&quot;,&quot;sans-serif&quot;; color: black;">By&#160; David Savage</span></strong><span style="font-size: 10pt; line-height: 115%; font-family: &quot;Verdana&quot;,&quot;sans-serif&quot;;"><br /> <br /> <span style="color: black;">If someone had informed this obsessive fan of <em>Willy Wonka &amp; the Chocolate Factory</em>, 40 years ago, that I could hold a real Wonka Golden Ticket in my hands, watch behind-the-scenes footage and read a book on the making of my favorite film, examine script correspondence, listen to cast commentaries and dive into all sort of Wonka memorabilia in one big box, I probably would not have come up for air for weeks. 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mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-priority:99; mso-style-qformat:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin-top:0in; mso-para-margin-right:0in; mso-para-margin-bottom:10.0pt; mso-para-margin-left:0in; line-height:115%; mso-pagination:widow-orphan; font-size:11.0pt; font-family:"Calibri","sans-serif"; mso-ascii-font-family:Calibri; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"Times New Roman"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Calibri; mso-hansi-theme-font:minor-latin;} </style> <![endif]--> </p> <p class="MsoNormal"><span style="font-size: 10pt; line-height: 115%; font-family: &quot;Verdana&quot;,&quot;sans-serif&quot;; color: black;">Fans of Willy Wonka 每 rejoice! Has Warner Bros. Home Video got a golden treat in store for you, just in time for the holidays. The <strong>40<sup>th</sup> Anniversary Ultimate Collector*s Edition </strong>has just been released in one, big, heavy purple box, the same color as Wonka*s waistcoat, full of the same goodies mentioned above, and more. The limited edition gift set indulges and answers every possible question a fan might have about the making of this extraordinary film forty years ago, even giving them a real sense of what it was like to be there on the set with the cast and crew.</span><span style="font-size: 10pt; line-height: 115%; font-family: &quot;Verdana&quot;,&quot;sans-serif&quot;;"><br /> <br /> <span style="color: black;">The Scrumdidlyumptious, 3-disc Blu-ray/DVD combo contains over an hour of extras, including <em>Mel Stuart*s Wonkavision, </em>a brand new interview&#160;with the director; a new-to-DVD featurette on author Roald Dahl; a 144-page production book reprint filled with production photos and notes, and archival letters. Sweet premiums like a retro Wonka Bar-shaped tin box with scented pencils and eraser will have an infantilizing effect on ※adult§ fans such as myself who saw the movie first-run, so you might want to open it alone. (I made the mistake of opening it at the office, and practically scared away four co-workers who sit in my area.)</span><br /> <br /> <em><span style="color: black;">Cinema Retro</span></em><span style="color: black;">, ill-advisedly perhaps, unleashed me on cast members and director Mel Stuart on October 17<sup>th</sup> at a press conference at the Jumeirah Essex House Hotel in Manhattan, overlooking Central Park. With the exception of Michael Bollner (Augustus Gloop) who wasn*t able to be present, the Wonka ※kids§ were there still looking great, now in their early 50s. Peter Ostrum (Charlie Bucket), Julie Dawn Cole (Veruca Salt), Denise Nickerson (Violet Beauregard), and Paris Themmen (Mike Tee Vee) joined director Mel Stuart, now 83, and the ※lead§ Oompa-Loompa, veteran actor Rusty Goffe, for a delightful conversation and personal memories that have not dimmed with time. If they get tired of telling the same old stories, you*d never know it. </span><br /> <br /> <span style="color: black;">I started with director, Mel Stuart, and Oompa-Loompa No. 1, Rusty Goffe, who has quite an impressive resume to his credit, post-Wonka, including the first <em>Star Wars</em> (1977) and two films in the <em>Harry Potter </em>franchise. Mel is a gruff but warm-hearted New York native of the old school. And, I discovered, a great raconteur.</span><br /> <br /> <span style="color: black;">Mel Stuart (pointing to Rusty Goffe): He was the number one Oompa-Loompa. Tell &em why.</span><br /> <br /> <span style="color: black;">Rusty Goffe: Tell them why? I was the youngest, I was the only agile one, I could speak English --</span><br /> <br /> <span style="color: black;">Mel Stuart: -- He did Shakespeare. If you do Shakespeare, you*re number one in my book. See, you always have to cast people for bit parts. You know, four lines, two lines. And I ask ※Have you ever done Shakespeare.§ If it*s between him and the other one, I*ll take the one who*s done Shakespeare. Right now I*m working on a picture, a documentary -- Shakespeare in Watts. </span><br /> <br /><span style="color: black;"></span></span></p> <br /><a href="/fbe/index.php?/archives/6283-WILLY-WONKA-AND-THE-CHOCOLATE-FACTORY-CINEMA-RETRO-COVERS-THE-WARNER-BROTHERS-DVD-JUNKET-IN-NEW-YORK-PART-1.html#extended">Continue reading "&quot;WILLY WONKA AND THE CHOCOLATE FACTORY&quot;: CINEMA RETRO COVERS THE WARNER BROTHERS DVD JUNKET IN NEW YORK (PART 1) "</a> Thu, 20 Oct 2011 01:30:46 +0000 /fbe/index.php?/archives/6283-guid.html http://creativecommons.org/licenses/by/3.0/ DIVINE ACTIVISM AT THE NEW YORK FILM FESTIVAL: INTERVIEW WITH JEFFREY SCHWARTZ, DIRECTOR OF "VITO" https://www.google.com//fbe/index.php?/archives/6269-DIVINE-ACTIVISM-AT-THE-NEW-YORK-FILM-FESTIVAL-INTERVIEW-WITH-JEFFREY-SCHWARTZ,-DIRECTOR-OF-VITO.html David Savage /fbe/index.php?/archives/6269-DIVINE-ACTIVISM-AT-THE-NEW-YORK-FILM-FESTIVAL-INTERVIEW-WITH-JEFFREY-SCHWARTZ,-DIRECTOR-OF-VITO.html#comments 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mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin-top:0in; mso-para-margin-right:0in; mso-para-margin-bottom:10.0pt; mso-para-margin-left:0in; line-height:115%; mso-pagination:widow-orphan; font-size:11.0pt; font-family:"Calibri","sans-serif"; mso-ascii-font-family:Calibri; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"Times New Roman"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Calibri; mso-hansi-theme-font:minor-latin;} </style> <![endif]--> <p><!-- s9ymdb:5338 --><img width="400" height="335" src="/fbe/uploads/jeffreyschwarzbiopic.JPG" class="serendipity_image_center" /> </p> <p class="MsoNoSpacing"><strong><span style="font-size: 10pt; font-family: &quot;Verdana&quot;,&quot;sans-serif&quot;;">By David Savage</span></strong><span style="font-size: 10pt; font-family: &quot;Verdana&quot;,&quot;sans-serif&quot;;"> <br /></span></p> <p class="MsoNoSpacing"><span style="font-size: 10pt; font-family: &quot;Verdana&quot;,&quot;sans-serif&quot;;">In <em>Vito</em>, a new documentary examining the life of Vito Russo, the pioneering AIDS activist and author of the landmark book <em>The Celluloid Closet</em> (published in 1981, updated in 1987), director Jeffrey Schwarz pays tribute to a man whom he credits with being the first to break down the long history of Hollywood*s defamation against gay people in the movies, and in so doing, advanced the cause of gay rights on a crucial front. The documentary premiered at the 49<sup>th</sup> New York Film Festival on last Friday, October 14<sup>th</sup>, and is being distributed by HBO Films. (The cable network will air the doc sometime next year, an employee confirmed.) <br /></span></p> <p class="MsoNoSpacing"><span style="font-size: 10pt; font-family: &quot;Verdana&quot;,&quot;sans-serif&quot;;">※Movies caused great damage to gay people*s psyches,§ said Jeffrey Schwarz recently in an interview with Cinema Retro, ※and he was able to tie in his burgeoning gay activism with movies by showing films at the Gay Activist Alliance, which he founded [in 1970], and that had the effect of creating community through film. There really was no community before. Getting gay people in a room together to discuss films had never happened before, and he was the first person to make these connections.§ <br /></span></p> <p class="MsoNoSpacing"><span style="font-size: 10pt; font-family: &quot;Verdana&quot;,&quot;sans-serif&quot;;">The documentary is the most personal yet for Schwarz, founder of Automat Pictures, a production house in Los Angeles which, in between their bread-and-butter work producing EPKs (Electronic Press Kits), behind-the-scenes shorts and making-of featurettes for DVDs and Blu-Ray releases, has been cranking out some of the best documentaries in recent memory on the outsiders of American cinema, like William Castle, Tab Hunter and drag superstar Divine (more on the last, below). <br /></span></p><br /> <br /><a href="/fbe/index.php?/archives/6269-DIVINE-ACTIVISM-AT-THE-NEW-YORK-FILM-FESTIVAL-INTERVIEW-WITH-JEFFREY-SCHWARTZ,-DIRECTOR-OF-VITO.html#extended">Continue reading "DIVINE ACTIVISM AT THE NEW YORK FILM FESTIVAL: INTERVIEW WITH JEFFREY SCHWARTZ, DIRECTOR OF &quot;VITO&quot;"</a> Sun, 16 Oct 2011 17:40:00 +0000 /fbe/index.php?/archives/6269-guid.html http://creativecommons.org/licenses/by/3.0/ EXCLUSIVE! CINEMA RETRO INTERVIEWS CASSANDRA PETERSON (AKA ELVIRA, MISTRESS OF THE DARK) https://www.google.com//fbe/index.php?/archives/5875-EXCLUSIVE!-CINEMA-RETRO-INTERVIEWS-CASSANDRA-PETERSON-AKA-ELVIRA,-MISTRESS-OF-THE-DARK.html David Savage /fbe/index.php?/archives/5875-EXCLUSIVE!-CINEMA-RETRO-INTERVIEWS-CASSANDRA-PETERSON-AKA-ELVIRA,-MISTRESS-OF-THE-DARK.html#comments /fbe/wfwcomment.php?cid=5875 0 /fbe/rss.php?version=2.0&type=comments&cid=5875 nospam@example.com (Cinema Retro) <p>&#160;<img class="serendipity_image_center" src="/fbe/uploads/elvira2.jpg" width="500" height="1247" /></p> <p><strong>By David Savage</strong></p> <p style="MARGIN: 0in 0in 0pt" class="MsoNormal"><span style="FONT-FAMILY: 'Verdana','sans-serif'; FONT-SIZE: 10pt"><font color="#000000">It*s hard to believe it*s been 30 years since Elvira, Mistress of the Dark, aka Cassandra Peterson, burst into our living rooms, sporting two of her biggest assets, and single-handedly revitalized the once-tame TV genre of the late-night horror host, bringing a combination of sexuality, humor and no shortage of groan-worthy bad puns. <em>Elvira*s Movie Macabre</em> ran from 1981-84 on Los Angeles* KHJ (now KCAL-TV) and rapidly established her as a star with national syndication. <?xml:namespace prefix = o ns = "urn:schemas-microsoft-com:office:office" /><o:p></o:p></font></span></p> <p style="MARGIN: 0in 0in 0pt" class="MsoNormal"><span style="FONT-FAMILY: 'Verdana','sans-serif'; FONT-SIZE: 10pt"><o:p><font color="#000000">&#160;</font></o:p></span></p> <p style="MARGIN: 0in 0in 0pt" class="MsoNormal"><span style="FONT-FAMILY: 'Verdana','sans-serif'; FONT-SIZE: 10pt"><font color="#000000">Feature films followed: Her own starring vehicle <em>Elvira, Mistress of the Dark</em> was released in 1988, followed by <em>Elvira*s Haunted Hills</em> in 2001. Licensing deals, frequent TV appearances, tie-ins galore, video box sets and other TV programs made Elvira America*s favorite sexy and playful horror vamp. (My favorite arcade game in the &80s was the Elvira pinball machine, <em>Scared Stiff</em>.)<o:p></o:p></font></span></p> <p style="MARGIN: 0in 0in 0pt" class="MsoNormal"><span style="FONT-FAMILY: 'Verdana','sans-serif'; FONT-SIZE: 10pt"><o:p><font color="#000000">&#160;</font></o:p></span></p> <p style="MARGIN: 0in 0in 0pt" class="MsoNormal"><span style="FONT-FAMILY: 'Verdana','sans-serif'; FONT-SIZE: 10pt"><font color="#000000">Although it*s been a tough gig to keep up over the past decade, given the explosion of the niche-market television landscape and hundreds of channels all competing for attention, Elvira re-launched her original show, <em>Elvira*s Movie Macabre</em> in September of 2010 for syndication in several markets nationwide, and it ran for 20 episodes, through May of *11. Unlike her previous show from the &80s, Elvira chose B-horror films in the public domain due to the prohibitive cost of licensing now, but it*s no less fun 每 she*s educating a whole new generation on the merits of <em>A Bucket of Blood, Manos: Hands of Fate, Night of the Living Dead and I Eat Your Skin. <o:p></o:p></em></font></span></p> <p style="MARGIN: 0in 0in 0pt" class="MsoNormal"><em><span style="FONT-FAMILY: 'Verdana','sans-serif'; FONT-SIZE: 10pt"><o:p><font color="#000000">&#160;</font></o:p></span></em></p> <p style="MARGIN: 0in 0in 0pt" class="MsoNormal"><span style="FONT-FAMILY: 'Verdana','sans-serif'; FONT-SIZE: 10pt"><font color="#000000">If you missed any of the episodes, and likely you did because of the relative obscurity of the show*s airtimes, Elvira is releasing a new line of double-feature DVDs from the show*s re-launch. Each DVD, priced at $14.98, includes two fright-fests digitally remastered for optimal shocks. The first one to hit the street is <em>Night of the Living Dead</em> (1968) &amp; <em>I Eat Your Skin</em> (1964). <o:p></o:p></font></span></p> <p style="MARGIN: 0in 0in 0pt" class="MsoNormal"><span style="FONT-FAMILY: 'Verdana','sans-serif'; FONT-SIZE: 10pt"><o:p><font color="#000000">&#160;</font></o:p></span></p> <p style="MARGIN: 0in 0in 0pt" class="MsoNormal"><span style="FONT-FAMILY: 'Verdana','sans-serif'; FONT-SIZE: 10pt"><font color="#000000">I spoke with Cassandra recently from her home in Los Angeles, where we discussed high school, her Fellini encounter, self-actualization and Tina Louise.</font></span></p> <br /><a href="/fbe/index.php?/archives/5875-EXCLUSIVE!-CINEMA-RETRO-INTERVIEWS-CASSANDRA-PETERSON-AKA-ELVIRA,-MISTRESS-OF-THE-DARK.html#extended">Continue reading "EXCLUSIVE! CINEMA RETRO INTERVIEWS CASSANDRA PETERSON (AKA ELVIRA, MISTRESS OF THE DARK) "</a> Wed, 22 Jun 2011 10:08:00 +0000 /fbe/index.php?/archives/5875-guid.html http://creativecommons.org/licenses/by/3.0/ Documentary Blank City Chronicles NYC*s Gritty ※No Wave§ Film Movement of the &70s https://www.google.com//fbe/index.php?/archives/5753-Documentary-Blank-City-Chronicles-NYCs-Gritty-No-Wave-Film-Movement-of-the-70s.html David Savage /fbe/index.php?/archives/5753-Documentary-Blank-City-Chronicles-NYCs-Gritty-No-Wave-Film-Movement-of-the-70s.html#comments /fbe/wfwcomment.php?cid=5753 0 /fbe/rss.php?version=2.0&type=comments&cid=5753 nospam@example.com (Cinema Retro) <p><!-- s9ymdb:4973 --><img width="400" height="568" src="/fbe/uploads/BlankCityposter1.jpg" class="serendipity_image_center" /> </p> <p><strong>By David Savage</strong></p> <p><!--[if gte mso 9]><xml> <w:WordDocument> <w:View>Normal</w:View> <w:Zoom>0</w:Zoom> <w:TrackMoves/> <w:TrackFormatting/> <w:DoNotShowComments/> 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Priority="32" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Intense Reference"/> <w:LsdException Locked="false" Priority="33" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Book Title"/> <w:LsdException Locked="false" Priority="37" Name="Bibliography"/> <w:LsdException Locked="false" Priority="39" QFormat="true" Name="TOC Heading"/> </w:LatentStyles> </xml><![endif]--><!--[if gte mso 10]> <style> /<strong> Style Definitions </strong>/ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-priority:99; mso-style-qformat:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin-top:0in; mso-para-margin-right:0in; mso-para-margin-bottom:10.0pt; mso-para-margin-left:0in; line-height:115%; mso-pagination:widow-orphan; font-size:11.0pt; font-family:"Calibri","sans-serif"; mso-ascii-font-family:Calibri; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"Times New Roman"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Calibri; mso-hansi-theme-font:minor-latin;} </style> <![endif]--> </p> <p><span style="font-size: 10pt; font-family: &quot;Verdana&quot;,&quot;sans-serif&quot;; color: black;">The generation of subversive filmmakers who emerged out of the rubble of Manhattan*s Lower East Side in the 1970s, who wrote, cast, produced and directed their own punk riffs on narrative feature films long before the digital revolution made it easy, has long gone without a proper documentary that chronicles their fascinating emergence during this era. Well, no more. <em>Blank City</em>, directed by French newcomer Celine Danhier, was one of the most talked about docs at festivals worldwide in 2010, and recently started its theatrical engagement at the IFC Center in Manhattan and across the USA at major indie-cinema venues.</span></p> <p><span style="font-size: 10pt; font-family: &quot;Verdana&quot;,&quot;sans-serif&quot;; color: black;">Packed with film clips, period footage and insightful interviews with key players from the scene, such as Debbie Harry, John Waters, Ann Magnuson, Amos Poe, Eric Mitchell, Patti Astor and Jim Jarmusch,<em> Blank City</em> is a fascinating and inspiring documentary that unspools like a long-overdue oral history, both of Manhattan*s Alphabet City and of the ※No Wave§ film movement that exploded there in the mid-to-late &70s. Its bombed-out streets of vacant lots and nearly uninhabitable tenements provided the stage for the first generation of DIY filmmakers -- nearly 30 years before YouTube -- who picked up Super-8 cameras and cast their friends and themselves in hastily written films with names like <em>Blank Generation</em>, <em>Rome &78</em>, <em>Permanent Vacation</em> and <em>Empty Suitcases</em>. If the titles sound like punk album titles, they essentially were. The same ethos that informed the short, jagged, minimalist music of bands like Television, the Voidoids, The Contortions and Teenage Jesus -- then rocking CBGB*s on the Bowery -- was also the philosophy behind these no-budget mini-masterpieces. </span></p> <p><span style="font-size: 10pt; font-family: &quot;Verdana&quot;,&quot;sans-serif&quot;; color: black;">※It felt like our lives were movies,§ says Blondie*s Debbie Harry, who, like many in the downtown scene, was both in a band and in her friends* films, such as Amos Poe*s <em>The Foreigner </em>(1978).</span></p> <p> </p> <br /><a href="/fbe/index.php?/archives/5753-Documentary-Blank-City-Chronicles-NYCs-Gritty-No-Wave-Film-Movement-of-the-70s.html#extended">Continue reading "Documentary Blank City Chronicles NYC*s Gritty ※No Wave§ Film Movement of the &70s"</a> Tue, 17 May 2011 21:47:30 +0000 /fbe/index.php?/archives/5753-guid.html http://creativecommons.org/licenses/by/3.0/ FAYE DUNAWAY TAKES CANNES https://www.google.com//fbe/index.php?/archives/5734-FAYE-DUNAWAY-TAKES-CANNES.html David Savage /fbe/index.php?/archives/5734-FAYE-DUNAWAY-TAKES-CANNES.html#comments /fbe/wfwcomment.php?cid=5734 0 /fbe/rss.php?version=2.0&type=comments&cid=5734 nospam@example.com (Cinema Retro) <!--[if gte mso 9]><xml> <w:WordDocument> <w:View>Normal</w:View> <w:Zoom>0</w:Zoom> <w:TrackMoves/> <w:TrackFormatting/> <w:DoNotShowComments/> <w:PunctuationKerning/> <w:ValidateAgainstSchemas/> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:DoNotPromoteQF/> <w:LidThemeOther>EN-US</w:LidThemeOther> <w:LidThemeAsian>X-NONE</w:LidThemeAsian> <w:LidThemeComplexScript>X-NONE</w:LidThemeComplexScript> <w:Compatibility> <w:BreakWrappedTables/> <w:SnapToGridInCell/> <w:WrapTextWithPunct/> <w:UseAsianBreakRules/> <w:DontGrowAutofit/> <w:SplitPgBreakAndParaMark/> <w:DontVertAlignCellWithSp/> 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mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-priority:99; mso-style-qformat:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin-top:0in; mso-para-margin-right:0in; mso-para-margin-bottom:10.0pt; mso-para-margin-left:0in; line-height:115%; mso-pagination:widow-orphan; font-size:11.0pt; font-family:"Calibri","sans-serif"; mso-ascii-font-family:Calibri; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"Times New Roman"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Calibri; mso-hansi-theme-font:minor-latin;} </style> <![endif]--> <p><!-- s9ymdb:4952 --><img width="400" height="533" class="serendipity_image_center" src="/fbe/uploads/PUZZLEfaye-dunaway-cannes-2011-poster.jpg" /> </p> <p class="MsoNormal"><span style="font-size: 10pt; line-height: 115%; font-family: &quot;Verdana&quot;,&quot;sans-serif&quot;;">Faye Dunaway has every reason to look on top of the world. Not only is it her face gracing this year*s Cannes Film Festival poster<span> </span>-- taken from 1970*s <em>Puzzle of a Downfall Child</em><span> </span>-- but the film has recently been completely restored by Universal Pictures. To mark the occasion, her director from the film and ex- fianc谷, Jerry Schatzberg, were reunited on the red carpet at Cannes on May 11<sup>th</sup> for a press photocall.</span></p> <p> </p> <div class="serendipity_imageComment_center" style="width: 400px;"> <div class="serendipity_imageComment_img"><!-- s9ymdb:4951 --><img width="400" height="267" class="serendipity_image_center" src="/fbe/uploads/PUZZLESchatzbergDunaway2.jpg" /></div> <div class="serendipity_imageComment_txt">Faye and Jerry then...</div> </div> <p>&#160;</p> <p class="MsoNormal"><span style="font-size: 10pt; line-height: 115%; font-family: &quot;Verdana&quot;,&quot;sans-serif&quot;;">The restored print is being screened at Cannes and will be distributed for the first time in France this fall.</span></p> <p class="MsoNormal"><span style="font-size: 10pt; line-height: 115%; font-family: &quot;Verdana&quot;,&quot;sans-serif&quot;;">It must have been something of a homecoming for the onetime couple. Forty-plus years ago, they were photographed arm-in-arm, dashing from photographers around Paris. </span></p> <p class="MsoNormal"><span style="font-size: 10pt; line-height: 115%; font-family: &quot;Verdana&quot;,&quot;sans-serif&quot;;"> </span></p> <div class="serendipity_imageComment_center" style="width: 400px;"> <div class="serendipity_imageComment_img"><!-- s9ymdb:4953 --><img width="400" height="266" class="serendipity_image_center" src="/fbe/uploads/PUZZLEDunawayShatzberg400.jpg" /></div> <div class="serendipity_imageComment_txt">...and now.</div> </div><br /> <p>&#160;</p> <p class="MsoNormal"><span style="font-size: 10pt; line-height: 115%; font-family: &quot;Verdana&quot;,&quot;sans-serif&quot;;">The 64<sup>th</sup> Festival de Cannes runs through May 22<sup>nd</sup>. <br /></span></p> <p class="MsoNormal"><span style="font-size: 10pt; line-height: 115%; font-family: &quot;Verdana&quot;,&quot;sans-serif&quot;;">-David Savage</span></p> Thu, 12 May 2011 10:46:00 +0000 /fbe/index.php?/archives/5734-guid.html http://creativecommons.org/licenses/by/3.0/ NOIR CITY, SAN FRANCISCO*S ANNUAL FILM NOIR FESTIVAL, RETURNS FOR ITS 9TH ANNUAL CELEBRATION OF HARD-BOILED CLASSICS AT THE CASTRO THEATRE, JANUARY 21-30TH, 2011 https://www.google.com//fbe/index.php?/archives/5313-NOIR-CITY,-SAN-FRANCISCOS-ANNUAL-FILM-NOIR-FESTIVAL,-RETURNS-FOR-ITS-9TH-ANNUAL-CELEBRATION-OF-HARD-BOILED-CLASSICS-AT-THE-CASTRO-THEATRE,-JANUARY-21-30TH,-2011.html David Savage /fbe/index.php?/archives/5313-NOIR-CITY,-SAN-FRANCISCOS-ANNUAL-FILM-NOIR-FESTIVAL,-RETURNS-FOR-ITS-9TH-ANNUAL-CELEBRATION-OF-HARD-BOILED-CLASSICS-AT-THE-CASTRO-THEATRE,-JANUARY-21-30TH,-2011.html#comments /fbe/wfwcomment.php?cid=5313 0 /fbe/rss.php?version=2.0&type=comments&cid=5313 nospam@example.com (Cinema Retro) <p><strong><img class="serendipity_image_center" src="/fbe/uploads/noir.jpg" width="400" height="541" /></strong></p> <p><strong>By David Savage</strong></p> <p style="MARGIN: 0in 0in 10pt" class="MsoNormal"><span style="LINE-HEIGHT: 115%; FONT-FAMILY: 'Verdana','sans-serif'; FONT-SIZE: 10pt"><font color="#000000">One of the most anticipated genre film festivals on the North American circuit is Noir City, the annual San Francisco Film Noir Festival, hosted at the glorious Castro Theatre 每 itself a cinematic landmark and ※character§ in countless movies filmed in the City by the Bay. This year*s edition, with the theme of ※Who*s crazy now?§ kicks off January 21<sup>st</sup> and runs through the 30<sup>th</sup>, 2011. Over the 10 day span, a tantalizing lineup of twenty-four films will be screened 每 including three brand new 35mm prints funded by the Film Noir Foundation, <em style="mso-bidi-font-style: normal">High Wall</em> (1947); <em style="mso-bidi-font-style: normal">Loophole</em> (1954) and <em style="mso-bidi-font-style: normal">The Hunted</em> (1948). <?xml:namespace prefix = o ns = "urn:schemas-microsoft-com:office:office" /><o:p></o:p></font></span></p> <p style="MARGIN: 0in 0in 10pt" class="MsoNormal"><span style="LINE-HEIGHT: 115%; FONT-FAMILY: 'Verdana','sans-serif'; FONT-SIZE: 10pt"><font color="#000000">※We show films you can*t see anywhere else,§ said Noir City co-founder and noted film historian Eddie Muller over the phone from his Bay Area home. ※We are the only festival that goes out of its way to preserve rare titles, then uses those proceeds to restore other rare titles.§ Festival attendees regularly turn up in period dress, Muller says, as proof of their devotion to the genre. For the Castro Theatre, built in 1922 and seating 1,400 people, it*s one of the biggest draws of the year.<o:p></o:p></font></span></p> <p style="MARGIN: 0in 0in 10pt" class="MsoNormal"><span style="LINE-HEIGHT: 115%; FONT-FAMILY: 'Verdana','sans-serif'; FONT-SIZE: 10pt"><font color="#000000">Citing an arrangement his Film Noir Foundation has with a major Hollywood studio, Muller*s organization agrees to fund preservation and restoration prints to be made if the studio will deposit a print with UCLA*s Film &amp; Television Archive 每 the premiere restoration facility in the world. The studio retains ownership but allows UCLA to grant screening licenses, such as the wildly popular Noir City festival in San Francisco. It*s an agreement, says Muller, that provides ongoing proof that restoration and preservation of rare and endangered films is a worthwhile effort. Still, he allows, it*s always a hard case to make to the studios, which are forever looking into the future for new revenue streams and not into the past. Once in a while, Muller says, a studio will step forward to fund the full restoration of a print, which is what Paramount did recently with <em style="mso-bidi-font-style: normal">Strangers in the Night</em> (1951) when their archive heard that Film Noir Foundation was prepared to shoulder the $27,000 restoration cost on their own.<o:p></o:p></font></span></p> <p style="MARGIN: 0in 0in 10pt" class="MsoNormal"><span style="LINE-HEIGHT: 115%; FONT-FAMILY: 'Verdana','sans-serif'; FONT-SIZE: 10pt"><font color="#000000">Other highlights include <em style="mso-bidi-font-style: normal">The Stranger on the Third Floor</em> (1940), considered by critical consensus to be the first American film noir, starring Peter Lorre; <em style="mso-bidi-font-style: normal">Don*t Bother to Knock</em> (1952) with Marilyn Monroe in one of her strongest performances of her young career; and a handful of films not available on DVD, such as 1946*s <em style="mso-bidi-font-style: normal">The Dark Mirror</em>, with Olivia de Havilland (directed by noir master Robert Siodmak), <em style="mso-bidi-font-style: normal">Beware My Lovely</em> with Ida Lupino, and a bizarre puzzler from 1948, Fritz Lang*s <em style="mso-bidi-font-style: normal">Secret Beyond the Door</em> starring <em style="mso-bidi-font-style: normal">Nightmare Alley*s</em> Joan Bennett and Michael Redgrave. According to the program literature, it*s a Noir City tradition to show one incomprehensible film each year 每 and this year this is it. Apparently Lang*s off-the-rails Freudian blowout is a cross between <em style="mso-bidi-font-style: normal">Rebecca</em> and <em style="mso-bidi-font-style: normal">Bluebeard</em>. Muller calls it ※ridiculous but visually stunning.§ Funded by The Film Noir Foundation, it was restored by the UCLA Film &amp; Television Archive.<o:p></o:p></font></span></p> <p style="MARGIN: 0in 0in 10pt" class="MsoNormal"><span style="LINE-HEIGHT: 115%; FONT-FAMILY: 'Verdana','sans-serif'; FONT-SIZE: 10pt"><font color="#000000">Like a grim-faced police lineup, most of noir*s beloved Usual Suspects are to be found in 2011*s edition, like Barbara Stanwyk, Ida Lupino, and Humphrey Bogart. However, audiences will also appreciate some surprising names 每 actors, screenwriters <em style="mso-bidi-font-style: normal">and</em> directors 每 not usually associated with noir, notably French director Jean Renoir*s <em style="mso-bidi-font-style: normal">The Woman on the Beach</em> (1947); Otto Preminger with his <em style="mso-bidi-font-style: normal">Angel Face</em> (1952) and <em style="mso-bidi-font-style: normal">A Double Life</em> (1947), directed by George Cukor and starring an Ronald Colman in a dual role which won him an Oscar. The script was written by screwball comedy veterans Ruth Gordon and Garson Kanin. <o:p></o:p></font></span></p> <p><span style="LINE-HEIGHT: 115%; FONT-FAMILY: 'Verdana','sans-serif'; FONT-SIZE: 10pt; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-theme-font: minor-bidi; mso-ansi-language: EN-US; mso-fareast-language: EN-US; mso-bidi-language: AR-SA"><font color="#000000">For Noir City 9*s complete 2011 festival lineup and more information on how you can join and contribute to The Film Noir Foundation, visit <a href="http://www.noircity.com/">http:/www.noircity.com</a>.</font></span></p> Sun, 02 Jan 2011 12:08:00 +0000 /fbe/index.php?/archives/5313-guid.html http://creativecommons.org/licenses/by/3.0/ SCREENWRITER SUSO CECCHI D'AMICO HONORED WITH LINCOLN CENTER FILM FESTIVAL https://www.google.com//fbe/index.php?/archives/5190-SCREENWRITER-SUSO-CECCHI-DAMICO-HONORED-WITH-LINCOLN-CENTER-FILM-FESTIVAL.html David Savage /fbe/index.php?/archives/5190-SCREENWRITER-SUSO-CECCHI-DAMICO-HONORED-WITH-LINCOLN-CENTER-FILM-FESTIVAL.html#comments /fbe/wfwcomment.php?cid=5190 0 /fbe/rss.php?version=2.0&type=comments&cid=5190 nospam@example.com (Cinema Retro) <p><!-- s9ymdb:4501 --><img width="400" height="313" src="/fbe/uploads/DAmico1.jpg" class="serendipity_image_center" /> </p> <p><strong><span style="font-size: 10pt; font-family: &quot;Verdana&quot;,&quot;sans-serif&quot;; color: black;">By David Savage</span></strong></p> <p><!--[if gte mso 9]><xml> <w:WordDocument> <w:View>Normal</w:View> <w:Zoom>0</w:Zoom> <w:TrackMoves/> <w:TrackFormatting/> <w:DoNotShowComments/> <w:PunctuationKerning/> <w:ValidateAgainstSchemas/> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:DoNotPromoteQF/> <w:LidThemeOther>EN-US</w:LidThemeOther> <w:LidThemeAsian>X-NONE</w:LidThemeAsian> 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black;">※<em>Prendi appunti</em>.§ (※Take notes.§)&#160;</span></strong></p> <p><span style="font-size: 10pt; font-family: &quot;Verdana&quot;,&quot;sans-serif&quot;; color: black;">That was the famously economical answer the great Italian neo-realist screenwriter, Suso Cecchi d*Amico, gave when asked what advice she had for those aspiring to write films. Pay attention to the way people speak and act, and write it down, she seemed to be suggesting. It*s not in our daydreams where we*re going to find that convincing bit of dialogue or key to a character*s motivation. 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Why did you choose this specific screenwriter for a tribute</em>?&#160;</span><span style="font-size: 10pt; font-family: &quot;Verdana&quot;,&quot;sans-serif&quot;;"></span></p> <p><strong><span style="font-size: 10pt; font-family: &quot;Verdana&quot;,&quot;sans-serif&quot;; color: black;">Richard Pena: Perhaps, but Suso was an extraordinarily special screenwriter. Having recently done a lot of work on Italian cinema, I was startled to see how often her name figured in the credits of so many masterworks. She was an extraordinary talent, and her passing is a loss for all who love film.</span></strong></p> <p><span style="font-size: 10pt; font-family: &quot;Verdana&quot;,&quot;sans-serif&quot;; color: black;">CR: <em>Do you think her career was overshadowed by her collaboration with such auteurist names in Italian cinema, such as Visconti, Monicelli, et al? It seems as though a woman would have a hard time holding her own against such huge egos?</em> </span><span style="font-size: 10pt; font-family: &quot;Verdana&quot;,&quot;sans-serif&quot;;"></span></p> <p><strong><span style="font-size: 10pt; font-family: &quot;Verdana&quot;,&quot;sans-serif&quot;; color: black;">RP: My sense is that this had as much to do with the contemporary lionization of film directors as it did plain old sexism. From what I've heard about her, she held her own with the boys.</span></strong><span style="font-size: 10pt; font-family: &quot;Verdana&quot;,&quot;sans-serif&quot;;"></span></p> <p><span style="font-size: 10pt; font-family: &quot;Verdana&quot;,&quot;sans-serif&quot;; color: black;">CR: <em>Can you identify a common thread or characteristic style that belongs to Cecchi d*Amico*s dialogue or characterizations?</em></span><span style="font-size: 10pt; font-family: &quot;Verdana&quot;,&quot;sans-serif&quot;;"></span></p> <p><strong><span style="font-size: 10pt; font-family: &quot;Verdana&quot;,&quot;sans-serif&quot;; color: black;">RP:</span></strong><strong><span style="font-size: 10pt; font-family: &quot;Verdana&quot;,&quot;sans-serif&quot;; color: blue;"> </span></strong><strong><span style="font-size: 10pt; font-family: &quot;Verdana&quot;,&quot;sans-serif&quot;; color: black;">With over 100 screenplays to her credit, that becomes difficult; moreover, I've seen at best 50% of them. I think she often likes to focus on a character who takes a decisive action and then study the consequences of that action on those around him/her.</span></strong><span style="font-size: 10pt; font-family: &quot;Verdana&quot;,&quot;sans-serif&quot;;"></span></p><u><span style="font-size: 10pt; font-family: &quot;Verdana&quot;,&quot;sans-serif&quot;; color: #000099;"></span></u><span style="font-size: 10pt; font-family: &quot;Verdana&quot;,&quot;sans-serif&quot;; color: black;"></span><span style="font-size: 10pt; font-family: &quot;Verdana&quot;,&quot;sans-serif&quot;;"></span> <p> </p> <br /><a href="/fbe/index.php?/archives/5190-SCREENWRITER-SUSO-CECCHI-DAMICO-HONORED-WITH-LINCOLN-CENTER-FILM-FESTIVAL.html#extended">Continue reading "SCREENWRITER SUSO CECCHI D'AMICO HONORED WITH LINCOLN CENTER FILM FESTIVAL "</a> Fri, 26 Nov 2010 03:18:43 +0000 /fbe/index.php?/archives/5190-guid.html http://creativecommons.org/licenses/by/3.0/ CINEMA RETRO COVERS "THE EXORCIST" CAST AND CREW REUNION IN NEW YORK https://www.google.com//fbe/index.php?/archives/5010-CINEMA-RETRO-COVERS-THE-EXORCIST-CAST-AND-CREW-REUNION-IN-NEW-YORK.html David Savage /fbe/index.php?/archives/5010-CINEMA-RETRO-COVERS-THE-EXORCIST-CAST-AND-CREW-REUNION-IN-NEW-YORK.html#comments /fbe/wfwcomment.php?cid=5010 0 /fbe/rss.php?version=2.0&type=comments&cid=5010 nospam@example.com (Cinema Retro) <p><!-- s9ymdb:4368 --><img height="300" width="300" class="serendipity_image_center" src="/fbe/uploads/exorcistblu.jpg" /> </p> <p><em>Exorcist </em>fans are partying like it's 1973, with the recent big screen showings of the extended director's cut of the movie as well as the soon-to-be-released Blu-ray special edition that contains unseen behind-the-scenes footage. 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{mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-priority:99; mso-style-qformat:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin-top:0in; mso-para-margin-right:0in; mso-para-margin-bottom:10.0pt; mso-para-margin-left:0in; line-height:115%; mso-pagination:widow-orphan; font-size:11.0pt; font-family:"Calibri","sans-serif"; mso-ascii-font-family:Calibri; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"Times New Roman"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Calibri; mso-hansi-theme-font:minor-latin;} </style> <![endif]--> </p> <p class="MsoNormal"><span style="font-size: 10pt; line-height: 115%; font-family: &quot;Verdana&quot;,&quot;sans-serif&quot;;">The Museum of Modern Art*s famed Titus Theater was the setting for an unforgettable evening last Wednesday, September 29<sup>th</sup>, as director William Friedkin, actress Linda Blair, and other crew members reunited for a screening of <em>The Exorcist: The Extended Director*s Cut</em>. The event was timed to celebrate the upcoming release of a landmark new collector*s edition, two-disc <span> </span>Blu-ray? set, available beginning October 5<sup>th</sup> from Warner Home Video. </span></p> <p class="MsoNormal"><span style="font-size: 10pt; line-height: 115%; font-family: &quot;Verdana&quot;,&quot;sans-serif&quot;;">Projected on the big screen in a spectacular, remastered print in 1080p from the original camera negative, and with restored sound that revealed subtleties from the original score and sound reel seemingly lost under a layer of murk until now, the entire experience was like a layer of sooty tape had been lifted off the entire film, both heightening its cinematographic beauty as well as restoring its power to drop jaws as it did 37 years ago. The theater*s Dolby processor/ 5.1 surround system seemed to turn up the aural and emotional volume on the terror. </span></p> <p class="MsoNormal"><span style="font-size: 10pt; line-height: 115%; font-family: &quot;Verdana&quot;,&quot;sans-serif&quot;;">While the film is routinely included in the horror genre, Friedkin stressed that it was never intended to be a horror film, but rather ※a film about the mystery of faith.§ Indeed, he confirmed with novelist and screenwriter William Peter Blatty (onstage after the screening) that they never mentioned the word <em>horror</em> during the entire production. Every decision they made, Friedkin said, was steeped in research, realism and getting at the truthful representation of the characters* confrontation with religious belief. Horror-film conventions were irrelevant, he said, a perspective which influenced everything from the screenwriting to the cinematography. </span></p> <p class="MsoNormal"><span style="font-size: 10pt; line-height: 115%; font-family: &quot;Verdana&quot;,&quot;sans-serif&quot;;">Personally, I*ve always maintained (and Friedkin*s remarks seemed to back me up) that the film is only on the surface about the demonic possession of a little girl. Its deeper focus lies on a priest*s crisis of faith. As he tries to come to terms with the role he played in the neglect and death of his mother, he must also negotiate his own moral crossroads as he decides whether or not to get involved with a real-life exorcism involving an innocent 13 year-old girl. </span></p> <p class="MsoNormal"><span style="font-size: 10pt; line-height: 115%; font-family: &quot;Verdana&quot;,&quot;sans-serif&quot;;">Even at their most shocking and (to people of faith) sacrilegious, the scenes involving the demonic possession of Regan do not play as gratuitous, a point further echoing Friedkin*s contention stated above.<span> </span>There is a seriousness of purpose and, strangely enough, a palpable piety in the treatment of desecration, sacrilege and heresy. Again, Blatty and Friedkin, together with cinematographer Owen Roizman (also present), discussed for months before shooting began how they were going to approach such explosive subject matter in a manner that would not involve genre-conventions, shock appeal or empty, transgressive gestures toward organized religion. </span></p> <p class="MsoNormal"><span style="font-size: 10pt; line-height: 115%; font-family: &quot;Verdana&quot;,&quot;sans-serif&quot;;">After the screening, audience members were given the treat of a lifetime to see Friedkin joined on the stage, first by novelist and Oscar-winning screenwriter (for this film) William Peter Blatty, then by cinematographer Owen Roizman (who also lensed Friedkin*s <em>The French Connection</em>), then by Linda Blair (looking fit and lovely at 51), and finally by Chris Newman, the sound maestro on the film. </span></p> <p class="MsoNormal"><span style="font-size: 10pt; line-height: 115%; font-family: &quot;Verdana&quot;,&quot;sans-serif&quot;;">Blatty and Friedkin sparred like the old friends they are, with Blatty mercilessly teasing Friedkin about a continuity lapse in one scene, which Friedkin rebutted with ※Bill, I view that like cracks in fine leather.§ Their tone underscored the family atmosphere that was established while working on the film and which continues to this day.</span><br /></p><br /> <br /><a href="/fbe/index.php?/archives/5010-CINEMA-RETRO-COVERS-THE-EXORCIST-CAST-AND-CREW-REUNION-IN-NEW-YORK.html#extended">Continue reading "CINEMA RETRO COVERS &quot;THE EXORCIST&quot; CAST AND CREW REUNION IN NEW YORK "</a> Fri, 01 Oct 2010 02:31:53 +0000 /fbe/index.php?/archives/5010-guid.html http://creativecommons.org/licenses/by/3.0/ DAVID SAVAGE INTERVIEWS REBECCA CONROY, DIRECTOR OF "SAHAJA SPRINGS" https://www.google.com//fbe/index.php?/archives/4664-DAVID-SAVAGE-INTERVIEWS-REBECCA-CONROY,-DIRECTOR-OF-SAHAJA-SPRINGS.html David Savage /fbe/index.php?/archives/4664-DAVID-SAVAGE-INTERVIEWS-REBECCA-CONROY,-DIRECTOR-OF-SAHAJA-SPRINGS.html#comments /fbe/wfwcomment.php?cid=4664 0 /fbe/rss.php?version=2.0&type=comments&cid=4664 nospam@example.com (Cinema Retro) <p> </p> <p><link rel="File-List" href="file:///C:\DOCUME~1\ADMINI~1\LOCALS~1\Temp\msohtmlclip1\01\clip_filelist.xml" /><link rel="themeData" href="file:///C:\DOCUME~1\ADMINI~1\LOCALS~1\Temp\msohtmlclip1\01\clip_themedata.thmx" /><link rel="colorSchemeMapping" href="file:///C:\DOCUME~1\ADMINI~1\LOCALS~1\Temp\msohtmlclip1\01\clip_colorschememapping.xml" /><!--[if gte mso 9]><xml> <w:WordDocument> <w:View>Normal</w:View> <w:Zoom>0</w:Zoom> <w:TrackMoves/> <w:TrackFormatting/> <w:DoNotShowComments/> <w:PunctuationKerning/> <w:ValidateAgainstSchemas/> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:DoNotPromoteQF/> 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{page:WordSection1;} --> </style><!--[if gte mso 10]> <style> /<strong> Style Definitions </strong>/ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-priority:99; mso-style-qformat:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin-top:0in; mso-para-margin-right:0in; mso-para-margin-bottom:10.0pt; mso-para-margin-left:0in; line-height:115%; mso-pagination:widow-orphan; font-size:11.0pt; font-family:"Calibri","sans-serif"; mso-ascii-font-family:Calibri; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"Times New Roman"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Calibri; mso-hansi-theme-font:minor-latin;} </style> <![endif]--> </p> <p> <strong>In the spirit of Cinema Retro's quest to help make audiences aware of worthwhile independent films, columnist David Savage reports on the new short <em>Sahaja Springs. </em></strong></p> <p><strong><em></em><!-- s9ymdb:4114 --><img height="425" width="640" class="serendipity_image_center" src="/fbe/uploads/sahaja1.jpg" /><br /></strong></p> <p> </p> <p> </p> <p class="MsoNormal" style="line-height: normal;"><span style="font-size: 10pt; font-family: &quot;Verdana&quot;,&quot;sans-serif&quot;;">If precious few directors have exploited the inherent comedy of the ashram -- a retreat for meditation, yoga and enlightenment -- it may be because, like the fashion biz and network television, for example -- these realms do an awfully good job of satirizing themselves. <o:p /></span></p> <p class="MsoNormal" style="line-height: normal;"><span style="font-size: 10pt; font-family: &quot;Verdana&quot;,&quot;sans-serif&quot;;">One director willing to take a stab at sending up the yoga lifestyle is emerging indie director Rebecca Conroy, a recent graduate of Columbia University's&#160;graduate film program. Her hilarious short, <em>Sahaja Springs</em>, recently screened at the IFC Center in Manhattan, and has both tickled and angered audiences, depending on whom you ask. (Men seem to be amused; women, not so much, according to Conroy.) <o:p /></span></p> <p class="MsoNormal" style="line-height: normal;"><span style="font-size: 10pt; font-family: &quot;Verdana&quot;,&quot;sans-serif&quot;;">The film's multi-thread narrative follows a group of ashram residents as they struggle to find inner peace promised by an Upstate New York ashram run by a faux-Indian, fraudulent yogi. That the character is played by a real-life Indian yogi, 92 year-old Kumar Pallana -- the Indian character actor with a recurring role in many of Wes Anderson's films such as <em>Rushmore</em>, <em>The Royal Tenenbaums</em>, and<em> The Darjeeling Limited</em> -- is a good example of the film*s layered comedy. <o:p /></span></p> <p class="MsoNormal" style="line-height: normal;"><span style="font-size: 10pt; font-family: &quot;Verdana&quot;,&quot;sans-serif&quot;;">Meanwhile, a male ashram resident 每 a hunky, magnetic loner who speaks in mystical yet baffling headscratchers 每 seems to be driving all the females crazy with frustrated lust and confusion. <o:p /></span></p> <p class="MsoNormal" style="line-height: normal;"><span style="font-size: 10pt; font-family: &quot;Verdana&quot;,&quot;sans-serif&quot;;">It*s a smart, deadpan jewel from a young director who knows whence she speaks: Conroy drew upon her own experiences as a yoga follower, ashram-crasher and daughter of a hippie mother.<o:p /></span></p> <p class="MsoNormal" style="line-height: normal;"><span style="font-size: 10pt; font-family: &quot;Verdana&quot;,&quot;sans-serif&quot;;">I sat down recently for coffee with Conroy and discussed the idea behind her yoga satire and ※The Great Kumar§*s surprising theatrical history.<o:p /></span></p> <p> </p> <br /><a href="/fbe/index.php?/archives/4664-DAVID-SAVAGE-INTERVIEWS-REBECCA-CONROY,-DIRECTOR-OF-SAHAJA-SPRINGS.html#extended">Continue reading "DAVID SAVAGE INTERVIEWS REBECCA CONROY, DIRECTOR OF &quot;SAHAJA SPRINGS&quot; "</a> Tue, 15 Jun 2010 23:35:00 +0000 /fbe/index.php?/archives/4664-guid.html http://creativecommons.org/licenses/by/3.0/ REVIEW: "BEAUTIFUL DARLING: THE LIFE AND TIMES OF CANDY DARLING, WARHOL SUPERSTAR" https://www.google.com//fbe/index.php?/archives/4482-REVIEW-BEAUTIFUL-DARLING-THE-LIFE-AND-TIMES-OF-CANDY-DARLING,-WARHOL-SUPERSTAR.html David Savage /fbe/index.php?/archives/4482-REVIEW-BEAUTIFUL-DARLING-THE-LIFE-AND-TIMES-OF-CANDY-DARLING,-WARHOL-SUPERSTAR.html#comments /fbe/wfwcomment.php?cid=4482 0 /fbe/rss.php?version=2.0&type=comments&cid=4482 nospam@example.com (Cinema Retro) <p /><p><img height="185" width="195" style="border: 0px none; padding-left: 5px; padding-right: 5px;" src="/fbe/uploads/candycarda.jpeg" /></p> A new documentary examining the tragic and influential life of Warhol Factory star Candy Darling, entitled <i>Beautiful Darling: The Life and Times of Candy Darling, Warhol Superstar</i> had its US premiere at the New Directors/New Films Festival, last Friday, April 2nd, at the Museum of Modern Art in New York. The writer and director, James Rasin, was present with key members of his crew, most notably Jeremiah Newton, who executive produced and whose shared life with Darling provided the main focus<br /> of this revelatory, intelligent documentary.<br /> <br /> Framed by a present-day narrative involving close friend Jeremiah Newton's efforts to give Candy's funeral urn a final resting place (in tiny Cherry Valley, New York -- the significance of which is never explained), the documentary recounts in vivid detail the fast-burning life of Warhol's most legendary Superstar. (The only one of Warhol's Superstars, by the way, paid tribute by two Lou Reed-penned songs for The Velvet Underground.) The filmmaker and his crew weave together early video clips, film footage, recordings, photographs, period music and and original score to create a dense narrative fabric, making it one the most thorough and authoritative biopics of the Warhol clan.<br /> <br /><a href="/fbe/index.php?/archives/4482-REVIEW-BEAUTIFUL-DARLING-THE-LIFE-AND-TIMES-OF-CANDY-DARLING,-WARHOL-SUPERSTAR.html#extended">Continue reading "REVIEW: &quot;BEAUTIFUL DARLING: THE LIFE AND TIMES OF CANDY DARLING, WARHOL SUPERSTAR&quot;"</a> Mon, 05 Apr 2010 18:32:00 +0000 /fbe/index.php?/archives/4482-guid.html http://creativecommons.org/licenses/by/3.0/ "IT CAME FROM 1973!": GEORGE ROMERO'S "THE CRAZIES" GETS A YOUNG HOLLYWOOD UPDATE https://www.google.com//fbe/index.php?/archives/4355-IT-CAME-FROM-1973!-GEORGE-ROMEROS-THE-CRAZIES-GETS-A-YOUNG-HOLLYWOOD-UPDATE.html David Savage /fbe/index.php?/archives/4355-IT-CAME-FROM-1973!-GEORGE-ROMEROS-THE-CRAZIES-GETS-A-YOUNG-HOLLYWOOD-UPDATE.html#comments 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mso-hansi-theme-font:minor-latin; mso-bidi-font-family:"Times New Roman"; mso-bidi-theme-font:minor-bidi;} </style> <![endif]--> </p><p class="MsoNormal"><span style="font-size: 10pt;">It*s an angry time in America. Tea Partiers, Olbermann, Palin, Wall Street villains, an endless war in Afghanistan, mercenaries in Congress, flying terrorists, high unemployment and Twitter-addicted freaks.<o:p> </o:p></span></p> <p class="MsoNormal"><span style="font-size: 10pt;">So it*s either a perfect time to bring out a remake of George Romero*s 1973 horror classic <i>The Crazies</i>, or the timing is really curious, if this mainstream horror reboot*s aim is to encourage viewers to ※enjoy some surprises and maybe forget their troubles for a couple hours,§ says one of the producers, Rob Cowan.? The movie opens in North America today. <o:p /></span></p> <p class="MsoNormal"><span style="font-size: 10pt;">The dramatic irony floating over the film 每 in which a small, idyllic Midwestern town descends into violence and mayhem when a water-born toxin infects half the population 每 might be the question whether Americans even <i>need</i> the excuse of a crazy-making virus to descend into anarchy. Aren*t we on the tipping point already?? <o:p /></span></p> <p class="MsoNormal"><span style="font-size: 10pt;">I*ll leave that for viewers to discuss. Meanwhile, this remake from Overture Films features Timothy Olyphant (<i>Live Free or Die Hard</i>), Radha Mitchell (<i>Silent Hill</i>) and is directed by Breck Eisner (<i>Sahara</i>). The writers, Scott Kosar and Ray Wright, have reportedly updated Romero*s original concept from being told from the point of view of the townsfolk to the husband and wife team of David and Judy (Olyphant and Mitchell).<o:p /></span></p> <p> </p> Fri, 26 Feb 2010 11:10:00 +0000 /fbe/index.php?/archives/4355-guid.html http://creativecommons.org/licenses/by/3.0/ ROLAND EMMERICH: FATWA-FEARING PRACTITIONER OF POLITCAL CORRECTNESS https://www.google.com//fbe/index.php?/archives/3897-ROLAND-EMMERICH-FATWA-FEARING-PRACTITIONER-OF-POLITCAL-CORRECTNESS.html David Savage /fbe/index.php?/archives/3897-ROLAND-EMMERICH-FATWA-FEARING-PRACTITIONER-OF-POLITCAL-CORRECTNESS.html#comments /fbe/wfwcomment.php?cid=3897 0 /fbe/rss.php?version=2.0&type=comments&cid=3897 nospam@example.com (Cinema Retro) <div style="width: 257px;" class="serendipity_imageComment_center"><div class="serendipity_imageComment_img"><img height="278" width="257" src="/fbe/uploads/larrydavid.jpg" /></div><div class="serendipity_imageComment_txt">Larry David: more macho than action film director Roland Emmerich? </div></div> <p /><p><b>By David Savage</b></p> <link href="file:///C:\DOCUME~1\ADMINI~1\LOCALS~1\Temp\msohtmlclip1\01\clip_filelist.xml" rel="File-List" /><link href="file:///C:\DOCUME~1\ADMINI~1\LOCALS~1\Temp\msohtmlclip1\01\clip_themedata.thmx" rel="themeData" /><link href="file:///C:\DOCUME~1\ADMINI~1\LOCALS~1\Temp\msohtmlclip1\01\clip_colorschememapping.xml" rel="colorSchemeMapping" /><!--[if gte mso 9]><xml> <w:WordDocument> <w:View>Normal</w:View> <w:Zoom>0</w:Zoom> <w:TrackMoves/> <w:TrackFormatting/> <w:DoNotShowComments/> <w:PunctuationKerning/> <w:ValidateAgainstSchemas/> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:DoNotPromoteQF/> <w:LidThemeOther>EN-US</w:LidThemeOther> <w:LidThemeAsian>X-NONE</w:LidThemeAsian> 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mso-bidi-font-size:10.0pt;} @page Section1 {size:8.5in 11.0in; margin:1.0in 1.0in 1.0in 1.0in; mso-header-margin:.5in; mso-footer-margin:.5in; mso-paper-source:0;} div.Section1 {page:Section1;} --> </style><!--[if gte mso 10]> <style> /<strong> Style Definitions </strong>/ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-priority:99; mso-style-qformat:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin:0in; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:11.0pt; font-family:"Calibri","sans-serif"; mso-ascii-font-family:Calibri; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"Times New Roman"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Calibri; mso-hansi-theme-font:minor-latin; mso-bidi-font-family:"Times New Roman"; mso-bidi-theme-font:minor-bidi;} </style> <![endif]--> <p class="MsoNormal"><span style="font-size: 10pt;">In Roland Emmerich's upcoming multi-billion-dollar boondoggle <i>2012</i> (a date from which Mayan scholars have already distanced themselves, unfortunately, since the whole plot hinges on a &quot;Mayan prophecy&quot; that the world will end in that year), the director decided to film a scene in which the iconic Christ the Redeemer statue in Rio is destroyed, citing his belief against ※organized religion.§<br /> <br /> Interestingly, though, he lost his nerve when it came time to follow through with filming the destruction of another sacred site of organized religion: the Kaaba -- that cube-shaped shrine that sits at the heart of Mecca. Explains Emmerich: ※Well, I wanted to do that, I have to admit. But my co-writer Harald said I will not have a fatwa on my head because of a movie. And he was right. We have to all in the Western world think about this [sic]. You can actually let Christian symbols fall apart, but if you would do this with [an] Arab symbol, you would have a fatwa, and that sounds a little bit like what the state of this world is. So it's just something which I kind of didn't [think] was [an] important element, anyway, in the film, so I kind of left it out.§ <o:p /></span></p> <br /><a href="/fbe/index.php?/archives/3897-ROLAND-EMMERICH-FATWA-FEARING-PRACTITIONER-OF-POLITCAL-CORRECTNESS.html#extended">Continue reading "ROLAND EMMERICH: FATWA-FEARING PRACTITIONER OF POLITCAL CORRECTNESS"</a> Tue, 10 Nov 2009 23:12:04 +0000 /fbe/index.php?/archives/3897-guid.html http://creativecommons.org/licenses/by/3.0/