best online casinos 2019_Welfare offer sports betting odds_smarkets commission https://www.google.com//fbe/ Celebrating Films of the 1960s & 1970s en Serendipity 1.5.2 - http://www.s9y.org/ Fri, 20 Jan 2012 02:06:10 GMT /fbe/templates/default/img/s9y_banner_small.png RSS: Cinema Retro - John Exshaw - Celebrating Films of the 1960s & 1970s https://www.google.com//fbe/ 100 21 DON SHARP, DIRECTOR: AN APPRECIATION BY JOHN EXSHAW https://www.google.com//fbe/index.php?/archives/6475-DON-SHARP,-DIRECTOR-AN-APPRECIATION-BY-JOHN-EXSHAW.html John Exshaw /fbe/index.php?/archives/6475-DON-SHARP,-DIRECTOR-AN-APPRECIATION-BY-JOHN-EXSHAW.html#comments /fbe/wfwcomment.php?cid=6475 0 /fbe/rss.php?version=2.0&type=comments&cid=6475 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/> 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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> </p> <div style="width: 450px;" class="serendipity_imageComment_center"> <div class="serendipity_imageComment_img"><!-- s9ymdb:5523 --><img height="299" width="450" src="/fbe/uploads/SharpDonlow-res03.JPG" class="serendipity_image_center" /></div> <div class="serendipity_imageComment_txt">Don Sharp photographed during interview session by John Exshaw. (Copyright John Exshaw. All rights reserved.) </div> </div> <p> </p> <p>Cinema Retro's <strong>John Exshaw </strong>remembers a highly talented and often under-rated director. <br /></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt;"><em><span lang="EN-IE" style="font-size: 10pt; line-height: 115%; font-family: &quot;Verdana&quot;,&quot;sans-serif&quot;;">※Don was first-class . . . a really good film director. [He was] extremely capable, and he was very, very interested in everything that he did. . . . He used to come well-prepared with what he was going to shoot. . . . I don*t ever remember having problems with making a </span></em><span lang="EN-IE" style="font-size: 10pt; line-height: 115%; font-family: &quot;Verdana&quot;,&quot;sans-serif&quot;;">[Don Sharp]<em> film move and making a sequence move that one might have had . . . and that*s why I*ve always had a lot of respect for Don, because the scenes that he produced, they played so well.§ </em>每 Eric Boyd-Perkins, editor (<em>Hennessy</em>, et al.)</span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt;"><span lang="EN-IE" style="font-size: 10pt; line-height: 115%; font-family: &quot;Verdana&quot;,&quot;sans-serif&quot;;"> </span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt;"><em><span lang="EN-IE" style="font-size: 10pt; line-height: 115%; font-family: &quot;Verdana&quot;,&quot;sans-serif&quot;;">※I will remember Don for his determination to bring together the often disparate elements of a cast and crew to produce a movie that was true to the intentions of its producer and author: he was a true servant of the medium. Perhaps most of all I will remember his patience and unfailing good humour. I had some of the best times of my working life on the films he directed and I will remember him with great affection.§</span></em><span lang="EN-IE" style="font-size: 10pt; line-height: 115%; font-family: &quot;Verdana&quot;,&quot;sans-serif&quot;;"> 每 Richard Johnson, actor (<em>Hennessy</em>, et al.)</span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt;"><span lang="EN-IE" style="font-size: 10pt; line-height: 115%; font-family: &quot;Verdana&quot;,&quot;sans-serif&quot;;"> </span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt;"><em><span lang="EN-IE" style="font-size: 10pt; line-height: 115%; font-family: &quot;Verdana&quot;,&quot;sans-serif&quot;;">※Very, very calm. Very calm and knew exactly what he wanted.§</span></em><span lang="EN-IE" style="font-size: 10pt; line-height: 115%; font-family: &quot;Verdana&quot;,&quot;sans-serif&quot;;"> 每 Sir Christopher Lee, actor (<em>The Face of Fu Manchu</em>, et al.)</span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt;"><span lang="EN-IE" style="font-size: 10pt; line-height: 115%; font-family: &quot;Verdana&quot;,&quot;sans-serif&quot;;"> </span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt;"><em><span lang="EN-IE" style="font-size: 10pt; line-height: 115%; font-family: &quot;Verdana&quot;,&quot;sans-serif&quot;;">※He was one of the great technicians in the business. He really was a very competent director in terms of budget and schedules . . .§</span></em><span lang="EN-IE" style="font-size: 10pt; line-height: 115%; font-family: &quot;Verdana&quot;,&quot;sans-serif&quot;;"> 每 Peter Snell, producer (<em>Hennessy</em>, et al.)</span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt;"><span lang="EN-IE" style="font-size: 10pt; line-height: 115%; font-family: &quot;Verdana&quot;,&quot;sans-serif&quot;;"> </span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt;"><em><span lang="EN-IE" style="font-size: 10pt; line-height: 115%; font-family: &quot;Verdana&quot;,&quot;sans-serif&quot;;">※I kept using Don because his films came in on budget and were without exception very successful. On top of that he was a most agreeable person of very good character 每 no tantrums 每 clear headed 每 resourceful; a gentleman too.§</span></em><span lang="EN-IE" style="font-size: 10pt; line-height: 115%; font-family: &quot;Verdana&quot;,&quot;sans-serif&quot;;"> 每 Harry Alan Towers, producer (<em>The Face of Fu Manchu</em>, et al.)</span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt;"><span lang="EN-IE" style="font-size: 10pt; line-height: 115%; font-family: &quot;Verdana&quot;,&quot;sans-serif&quot;;"> </span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt;"><span lang="EN-IE" style="font-size: 10pt; line-height: 115%; font-family: &quot;Verdana&quot;,&quot;sans-serif&quot;;">It was with great sadness that I learned of the death of Don Sharp, who passed away, aged 90, in Cornwall on 14 December last year. I first met Don (and his delightful wife, Mary) at their home in London in 2007, having arranged to interview him about his career, and in particular the two films which I regard as his finest, <em>The Face of Fu Manchu</em> (1965) and <em>Hennessy</em> (1975). He seemed quietly pleased that someone else shared his own good opinion of those films, having, in the past, been mainly interviewed about the three films he made for Hammer (<em>The Kiss of the Vampire</em>, 1963, <em>The Devil-Ship Pirates</em>, 1964, and <em>Rasputin, the Mad Monk</em>, 1965).</span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt;"><span lang="EN-IE" style="font-size: 10pt; line-height: 115%; font-family: &quot;Verdana&quot;,&quot;sans-serif&quot;;"> </span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt;"><span lang="EN-IE" style="font-size: 10pt; line-height: 115%; font-family: &quot;Verdana&quot;,&quot;sans-serif&quot;;">In a different sense, of course, I*d met Don many years before, through his films, which always left an impression, no matter how unpromising the basic material; I can well remember scanning the TV guides and making a point to watch anything &Directed by Don Sharp*. In those days, the TV schedules were full of the type of British second-feature films that Don made, but his always had something different 每 a sense of style and movement, in a word <em>action</em> 每 that made them stand out from the dross.</span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt;"><span lang="EN-IE" style="font-size: 10pt; line-height: 115%; font-family: &quot;Verdana&quot;,&quot;sans-serif&quot;;">It is worth emphasising how rare that quality was in British films of that period. While Terence Fisher is justly celebrated for directing the most famous Hammer films, his forte was atmosphere, combined with a certain classical rigour in both composition and cutting derived, one imagines, from his years as an editor. Seth Holt and Michael Reeves both made stylish and memorable contributions to what, for the sake of immediate convenience, we*ll call the horror genre, but the majority of British films in the horror-thriller field were usually both dull in concept and laboured in execution, to put it kindly.</span></p> <br /><a href="/fbe/index.php?/archives/6475-DON-SHARP,-DIRECTOR-AN-APPRECIATION-BY-JOHN-EXSHAW.html#extended">Continue reading "DON SHARP, DIRECTOR: AN APPRECIATION BY JOHN EXSHAW"</a> Fri, 20 Jan 2012 10:40:00 +0000 /fbe/index.php?/archives/6475-guid.html http://creativecommons.org/licenses/by/3.0/ JOHN EXSHAW'S THE LAST ROUND-UP: REPORTS ON IRISH WESTERN FILM EVENTS DURING 2011 (PLUS A CHRISTOPHER LEE TRIBUTE INCLUDED FOR GOOD MEASURE) https://www.google.com//fbe/index.php?/archives/6445-JOHN-EXSHAWS-THE-LAST-ROUND-UP-REPORTS-ON-IRISH-WESTERN-FILM-EVENTS-DURING-2011-PLUS-A-CHRISTOPHER-LEE-TRIBUTE-INCLUDED-FOR-GOOD-MEASURE.html John Exshaw /fbe/index.php?/archives/6445-JOHN-EXSHAWS-THE-LAST-ROUND-UP-REPORTS-ON-IRISH-WESTERN-FILM-EVENTS-DURING-2011-PLUS-A-CHRISTOPHER-LEE-TRIBUTE-INCLUDED-FOR-GOOD-MEASURE.html#comments /fbe/wfwcomment.php?cid=6445 0 /fbe/rss.php?version=2.0&type=comments&cid=6445 nospam@example.com (Cinema Retro) <p><!-- s9ymdb:5479 --><img width="500" height="375" class="serendipity_image_center" src="/fbe/uploads/WesternSeasonposter.JPG" /> </p> <p><strong>By John Exshaw</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> <w:LidThemeComplexScript>X-NONE</w:LidThemeComplexScript> 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&quot;Verdana&quot;,&quot;sans-serif&quot;;">Being reports of certain events which would have appeared earlier, had fate and the need to earn a buck not intervened. </span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt;"><strong><span lang="EN-IE" style="font-size: 10pt; line-height: 115%; font-family: &quot;Verdana&quot;,&quot;sans-serif&quot;;"> </span></strong></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt;"><strong><span lang="EN-IE" style="font-size: 10pt; line-height: 115%; font-family: &quot;Verdana&quot;,&quot;sans-serif&quot;;">Western Season</span></strong></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt;"><strong><span lang="EN-IE" style="font-size: 10pt; line-height: 115%; font-family: &quot;Verdana&quot;,&quot;sans-serif&quot;;">Irish Film Institute, 24-28 August 2011</span></strong><span lang="EN-IE" style="font-size: 10pt; line-height: 115%; font-family: &quot;Verdana&quot;,&quot;sans-serif&quot;;"> <br /></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt;"><span lang="EN-IE" style="font-size: 10pt; line-height: 115%; font-family: &quot;Verdana&quot;,&quot;sans-serif&quot;;">Waiting at the station for the 3:10 to Tara Street, I was feeling good 每 deep down good, the way a man can feel when he*s got a bunch of Westerns to watch and a passel of press passes in his pocket. Leaving the Iron Horse at Westland Row, I cut across Grafton Street (no sign of them pesky Rykers) and on down to the Irish Film Institute, where they were about to let rip with a four-day, eight-film season called &The Western: Meanwhile Back at the Revolution ... The Western As Political Allegory*. Well, I reckoned they could use all them fancy five-dollar words and dress it up whatever they damn well liked, long as it meant seeing some real Westerns on the big screen. As Randy Scott would*ve said, ※There*s some things a man can*t ride around〞but <em>Cowboys &amp; Aliens</em> ain*t one of them.§ Ride clear of Diablo, hell, ride clear of dumb CGI special effects movies is more like it . . . <br /></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt;"><span lang="EN-IE" style="font-size: 10pt; line-height: 115%; font-family: &quot;Verdana&quot;,&quot;sans-serif&quot;;">Anyhow, I figured not only was this a chance to see some Westerns the way they were meant to be seen but also an opportunity to have my say on films which wouldn*t normally fit into the <em>Cinema Retro</em> corral, being as they were made before 1960. Not that this is either the time or the place for what you might call in-depth chin-stroking and head-scratching〞more like a chance to throw out some thoughts and see where they go. <br /></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt;"><span lang="EN-IE" style="font-size: 10pt; line-height: 115%; font-family: &quot;Verdana&quot;,&quot;sans-serif&quot;;">First up, perhaps predictably enough, was <em>High Noon</em> (1952), described in the programme notes by season curator Declan Clarke as ※a commentary on the McCarthy witch-hunt and the failure of U.S. intellectuals to stand up to the House Un-American Activities Committee.§ This, of course, has become pretty much the standard interpretation of <em>High Noon</em> but it would be interesting to know to what extent it was perceived that way on its initial release; the British critic Robin Wood has recalled that he was completely unaware of any political subtext when he first saw the film, and it seems rather doubtful that many citizens of Main Street, U.S.A., came out of their local cinemas saying, ※Gee, honey, that sure was one in the eye for Joe McCarthy!§ <br /></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt;"><span lang="EN-IE" style="font-size: 10pt; line-height: 115%; font-family: &quot;Verdana&quot;,&quot;sans-serif&quot;;">Although, generally speaking, I prefer to see something of the West in my Westerns (even if it*s Almer赤a, west of Rome), <em>High Noon</em> remains one of the best ※town Westerns§ ever made, notable as much for its characterisation as for its celebrated manipulation of real time to build suspense. In particular, one is struck by the refreshingly adult depiction of Helen Ram赤rez (Katy Jurado), a ※woman with a past§ who is required neither to apologise for that past nor to expiate her supposed sins by catching one of those stray ※moral§ bullets which usually account for such characters (e.g., Linda Darnell*s Chihuahua in Ford*s <em>My Darling Clementine</em>, 1946). Other details I*d forgotten include the church scene in which Thomas Mitchell appears to be lending his support to Marshal Kane only to end up giving him the shaft, Howland Chamberlin*s nasty-minded hotel clerk, and Harry Morgan urging his wife to tell Kane that he*s not in, that he*s gone to church. <br /></span></p><br /> <br /><a href="/fbe/index.php?/archives/6445-JOHN-EXSHAWS-THE-LAST-ROUND-UP-REPORTS-ON-IRISH-WESTERN-FILM-EVENTS-DURING-2011-PLUS-A-CHRISTOPHER-LEE-TRIBUTE-INCLUDED-FOR-GOOD-MEASURE.html#extended">Continue reading "JOHN EXSHAW'S THE LAST ROUND-UP: REPORTS ON IRISH WESTERN FILM EVENTS DURING 2011 (PLUS A CHRISTOPHER LEE TRIBUTE INCLUDED FOR GOOD MEASURE) "</a> Sat, 31 Dec 2011 19:27:48 +0000 /fbe/index.php?/archives/6445-guid.html http://creativecommons.org/licenses/by/3.0/ SIR CHRISTOPHER FRAYLING AND JOHN BOORMAN HOST "A FISTFUL OF DYNAMITE" 40TH ANNIVERSARY SCREENING, IFI DUBLIN, 1 NOVEMBER https://www.google.com//fbe/index.php?/archives/6365-SIR-CHRISTOPHER-FRAYLING-AND-JOHN-BOORMAN-HOST-A-FISTFUL-OF-DYNAMITE-40TH-ANNIVERSARY-SCREENING,-IFI-DUBLIN,-1-NOVEMBER.html John Exshaw /fbe/index.php?/archives/6365-SIR-CHRISTOPHER-FRAYLING-AND-JOHN-BOORMAN-HOST-A-FISTFUL-OF-DYNAMITE-40TH-ANNIVERSARY-SCREENING,-IFI-DUBLIN,-1-NOVEMBER.html#comments /fbe/wfwcomment.php?cid=6365 0 /fbe/rss.php?version=2.0&type=comments&cid=6365 nospam@example.com (Cinema Retro) <p><!-- s9ymdb:5372 --><img width="333" height="500" src="/fbe/uploads/fistful_of_dynamite_ver2.jpg" class="serendipity_image_center" /> </p> <p><strong>By John Exshaw</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> 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Also participating in the event will be director John Boorman, who assisted Leone in finding the locations used in the film*s Irish flashback sequences, and Ireland*s top special-effects expert, Gerry Johnston, who worked on the action scenes shot in Toner*s pub in Dublin*s Baggot Street. <br /></span></p> <p style="margin-bottom: 0.0001pt;" class="MsoNormal"><span lang="EN-IE" style="font-size: 10pt; line-height: 115%; font-family: &quot;Verdana&quot;,&quot;sans-serif&quot;;">Frayling, whose last appearance at the IFI (introducing <em>Once Upon a Time in the West</em>) was the highpoint of the 2000 season, will use extracts from such films as John Ford*s <em>The Informer</em> (1935) and <em>The Quiet Man</em> (1952) to examine Leone*s response to Ford*s romantic vision of Ireland and Irish history, as well as casting an eye on the political Spaghetti Westerns of film-makers such as Damiano Damiani, Sergio Sollima, and Giulio Petroni. Also included will be rare footage of Leone directing the opening sequence of <em>A Fistful of Dynamite</em>. <br /></span></p> <p style="margin-bottom: 0.0001pt;" class="MsoNormal"><span lang="EN-IE" style="font-size: 10pt; line-height: 115%; font-family: &quot;Verdana&quot;,&quot;sans-serif&quot;;">For details of the event, which will also be the Irish premi豕re of the restored version of <em>A Fistful of Dynamite</em>, please see click on the following link to the IFI*s website: <a href="http://www.ifi.ie/cinema/dispfilm_07.asp?filmID=7649">http://www.ifi.ie/cinema/dispfilm_07.asp?filmID=7649</a>.</span></p> <p> </p> Sun, 30 Oct 2011 02:42:00 +0000 /fbe/index.php?/archives/6365-guid.html http://creativecommons.org/licenses/by/3.0/ Big Wheel Keeps on Turnin*: The Killruddery Film Festival, 10-13 March, 2011 https://www.google.com//fbe/index.php?/archives/5567-Big-Wheel-Keeps-on-Turnin-The-Killruddery-Film-Festival,-10-13-March,-2011.html John Exshaw /fbe/index.php?/archives/5567-Big-Wheel-Keeps-on-Turnin-The-Killruddery-Film-Festival,-10-13-March,-2011.html#comments /fbe/wfwcomment.php?cid=5567 0 /fbe/rss.php?version=2.0&type=comments&cid=5567 nospam@example.com (Cinema Retro) <p style="MARGIN: 0in 0in 0pt" class="MsoNormal"><span style="LINE-HEIGHT: 115%; FONT-FAMILY: 'Verdana','sans-serif'; FONT-SIZE: 10pt" lang="EN-IE"><font color="#000000"><strong>&#160;</p> <div style="WIDTH: 400px" class="serendipity_imageComment_center"> <div class="serendipity_imageComment_img"><img class="serendipity_image_center" src="/fbe/uploads/ExshawFestivaldirectorDanielFitzpatrickwithKevinBrownlow1.jpg" width="400" height="267" /></div> <div class="serendipity_imageComment_txt">Festival Director Daniel Fitzpatrick (L) with Kevin Brownlow.</div></div> <p style="MARGIN: 0in 0in 0pt" class="MsoNormal"></strong></font></span>&#160;</p> <p style="MARGIN: 0in 0in 0pt" class="MsoNormal"><span style="LINE-HEIGHT: 115%; FONT-FAMILY: 'Verdana','sans-serif'; FONT-SIZE: 10pt" lang="EN-IE"><strong><font color="#000000"></font></strong></span>&#160;</p> <p style="MARGIN: 0in 0in 0pt" class="MsoNormal"><span style="LINE-HEIGHT: 115%; FONT-FAMILY: 'Verdana','sans-serif'; FONT-SIZE: 10pt" lang="EN-IE"><font color="#000000"><strong>By John Exshaw</strong></font></span></p> <p style="MARGIN: 0in 0in 0pt" class="MsoNormal"><span style="LINE-HEIGHT: 115%; FONT-FAMILY: 'Verdana','sans-serif'; FONT-SIZE: 10pt" lang="EN-IE"><font color="#000000"></font></span>&#160;</p> <p style="MARGIN: 0in 0in 0pt" class="MsoNormal"><span style="LINE-HEIGHT: 115%; FONT-FAMILY: 'Verdana','sans-serif'; FONT-SIZE: 10pt" lang="EN-IE"><font color="#000000">A mere twelve days after introducing Rex Ingram*s <em style="mso-bidi-font-style: normal">The Four Horsemen of the Apocalypse</em> at the National Concert Hall, Kevin Brownlow, silent cinema*s resident saint and scholar, returned to Ireland for the recently concluded third Killruddery Film Festival, held at the eponymous House and Gardens outside Bray in County Wicklow. The event, which proved as popular as its predecessor last year, saw Brownlow, with his customary boyish enthusiasm, present no less than seven films over a three-day period, as well as delivering a highly diverting history of Irish involvement in the development of early Hollywood.<?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="LINE-HEIGHT: 115%; FONT-FAMILY: 'Verdana','sans-serif'; FONT-SIZE: 10pt" lang="EN-IE"><o:p><font color="#000000">&#160;</font></o:p></span></p> <p style="MARGIN: 0in 0in 0pt" class="MsoNormal"><span style="LINE-HEIGHT: 115%; FONT-FAMILY: 'Verdana','sans-serif'; FONT-SIZE: 10pt" lang="EN-IE"><font color="#000000">The festival, masterminded once again by director Daniel Fitzpatrick, kicked off on Thursday night with a meet-and-greet, followed by a selection of films made by the Kalem Company in Ireland around 100 years ago, along with an accompanying documentary. On Friday, and with a mixture of both curiosity and foreboding, I pitched up for the first film to be presented by Kevin, Abel Gance*s four-and-a-half hour <em style="mso-bidi-font-style: normal">La Roue</em> (The Wheel, 1922). Famed for its stylistic innovations, in particular the use of rapid cutting, <em style="mso-bidi-font-style: normal">La Roue</em> tells the story of Sisif, a train driver who saves an orphaned child from a wreck and decides to rear her as his own daughter. Complications set in when Sisif (S谷verin-Mars) later falls in love with the fifteen-year-old Norma (played by director Ronald Neame*s mother, Ivy Close), who is also loved by his son Elie (Gabriel de Gravone), who of course believes that Norma is his sister. After that, everyone does a great deal of suffering, as the story moves from the train yards to the French Alps, where Sisif has been sent in disgrace after deliberately crashing his train.<o:p></o:p></font></span></p> <p style="MARGIN: 0in 0in 0pt" class="MsoNormal"><span style="LINE-HEIGHT: 115%; FONT-FAMILY: 'Verdana','sans-serif'; FONT-SIZE: 10pt" lang="EN-IE"><o:p><font color="#000000">&#160;</font></o:p></span></p> <p style="MARGIN: 0in 0in 0pt" class="MsoNormal"><span style="LINE-HEIGHT: 115%; FONT-FAMILY: 'Verdana','sans-serif'; FONT-SIZE: 10pt" lang="EN-IE"><font color="#000000">Mind-boggling though Gance*s mastery of technique is, the film is definitely something of an endurance test, and at one point, when Elie cries out, ※Rails, wheels, smoke! How gloomy it all is!§ I found myself nodding in fervent agreement. Afterwards, Kevin asked me what I thought of it. ※Well,§ I said, ※obviously, from a technical point of view, it*s an astonishing achievement. On the other hand, it*s rather like being beaten over the head with a Victor Hugo novel for four-and-a-half hours.§<span style="mso-spacerun: yes">&#160; </span>※That could be a good thing,§ suggested Kevin, whose idea of fun clearly deviates rather drastically from mine after a certain point. With the festival unfortunately coming at a particularly busy time for me, I felt I had done my duty for the day and duly wheeled off, leaving Kevin and his merry band of enthusiasts to the joys of <em style="mso-bidi-font-style: normal">White Shadows in the South Seas</em> (1928) and Frank Borzage*s <em style="mso-bidi-font-style: normal">Seventh Heaven</em> (1927).<o:p></o:p></font></span></p> <p style="MARGIN: 0in 0in 0pt" class="MsoNormal"><span style="LINE-HEIGHT: 115%; FONT-FAMILY: 'Verdana','sans-serif'; FONT-SIZE: 10pt" lang="EN-IE"><o:p><font color="#000000">&#160;</font></o:p></span></p> <p style="MARGIN: 0in 0in 0pt" class="MsoNormal"><span style="LINE-HEIGHT: 115%; FONT-FAMILY: 'Verdana','sans-serif'; FONT-SIZE: 10pt" lang="EN-IE"><font color="#000000">Previous engagements, not least with the Wales vs. Ireland Six Nations match from Cardiff, kept me occupied on Saturday, which began with the annual visit of Sunniva O*Flynn, Curator of the Irish Film Institute, with her can of goodies from the IFI archive, this time containing three children*s films dating from the 1940s and 1950s. These were followed by three ※Early Masterpieces of the Avant Garde§, including a 1928 version of <em style="mso-bidi-font-style: normal">The Fall of the House of Usher</em>, presented by Daniel Fitzpatrick. Later on, Kevin presented Lewis Milestone*s <em style="mso-bidi-font-style: normal">The Garden of Eden</em> (1928), starring Corinne Griffith, and the day finished with a screening of Terence Davies* <em style="mso-bidi-font-style: normal">The Long Day Closes</em> (1992), which really didn*t sound like my kind of thing.</font></span></p> <br /><a href="/fbe/index.php?/archives/5567-Big-Wheel-Keeps-on-Turnin-The-Killruddery-Film-Festival,-10-13-March,-2011.html#extended">Continue reading "Big Wheel Keeps on Turnin*: The Killruddery Film Festival, 10-13 March, 2011"</a> Wed, 16 Mar 2011 10:22:00 +0000 /fbe/index.php?/archives/5567-guid.html http://creativecommons.org/licenses/by/3.0/ Ridin* with Rooster Again: Some Thoughts on True Grit https://www.google.com//fbe/index.php?/archives/5568-Ridin-with-Rooster-Again-Some-Thoughts-on-True-Grit.html John Exshaw /fbe/index.php?/archives/5568-Ridin-with-Rooster-Again-Some-Thoughts-on-True-Grit.html#comments /fbe/wfwcomment.php?cid=5568 0 /fbe/rss.php?version=2.0&type=comments&cid=5568 nospam@example.com (Cinema Retro) <p style="MARGIN: 0in 0in 0pt" class="MsoNormal"><span style="LINE-HEIGHT: 115%; FONT-FAMILY: 'Verdana','sans-serif'; FONT-SIZE: 10pt" lang="EN-IE"><font color="#000000"><strong><img class="serendipity_image_center" src="/fbe/uploads/true-grit-poster_2401.jpg" width="173" height="299" /></strong></font></span></p> <p style="MARGIN: 0in 0in 0pt" class="MsoNormal"><span style="LINE-HEIGHT: 115%; FONT-FAMILY: 'Verdana','sans-serif'; FONT-SIZE: 10pt" lang="EN-IE"><font color="#000000"><strong></strong></font></span>&#160;</p> <p style="MARGIN: 0in 0in 0pt" class="MsoNormal"><span style="LINE-HEIGHT: 115%; FONT-FAMILY: 'Verdana','sans-serif'; FONT-SIZE: 10pt" lang="EN-IE"><font color="#000000"><strong>By John Exshaw</strong></font></span></p> <p style="MARGIN: 0in 0in 0pt" class="MsoNormal"><span style="LINE-HEIGHT: 115%; FONT-FAMILY: 'Verdana','sans-serif'; FONT-SIZE: 10pt" lang="EN-IE"><font color="#000000"></font></span>&#160;</p> <p style="MARGIN: 0in 0in 0pt" class="MsoNormal"><span style="LINE-HEIGHT: 115%; FONT-FAMILY: 'Verdana','sans-serif'; FONT-SIZE: 10pt" lang="EN-IE"><font color="#000000">Earlier this week, I figured it was about time to catch up with the Coen Brothers* version of <em style="mso-bidi-font-style: normal">True Grit</em> before it rode off the big screen and into the DVD sunset. And what with it failing to win any Oscars 每 not even for Best Beards in a Motion Picture 每 I reckoned the time was just about right. You see, I never paid much heed to all that ※cinema as shared experience§ bull. I generally prefer to bide my time until the opening week claim-jumpers and second-week popcorn-guzzlers have moved on to something else, and there*s just me and the janitor*s cat ridin* that lonesome trail in the dark . . .<?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="LINE-HEIGHT: 115%; FONT-FAMILY: 'Verdana','sans-serif'; FONT-SIZE: 10pt" lang="EN-IE"><o:p><font color="#000000">&#160;</font></o:p></span></p> <p style="MARGIN: 0in 0in 0pt" class="MsoNormal"><font color="#000000"><span style="LINE-HEIGHT: 115%; FONT-FAMILY: 'Verdana','sans-serif'; FONT-SIZE: 10pt" lang="EN-IE">Like everybody else, I reckon, my first reaction on hearing that <em style="mso-bidi-font-style: normal">Les Fr豕res Cohen</em> 每 as I believe they*re known down N*Awleans way 每 were remaking <em style="mso-bidi-font-style: normal">True Grit</em> was what in the hell for? Which is pretty much what I said when I heard they were gussying up <em style="mso-bidi-font-style: normal">3:10 to Yuma</em> a few years back. But that, as they say, is a steer of a different brand. . . .<span style="mso-spacerun: yes">&#160; </span>Still, I can*t truthfully claim that <em style="mso-bidi-font-style: normal">True Grit</em> ever figured on any wanted list of movies-that-need-remaking that I*ve ever posted, anymore than <em style="mso-bidi-font-style: normal">3:10</em> did. What*s more, I always had the idea that pretty much everybody was happy with the job Big John and Henry Hathaway done back there in </span><span style="LINE-HEIGHT: 115%; FONT-FAMILY: 'Times New Roman','serif'; FONT-SIZE: 10pt" lang="EN-IE">?</span><span style="LINE-HEIGHT: 115%; FONT-FAMILY: 'Verdana','sans-serif'; FONT-SIZE: 10pt" lang="EN-IE">69. So what did these boys think they were doing? Just because one of </span><span style="LINE-HEIGHT: 115%; FONT-FAMILY: 'Times New Roman','serif'; FONT-SIZE: 10pt" lang="EN-IE">?</span><span style="LINE-HEIGHT: 115%; FONT-FAMILY: 'Verdana','sans-serif'; FONT-SIZE: 10pt" lang="EN-IE">em is named after Joel McCrea and t*other after Ethan Edwards don*t mean they got any business doggin* the Duke*s tracks. As Randy Scott would*ve said, ※Man needs a reason to ride this country. You got a reason?§</span></font></p> <p style="MARGIN: 0in 0in 0pt" class="MsoNormal"><span style="LINE-HEIGHT: 115%; FONT-FAMILY: 'Verdana','sans-serif'; FONT-SIZE: 10pt" lang="EN-IE"><font color="#000000"></font></span>&#160;</p> <p style="MARGIN: 0in 0in 0pt" class="MsoNormal"><span style="LINE-HEIGHT: 115%; FONT-FAMILY: 'Verdana','sans-serif'; FONT-SIZE: 10pt" lang="EN-IE"><font color="#000000">Well, turns out, according to Joel in an interview with <em style="mso-bidi-font-style: normal">The Daily Telegraph</em>, that the boys ※didn*t read Charles Portis when we were young; we discovered him only as adults. But when I read <em style="mso-bidi-font-style: normal">True Grit</em> to my son, I thought that it would be a fun film to make.§ Mighty touching, you might think, <em style="mso-bidi-font-style: normal">mighty</em> touching. Hell, maybe even John Ford would*ve gone for that scene with Pappy Coen reading out loud to his towheaded kid on the porch, but as reasons go I just can*t see it carrying much weight with Randy. To quote Lucky Ned Pepper himself, it*s just ※Too thin, Rooster! Too thin!§<o:p></o:p></font></span></p> <p style="MARGIN: 0in 0in 0pt" class="MsoNormal"><span style="LINE-HEIGHT: 115%; FONT-FAMILY: 'Verdana','sans-serif'; FONT-SIZE: 10pt" lang="EN-IE"><o:p><font color="#000000">&#160;</font></o:p></span></p> <p style="MARGIN: 0in 0in 0pt" class="MsoNormal"><span style="LINE-HEIGHT: 115%; FONT-FAMILY: 'Verdana','sans-serif'; FONT-SIZE: 10pt" lang="EN-IE"><font color="#000000">Anyhow, then I started in on reading the reviews, which is not something a man should ever do sober, and sure enough, most of them critics were drooling over this new version and jabbering on about how the Coens had gone back to the original 1968 novel by Charles Portis, and wasn*t it just great? Trouble is, of course, the critics always say <em style="mso-bidi-font-style: normal">any</em> new film by the Coen boys is great, much like they used to say every hold-up pulled by the James boys was the most daring and dastardly ever seen - which weren*t hardly the case back then and sure as hell ain*t the case now, not by a long shot.&#160;</font></span></p> <br /><a href="/fbe/index.php?/archives/5568-Ridin-with-Rooster-Again-Some-Thoughts-on-True-Grit.html#extended">Continue reading "Ridin* with Rooster Again: Some Thoughts on True Grit"</a> Tue, 15 Mar 2011 23:26:00 +0000 /fbe/index.php?/archives/5568-guid.html http://creativecommons.org/licenses/by/3.0/ THE RETURN OF THE KING: REX INGRAM AT THE NATIONAL CONCERT HALL, DUBLIN, 26 FEBRUARY 2011 https://www.google.com//fbe/index.php?/archives/5540-THE-RETURN-OF-THE-KING-REX-INGRAM-AT-THE-NATIONAL-CONCERT-HALL,-DUBLIN,-26-FEBRUARY-2011.html John Exshaw /fbe/index.php?/archives/5540-THE-RETURN-OF-THE-KING-REX-INGRAM-AT-THE-NATIONAL-CONCERT-HALL,-DUBLIN,-26-FEBRUARY-2011.html#comments /fbe/wfwcomment.php?cid=5540 0 /fbe/rss.php?version=2.0&type=comments&cid=5540 nospam@example.com (Cinema Retro) <p><strong><img class="serendipity_image_center" src="/fbe/uploads/FourHorsemenoftheApocalypseTheIre2011flyer011.jpg" width="450" height="642" /></strong></p> <p><strong>By John Exshaw</strong></p> <p style="MARGIN: 0in 0in 0pt" class="MsoNormal"><span style="LINE-HEIGHT: 115%; FONT-FAMILY: 'Verdana','sans-serif'; FONT-SIZE: 10pt" lang="EN-IE"><font color="#000000">Saturday, 26 February, saw the triumphant return of director Rex Ingram 每 or at any rate, his most celebrated film 每 to the city of his birth, as <em style="mso-bidi-font-style: normal">The Four Horsemen of the Apocalypse</em> thundered once more across the big screen at the National Concert Hall in Dublin. Last seen at the same venue in 1993 (the centenary of Ingram*s birth), the film was showing as part of the recently-concluded Jameson Dublin International Film Festival, and, as on that previous occasion, the score was again performed by the RT谷 Concert Orchestra, this time under the direction of David Brophy.<?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="LINE-HEIGHT: 115%; FONT-FAMILY: 'Verdana','sans-serif'; FONT-SIZE: 10pt" lang="EN-IE"><o:p><font color="#000000">&#160;</font></o:p></span></p> <p style="MARGIN: 0in 0in 0pt" class="MsoNormal"><span style="LINE-HEIGHT: 115%; FONT-FAMILY: 'Verdana','sans-serif'; FONT-SIZE: 10pt" lang="EN-IE"><font color="#000000">Ingram*s masterpiece not only propelled Rudolph Valentino and Alice Terry to international stardom but made Ingram himself the leading director of his day, with complete power over all future projects and his own studio in the south of France. But while Valentino has retained his iconic status 每 albeit of a somewhat dubious and necrophiliac character 每 Ingram*s reputation (along with that of scriptwriter June Mathis, the driving force behind <em style="mso-bidi-font-style: normal">The Four Horsemen</em>), has been allowed to slide into undeserved obscurity. Even this showing, in his native city, was billed as a 90<sup>th</sup>. anniversary of the film itself, rather than as a tribute to Ingram; had it been screened here last year, as it was in July at the Samuel Goldwyn Theater in L.A., it could at least have been promoted as commemorating the 60<sup>th</sup>. anniversary of Ingram*s death in 1950.<o:p></o:p></font></span></p> <p style="MARGIN: 0in 0in 0pt" class="MsoNormal"><span style="LINE-HEIGHT: 115%; FONT-FAMILY: 'Verdana','sans-serif'; FONT-SIZE: 10pt" lang="EN-IE"><o:p><font color="#000000">&#160;</font></o:p></span></p> <p style="MARGIN: 0in 0in 0pt" class="MsoNormal"><span style="LINE-HEIGHT: 115%; FONT-FAMILY: 'Verdana','sans-serif'; FONT-SIZE: 10pt" lang="EN-IE"><font color="#000000">Be that as it may, <em style="mso-bidi-font-style: normal">The Four Horsemen</em> proceeded to play to a gratifyingly full house at the NCH 每 and on an evening when people might otherwise have been expected 每 at least by self-regarding politicians 每 to show some passing interest in the results of the general election, held the day before. Then again, perhaps Ingram*s film, itself allegorical, struck a chord in a country recently devastated by its own version of the Four Horsemen of the Apocalypse: Greed, Cronyism, Clerical Criminality, and the IMF. With tickets ranging from a not-inconsiderable 25-35, the screening also proved something of a recession-buster, attracting an audience comprised largely of the well-heeled, together with a sprinkling of the self-consciously ※orty§, all hoping not to be noticed in their look-at-me outfits and silly hats.</font></span></p> <br /><a href="/fbe/index.php?/archives/5540-THE-RETURN-OF-THE-KING-REX-INGRAM-AT-THE-NATIONAL-CONCERT-HALL,-DUBLIN,-26-FEBRUARY-2011.html#extended">Continue reading "THE RETURN OF THE KING: REX INGRAM AT THE NATIONAL CONCERT HALL, DUBLIN, 26 FEBRUARY 2011"</a> Mon, 07 Mar 2011 09:25:00 +0000 /fbe/index.php?/archives/5540-guid.html http://creativecommons.org/licenses/by/3.0/ BOOK REVIEW: A BIOGRAPHY OF DIRECTOR EUGENIO MART赤N https://www.google.com//fbe/index.php?/archives/5352-BOOK-REVIEW-A-BIOGRAPHY-OF-DIRECTOR-EUGENIO-MARTN.html John Exshaw /fbe/index.php?/archives/5352-BOOK-REVIEW-A-BIOGRAPHY-OF-DIRECTOR-EUGENIO-MARTN.html#comments /fbe/wfwcomment.php?cid=5352 0 /fbe/rss.php?version=2.0&type=comments&cid=5352 nospam@example.com (Cinema Retro) <span style="LINE-HEIGHT: 115%; FONT-FAMILY: 'Verdana','sans-serif'; FONT-SIZE: 10pt" lang="EN-IE"><font color="#000000"> <p style="MARGIN: 0in 0in 0pt" class="MsoNormal"><strong style="mso-bidi-font-weight: normal"><u><span style="LINE-HEIGHT: 115%; FONT-FAMILY: 'Verdana','sans-serif'; FONT-SIZE: 10pt" lang="EN-IE"><img class="serendipity_image_center" src="/fbe/uploads/eugenio.jpg" width="323" height="400" /></span></u></strong></p> <p style="MARGIN: 0in 0in 0pt" class="MsoNormal"><strong style="mso-bidi-font-weight: normal"><u><span style="LINE-HEIGHT: 115%; FONT-FAMILY: 'Verdana','sans-serif'; FONT-SIZE: 10pt" lang="EN-IE"></span></u></strong>&#160;</p> <p style="MARGIN: 0in 0in 0pt" class="MsoNormal"><strong style="mso-bidi-font-weight: normal"><u><span style="LINE-HEIGHT: 115%; FONT-FAMILY: 'Verdana','sans-serif'; FONT-SIZE: 10pt" lang="EN-IE">EUGENIO MART赤N: UN AUTOR PARA TODOS LOS G谷NEROS</span></u></strong><strong style="mso-bidi-font-weight: normal"><span style="LINE-HEIGHT: 115%; FONT-FAMILY: 'Verdana','sans-serif'; FONT-SIZE: 10pt" lang="EN-IE"><?xml:namespace prefix = o ns = "urn:schemas-microsoft-com:office:office" /><o:p></o:p></span></strong></p> <p style="MARGIN: 0in 0in 0pt" class="MsoNormal"><strong style="mso-bidi-font-weight: normal"><span style="LINE-HEIGHT: 115%; FONT-FAMILY: 'Verdana','sans-serif'; FONT-SIZE: 10pt" lang="EN-IE">By Carlos Aguilar &amp; Anita Haas<o:p></o:p></span></strong></p> <p style="MARGIN: 0in 0in 0pt" class="MsoNormal"><strong style="mso-bidi-font-weight: normal"><span style="LINE-HEIGHT: 115%; FONT-FAMILY: 'Verdana','sans-serif'; FONT-SIZE: 10pt" lang="EN-IE">Retroback &amp; S谷ptimo Vicio<span style="mso-spacerun: yes">&#160; </span><o:p></o:p></span></strong></p> <p style="MARGIN: 0in 0in 0pt" class="MsoNormal"><strong style="mso-bidi-font-weight: normal"><span style="LINE-HEIGHT: 115%; FONT-FAMILY: 'Verdana','sans-serif'; FONT-SIZE: 10pt" lang="EN-IE">143 pages<span style="mso-spacerun: yes">&#160;&#160;&#160;&#160; </span><o:p></o:p></span></strong></p> <p style="MARGIN: 0in 0in 0pt" class="MsoNormal"><strong style="mso-bidi-font-weight: normal"><span style="LINE-HEIGHT: 115%; FONT-FAMILY: 'Verdana','sans-serif'; FONT-SIZE: 10pt" lang="EN-IE">15.00, plus p&amp;p</span></strong><span style="LINE-HEIGHT: 115%; FONT-FAMILY: 'Verdana','sans-serif'; FONT-SIZE: 10pt" lang="EN-IE"><o:p></o:p></span></p> <p style="MARGIN: 0in 0in 0pt" class="MsoNormal">&#160;</p> <p style="MARGIN: 0in 0in 0pt" class="MsoNormal"><strong>By John Exshaw </strong></font></span></p> <p style="MARGIN: 0in 0in 0pt" class="MsoNormal"><span style="LINE-HEIGHT: 115%; FONT-FAMILY: 'Verdana','sans-serif'; FONT-SIZE: 10pt" lang="EN-IE"><font color="#000000"></font></span>&#160;</p> <p style="MARGIN: 0in 0in 0pt" class="MsoNormal"><span style="LINE-HEIGHT: 115%; FONT-FAMILY: 'Verdana','sans-serif'; FONT-SIZE: 10pt" lang="EN-IE"><font color="#000000">Following their excellent <em style="mso-bidi-font-style: normal">John Phillip Law: Diabolik Angel</em> (see review <a href="/fbe/index.php?/archives/2845-JOHN-EXSHAW-REVIEWS-A-NEW-BOOK-ABOUT-JOHN-PHILLIP-LAW.html">here</a>), authors Carlos Aguilar and Anita Haas have turned their attention to an interesting, if rather less well-known, figure of Sixties* and Seventies* European popular cinema, the Spanish director Eugenio Mart赤n. Best known abroad for two stupendously awful Euro Westerns, <em style="mso-bidi-font-style: normal">Bad Man*s River</em> and <em style="mso-bidi-font-style: normal">Pancho Villa</em> (both 1971) and that perennial late-night favourite, <em style="mso-bidi-font-style: normal">Horror Express</em> (1972), Mart赤n may seem rather unlikely material for a book-length study, but, as suggested by its title, <em style="mso-bidi-font-style: normal">Eugenio Mart赤n: un autor para todos los g谷neros</em> (roughly, &Eugenio Mart赤n: An Author for Every Genre*), it is his work in a wide variety of genres, and particularly his career as a gun-for-hire throughout Spain*s peak years as a low-cost location for international co-productions, that should prove of interest to readers of Cinema Retro.<o:p></o:p></font></span></p> <p style="MARGIN: 0in 0in 0pt" class="MsoNormal"><span style="LINE-HEIGHT: 115%; FONT-FAMILY: 'Verdana','sans-serif'; FONT-SIZE: 10pt" lang="EN-IE"><o:p><font color="#000000">&#160;</font></o:p></span></p> <p style="MARGIN: 0in 0in 0pt" class="MsoNormal"><span style="LINE-HEIGHT: 115%; FONT-FAMILY: 'Verdana','sans-serif'; FONT-SIZE: 10pt" lang="EN-IE"><font color="#000000">At which point, a word of warning 每 unlike <em style="mso-bidi-font-style: normal">Diabolik Angel</em>, which has text in both Spanish and English, <em style="mso-bidi-font-style: normal">Eugenio Mart赤n</em> has Spanish text only. Published in conjunction with the Retroback Classic Cinema Festival of Granada (see Anita*s report for Cinema Retro by <a href="/fbe/index.php?/archives/2999-EXCLUSIVE!-ANITA-HAAS-COVERS-SPAINS-RETRO-FILM-FESTIVAL.html">clicking here</a>), </font><font color="#000000">this obvious drawback as far as non-Spanish-speaking readers is concerned is to a large extent negated by the mass of production stills and posters which illustrate the book.<o:p></o:p></font></span></p> <p>&#160;</p> <br /><a href="/fbe/index.php?/archives/5352-BOOK-REVIEW-A-BIOGRAPHY-OF-DIRECTOR-EUGENIO-MARTN.html#extended">Continue reading "BOOK REVIEW: A BIOGRAPHY OF DIRECTOR EUGENIO MART赤N"</a> Wed, 12 Jan 2011 00:55:29 +0000 /fbe/index.php?/archives/5352-guid.html http://creativecommons.org/licenses/by/3.0/ CINEMA RETRO COVERS JOHN BOORMAN AT THE IRISH FILM INSTITUTE https://www.google.com//fbe/index.php?/archives/5226-CINEMA-RETRO-COVERS-JOHN-BOORMAN-AT-THE-IRISH-FILM-INSTITUTE.html John Exshaw /fbe/index.php?/archives/5226-CINEMA-RETRO-COVERS-JOHN-BOORMAN-AT-THE-IRISH-FILM-INSTITUTE.html#comments /fbe/wfwcomment.php?cid=5226 0 /fbe/rss.php?version=2.0&type=comments&cid=5226 nospam@example.com (Cinema Retro) <p><strong>&#160;</p> <div style="WIDTH: 400px" class="serendipity_imageComment_center"> <div class="serendipity_imageComment_img"><img class="serendipity_image_center" src="/fbe/uploads/Boorman011.jpg" width="400" height="267" /></div> <div class="serendipity_imageComment_txt">Boorman in conversation at the Irish Film Institute. (Photo copyright John Exshaw. All rights reserved.) </div></div> <p></strong><strong>By John Exshaw</strong></p> <p style="MARGIN: 0in 0in 10pt" class="MsoNormal"><span style="LINE-HEIGHT: 115%; FONT-FAMILY: 'Verdana','sans-serif'; FONT-SIZE: 10pt" lang="EN-IE"><font color="#000000">While the Irish Film Institute*s recently concluded French Film Festival (18-28 November) provided a number of interesting <em style="mso-bidi-font-style: normal">divertissements</em> for those seeking a respite, if not deliverance, from the seemingly endless catalogue of corruption, cronyism, clerical criminality, and chronic incompetence that has engulfed the country in recent times, the highlight of the programme for the discerning <em style="mso-bidi-font-style: normal">cin谷aste</em> was undoubtedly the joint appearance on Sunday 21<sup>st</sup>. of director John Boorman and eminent French film critic, Michel Ciment, for a Q&amp;A session following the screening of Phillipe Pilard*s 2009 documentary, <em style="mso-bidi-font-style: normal">John Boorman: Portrait</em>.<?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" lang="EN-IE"><font color="#000000">Boorman, of course, is that relatively <em style="mso-bidi-font-style: normal">rara avis</em>, a British <em style="mso-bidi-font-style: normal">auteur</em>, one whose body of work (or <em style="mso-bidi-font-style: normal">oeuvre</em>, as they like to say in France) has tended, as is often the way, to command greater respect abroad than at home. Ciment has long been an influential supporter, collaborating with the director on the book &John Boorman* (Faber &amp; Faber, 1985), originally published in France as &Boorman: un visionnaire en son temps*, and also conducting the interview which comprises Pilard*s 52-minute film.<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" lang="EN-IE"><font color="#000000">Now 77, and looking dapper in suede jacket, blue shirt, and rust corduroys, Boorman opened proceedings by remarking, ※I haven*t seen it [the documentary] before, and I have to say I was very embarrassed at how inarticulate I am. It reminded me 每 you know, Michel wrote a book about my films, a wonderful book, and the basis of it was an interview I did with him after each film, and he then translated my stumbling, inarticulate words into good French. Later, the book was published in English, and Gilbert Adair, who*s a very stylish writer, translated it from the French back to English. So between Michel*s very fine writing and Gilbert Adair*s stylish writing I was astonished how witty and articulate and clever I turned out to be. It was rather like James Thurber 每 once, you know, a woman came up to him who was very proud of her French and she said, ※Oh, I read your book in French and I have to tell you it was hilarious in French.§ And Thurber said, ※Yes, it loses something in the original.§ In the case of Michel*s book, on the other hand, it actually gained an enormous amount in English. . . .§</font></span></p> <br /><a href="/fbe/index.php?/archives/5226-CINEMA-RETRO-COVERS-JOHN-BOORMAN-AT-THE-IRISH-FILM-INSTITUTE.html#extended">Continue reading "CINEMA RETRO COVERS JOHN BOORMAN AT THE IRISH FILM INSTITUTE"</a> Mon, 06 Dec 2010 04:38:43 +0000 /fbe/index.php?/archives/5226-guid.html http://creativecommons.org/licenses/by/3.0/ ALDO SANBRELL: A PERSONAL TRIBUTE BY CINEMA RETRO'S JOHN EXSHAW https://www.google.com//fbe/index.php?/archives/4773-ALDO-SANBRELL-A-PERSONAL-TRIBUTE-BY-CINEMA-RETROS-JOHN-EXSHAW.html John Exshaw 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(Photo copyright John Exshaw. All rights reserved.) </div> </div> <p> </p> <p>BY JOHN EXSHAW <br /></p> <p class="MsoNormal"><span lang="EN-IE" style="font-size: 10pt; line-height: 115%; font-family: &quot;Verdana&quot;,&quot;sans-serif&quot;;">With the death of Aldo Sanbrell, who passed away in Alicante last Saturday (10 July), aged 79, another link to the great days of Italian film-making 每 and the Italian Western, in particular 每 has been lost. The only actor to appear in all of Sergio Leone*s Westerns, Aldo was the most prominent and recognisable of all those mean-looking <em>hombres</em> who rode the badlands and bit the dust of Almer赤a in those far-off days when southern Spain was the Wild West 每 Italian style. Asked once by a British director if he ※knew how to die,§ Aldo replied, ※Oh yes, se?or, I have been killed in many film fights here in Almer赤a. I have died for Clint Eastwood, Burt Reynolds, Charles Bronson, George Scott . . . I have made 185 films and I have been killed in all of them. Yes, I know how to die.§<o:p /></span></p> <p> </p> <div class="serendipity_imageComment_center" style="width: 450px;"> <div class="serendipity_imageComment_img"><!-- s9ymdb:4210 --><img height="300" width="450" class="serendipity_image_center" src="/fbe/uploads/SanbrellAldoAlwaysreadyforactionAlicante2008.JPG" /></div> <div class="serendipity_imageComment_txt">Aldo, photographed at home in Alicante, 2008 - and always ready for action. (Photo copyright John Exshaw. All rights reserved.) </div> </div> <p> </p> <p class="MsoNormal"><span lang="EN-IE" style="font-size: 10pt; line-height: 115%; font-family: &quot;Verdana&quot;,&quot;sans-serif&quot;;">Aldo*s most memorable performances were as the hapless gang member, Cuchillo, framed and gunned down by Gian Mar赤a Volont谷*s Indio in <em>For a Few Dollars More</em> (1965), and as Mervyn Duncan, the Indian-hating scalp hunter of Sergio Corbucci*s <em>Navajo Joe</em> (1966). In the latter film, Sanbrell made an indelible impression in the opening sequence, gunning down an innocent squaw and then scalping her, his nostrils flaring with hate and bloodlust as his men launch a murderous assault on a peaceful Indian tribe. Having snarled, flogged, and killed his way through the rest of the film, Duncan finally receives his just desserts, dispatched with a tomahawk in the head hurled by a bewigged Burt Reynolds. A year later, Corbucci gave Aldo another showy, though less significant, role as a sword-wielding <em>bandido</em> in <em>The Hellbenders</em>.<o:p /></span></p> <p> </p> <br /><a href="/fbe/index.php?/archives/4773-ALDO-SANBRELL-A-PERSONAL-TRIBUTE-BY-CINEMA-RETROS-JOHN-EXSHAW.html#extended">Continue reading "ALDO SANBRELL: A PERSONAL TRIBUTE BY CINEMA RETRO'S JOHN EXSHAW"</a> Sat, 17 Jul 2010 19:00:00 +0000 /fbe/index.php?/archives/4773-guid.html http://creativecommons.org/licenses/by/3.0/ The Killruddery Film Festival: Celebrating Lost, Overlook & Forgotten Cinema https://www.google.com//fbe/index.php?/archives/5504-The-Killruddery-Film-Festival-Celebrating-Lost,-Overlook-Forgotten-Cinema.html John Exshaw /fbe/index.php?/archives/5504-The-Killruddery-Film-Festival-Celebrating-Lost,-Overlook-Forgotten-Cinema.html#comments /fbe/wfwcomment.php?cid=5504 0 /fbe/rss.php?version=2.0&type=comments&cid=5504 nospam@example.com (Cinema Retro) <p style="MARGIN: 0in 0in 0pt" class="MsoNormal"><span style="LINE-HEIGHT: 115%; FONT-FAMILY: 'Verdana','sans-serif'; FONT-SIZE: 10pt" lang="EN-IE"><font color="#000000"><strong><img class="serendipity_image_center" src="/fbe/uploads/xKillrudderyFilmFestival2010pr011.jpg" width="400" height="578" /></strong></font></span></p> <p style="MARGIN: 0in 0in 0pt" class="MsoNormal"><span style="LINE-HEIGHT: 115%; FONT-FAMILY: 'Verdana','sans-serif'; FONT-SIZE: 10pt" lang="EN-IE"><strong><font color="#000000"></font></strong></span>&#160;</p> <p style="MARGIN: 0in 0in 0pt" class="MsoNormal"><span style="LINE-HEIGHT: 115%; FONT-FAMILY: 'Verdana','sans-serif'; FONT-SIZE: 10pt" lang="EN-IE"><font color="#000000"><strong>By John Exshaw</strong></font></span></p> <p style="MARGIN: 0in 0in 0pt" class="MsoNormal"><span style="LINE-HEIGHT: 115%; FONT-FAMILY: 'Verdana','sans-serif'; FONT-SIZE: 10pt" lang="EN-IE"><font color="#000000"></font></span>&#160;</p> <p style="MARGIN: 0in 0in 0pt" class="MsoNormal"><span style="LINE-HEIGHT: 115%; FONT-FAMILY: 'Verdana','sans-serif'; FONT-SIZE: 10pt" lang="EN-IE"><font color="#000000">Imagine my surprise, on perusing last week*s <em style="mso-bidi-font-style: normal">Sunday Times</em>, to discover that none other than the great Kevin Brownlow, Mr. Silent Cinema himself, was scheduled to appear, if not ※at a cinema near you§, then at least at a rambling country estate not a million miles from me. Hot damn! I thought, and I*m sure you*ll agree it was warranted. For anyone with even a sliver of interest in the history of cinema, Brownlow is a positively Olympian figure, the man who, trusty two-reel tape recorder in hand, assiduously stalked the retirement homes of the Hollywood Hills to capture the last flickering memories of a time when the movies <em style="mso-bidi-font-style: normal">moved</em>, later collected in his classic 1968 book, <em style="mso-bidi-font-style: normal">The Parade*s Gone By . . .</em> The man who, together with his collaborator, the late David Gill, rescued and restored such great films as Rex Ingram*s <em style="mso-bidi-font-style: normal">The Four Horsemen of the Apocalypse</em> (1921) and Abel Gance*s monumental <em style="mso-bidi-font-style: normal">Napol谷on</em> (1927), before returning them to the world, with scores by Carl Davis, in the manner in which they were meant to be seen. And the man behind a series of definitive documentaries on such luminaries as Griffith, Chaplin, Keaton, and Lloyd. Hot damn, indeed.<?xml:namespace prefix = o ns = "urn:schemas-microsoft-com:office:office" /><o:p></o:p></font></span></p> <br /><a href="/fbe/index.php?/archives/5504-The-Killruddery-Film-Festival-Celebrating-Lost,-Overlook-Forgotten-Cinema.html#extended">Continue reading "The Killruddery Film Festival: Celebrating Lost, Overlook &amp; Forgotten Cinema"</a> Fri, 19 Mar 2010 23:19:00 +0000 /fbe/index.php?/archives/5504-guid.html http://creativecommons.org/licenses/by/3.0/ JOHN EXSHAW REVIEWS A NEW BOOK ABOUT JOHN PHILLIP LAW https://www.google.com//fbe/index.php?/archives/2845-JOHN-EXSHAW-REVIEWS-A-NEW-BOOK-ABOUT-JOHN-PHILLIP-LAW.html John Exshaw /fbe/index.php?/archives/2845-JOHN-EXSHAW-REVIEWS-A-NEW-BOOK-ABOUT-JOHN-PHILLIP-LAW.html#comments /fbe/wfwcomment.php?cid=2845 0 /fbe/rss.php?version=2.0&type=comments&cid=2845 nospam@example.com (Cinema Retro) <link href="file:///C:\DOCUME~1\HP_ADM~1\LOCALS~1\Temp\msohtmlclip1\01\clip_filelist.xml" rel="File-List" /><link href="file:///C:\DOCUME~1\HP_ADM~1\LOCALS~1\Temp\msohtmlclip1\01\clip_themedata.thmx" rel="themeData" /><link href="file:///C:\DOCUME~1\HP_ADM~1\LOCALS~1\Temp\msohtmlclip1\01\clip_colorschememapping.xml" rel="colorSchemeMapping" /><style></style><p class="MsoNormal" style="LINE-HEIGHT: normal"><span lang="EN-IE" style="FONT-SIZE: 10pt"></span></p><p class="MsoNormal" style="LINE-HEIGHT: normal"><b></b></p><p class="MsoNormal" style="LINE-HEIGHT: normal"><strong>(NOTE: THIS IS A REVISED POSTING OF THE REVIEW. DUE TO A TECHNICAL PROBLEM, THE ORIGINAL POSTING WAS INCOMPLETE) </strong></p><p class="MsoNormal" style="LINE-HEIGHT: normal"><img style="BORDER-RIGHT: 0px; PADDING-RIGHT: 5px; BORDER-TOP: 0px; PADDING-LEFT: 5px; BORDER-LEFT: 0px; BORDER-BOTTOM: 0px" height="583" src="/fbe/uploads/lawbook.jpg" width="450" /></p><p class="MsoNormal" style="LINE-HEIGHT: normal"><b></b></p><p class="MsoNormal" style="LINE-HEIGHT: normal"><span lang="EN-IE" style="FONT-SIZE: 10pt"></span></p><p class="MsoNormal" style="LINE-HEIGHT: normal"><link href="file:///C:\DOCUME~1\HP_ADM~1\LOCALS~1\Temp\msohtmlclip1\01\clip_filelist.xml" rel="File-List" /><link href="file:///C:\DOCUME~1\HP_ADM~1\LOCALS~1\Temp\msohtmlclip1\01\clip_themedata.thmx" rel="themeData" /><link href="file:///C:\DOCUME~1\HP_ADM~1\LOCALS~1\Temp\msohtmlclip1\01\clip_colorschememapping.xml" rel="colorSchemeMapping" /><style></style></p><p class="MsoNormal" style="LINE-HEIGHT: normal"><b><u><span lang="EN-IE" style="FONT-SIZE: 12pt">JOHN PHILIP LAW: DIABOLIK ANGEL</span></u></b><b><span lang="EN-IE" style="FONT-SIZE: 12pt"></span></b></p><p /><p class="MsoNormal" style="LINE-HEIGHT: normal"><b><span lang="EN-IE" style="FONT-SIZE: 12pt">By Carlos Aguilar &amp; Anita Hass</span></b></p><p /><p class="MsoNormal" style="LINE-HEIGHT: normal"><b><span lang="EN-IE" style="FONT-SIZE: 12pt">Foreword by Ray Harryhausen</span></b></p><p><b><span lang="EN-IE" style="FONT-SIZE: 12pt; LINE-HEIGHT: 115%">Scifiworld/Quatermass<span>????????? </span>240 pages<span>?? </span></span></b><link href="file:///C:\DOCUME~1\HP_ADM~1\LOCALS~1\Temp\msohtmlclip1\01\clip_filelist.xml" rel="File-List" /><link href="file:///C:\DOCUME~1\HP_ADM~1\LOCALS~1\Temp\msohtmlclip1\01\clip_themedata.thmx" rel="themeData" /><link href="file:///C:\DOCUME~1\HP_ADM~1\LOCALS~1\Temp\msohtmlclip1\01\clip_colorschememapping.xml" rel="colorSchemeMapping" /><style></style></p><p class="MsoNormal" style="LINE-HEIGHT: normal"><b><span lang="EN-IE" style="FONT-SIZE: 12pt">35.00</span></b>????????????????????????????????????????????????????????????? </p><b><span lang="EN-IE" style="FONT-SIZE: 12pt; LINE-HEIGHT: 115%"><span></span></span></b><p /><p class="MsoNormal" style="LINE-HEIGHT: normal"><span lang="EN-IE" style="FONT-SIZE: 10pt"></span></p><p class="MsoNormal" style="LINE-HEIGHT: normal"><span lang="EN-IE" style="FONT-SIZE: 10pt"></span></p><p class="MsoNormal" style="LINE-HEIGHT: normal" /><p class="MsoNormal" style="LINE-HEIGHT: normal"><b>Review by John Exshaw</b></p><span lang="EN-IE" style="FONT-SIZE: 10pt"><p /><p class="MsoNormal" style="MARGIN: 0in 0in 10pt; LINE-HEIGHT: normal"><span lang="EN-IE" style="FONT-SIZE: 10pt; FONT-FAMILY: "><font color="#000000">Towards the end of <i style="mso-bidi-font-style: normal">John Phillip Law: Diabolik Angel</i>, authors Carlos Aguilar and Anita Haas describe their book as ※an unfinished work§, anticipating, as they did, further films in the strange career of an actor best remembered for playing the black-clad super-criminal in Mario Bava*s <i style="mso-bidi-font-style: normal">Danger: Diabolik</i> (1968), the blind angel, Pygar, in Roger Vadim*s <i style="mso-bidi-font-style: normal">Barbarella</i> (1968), and the turbaned hero of <i style="mso-bidi-font-style: normal">The Golden Voyage of Sinbad</i> (1973). Sadly, as it turned out, <i style="mso-bidi-font-style: normal">Diabolik Angel</i> will stand instead as the last word on Law, who died of cancer at the age of 70 in May of last year, during the final stages of the book*s preparation.</font></span></p><p class="MsoNormal" style="MARGIN: 0in 0in 10pt; LINE-HEIGHT: normal"><span lang="EN-IE" style="FONT-SIZE: 10pt; FONT-FAMILY: "></span><span lang="EN-IE" style="FONT-SIZE: 10pt; FONT-FAMILY: "><font color="#000000">Due, in part, to his association with such iconic, but necessarily two-dimensional, characters as Diabolik and Sinbad, Law himself remained something of a screen enigma, a somewhat remote, otherworldly presence whose own personality was seldom discernable in the roles he played. His best non-fantasy performances 每 as the na?ve Russian submariner in <i style="mso-bidi-font-style: normal">The Russians Are Coming! The Russians Are Coming!</i> (1965), the haunted protagonist of <i style="mso-bidi-font-style: normal">Death Rides a Horse</i> (1967), the object of Rod Steiger*s affections in <i style="mso-bidi-font-style: normal">The Sergeant</i> (1968), and the deadly but anachronistic knight of the air in <i style="mso-bidi-font-style: normal">Von Richthofen and Brown</i> (1971, a.k.a. <i style="mso-bidi-font-style: normal">The Red Baron</i>) 每 were sufficiently compelling and varied (though united by a certain innocence) to suggest that Law would become a leading character star of the 1970s. And yet somehow such status eluded him.</font></span></p><p /><p class="MsoNormal" style="MARGIN: 0in 0in 10pt; LINE-HEIGHT: normal"><span lang="EN-IE" style="FONT-SIZE: 10pt; FONT-FAMILY: "><font color="#000000">Reflecting on this, Law remarked, ※A lot of people have told me that I had all the qualities to be a big star, one of the biggest of my generation. Like Robert Redford and Warren Beatty, who are both the same age as me, and both started at the same time. But the point is that I never wanted to be a star, I wanted to be an actor, and that isn*t the same thing. Besides, there was always the problem of my height [6*5§]: I was too tall to play somebody*s son, and too baby-faced to look like someone*s father. That*s why they almost always gave me roles of special characters, like comic book heroes, and historical figures.§</font></span></p><p /><p class="MsoNormal" style="MARGIN: 0in 0in 10pt; LINE-HEIGHT: normal"><span lang="EN-IE" style="FONT-SIZE: 10pt; FONT-FAMILY: "><font color="#000000">Combined with that, as Aguilar and Haas make clear, Law ※came across few projects that suited his peculiarities [and] without a doubt . . . made some bad and irreversible mistakes.§ The latter included turning down the Jon Voight part in <i style="mso-bidi-font-style: normal">Midnight Cowboy</i> (on his agent*s advice) and that of Jack Nicholson in <i style="mso-bidi-font-style: normal">Easy Rider</i> (due to a schedule conflict). In addition to rejecting films which he should, in retrospect, have accepted, Law also displayed a spectacular talent for picking those best avoided, such as Otto Preminger*s late-period duds, <i style="mso-bidi-font-style: normal">Hurry Sundown</i> (1967) and <i style="mso-bidi-font-style: normal">Skidoo</i> (1968), the soporific <i style="mso-bidi-font-style: normal">The Hawaiians</i> (1970), the conspicuously flaccid <i style="mso-bidi-font-style: normal">The Love Machine</i> (1971), and that byword for self-indulgence and ill-discipline, Dennis Hopper*s <i style="mso-bidi-font-style: normal">The Last Movie</i> (also 1971), a title that would prove all too prophetic with respect to Law*s standing as a Hollywood star.</font></span></p><p /><p class="MsoNormal" style="MARGIN: 0in 0in 10pt; LINE-HEIGHT: normal"><span lang="EN-IE" style="FONT-SIZE: 10pt; FONT-FAMILY: "><font color="#000000">In 1969, the year he missed out on both <i style="mso-bidi-font-style: normal">Midnight Cowboy</i> and <i style="mso-bidi-font-style: normal">Easy Rider</i>, Law also suffered the indignity of being replaced in the cast of <i style="mso-bidi-font-style: normal">The Gypsy Moths</i>, following a parachute accident in which he was injured, and a poor relationship with his co-stars: ※The atmosphere was terrible. Burt Lancaster was the star... a very egotistical man, who didn*t help anybody while shooting. . . . He couldn*t stand me, I suppose it was because I was taller than him. I can*t think of any other reason. Then there was Gene Hackman, another difficult person who is always trying to steal the show. Good actor, but not a good person. And the director, John Frankenheimer was always drunk before noon. . . .§ Aeronautical accidents were to feature again in Law*s career two years later, when, during the shooting of Roger Corman*s <i style="mso-bidi-font-style: normal">Von Richthofen and Brown</i>, several stunt flyers were killed.</font></span></p><p /><p style="LINE-HEIGHT: normal" /></span> <br /><a href="/fbe/index.php?/archives/2845-JOHN-EXSHAW-REVIEWS-A-NEW-BOOK-ABOUT-JOHN-PHILLIP-LAW.html#extended">Continue reading "JOHN EXSHAW REVIEWS A NEW BOOK ABOUT JOHN PHILLIP LAW"</a> Sat, 17 Jan 2009 03:40:43 +0000 /fbe/index.php?/archives/2845-guid.html http://creativecommons.org/licenses/by/3.0/ "TIME SURE FLIES"...THE FORTIETH ANNIVERSARY OF "ONCE UPON A TIME IN THE WEST" https://www.google.com//fbe/index.php?/archives/2735-TIME-SURE-FLIES...THE-FORTIETH-ANNIVERSARY-OF-ONCE-UPON-A-TIME-IN-THE-WEST.html John Exshaw 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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 lang="EN-IE" style="font-size: 10pt; line-height: 115%;"></span></p><p class="MsoNormal"><img width="450" height="670" src="/fbe/uploads/ONCEUPONATIMEWEST.jpg" style="border: 0px none ; padding-left: 5px; padding-right: 5px;" /></p><p class="MsoNormal"><span lang="EN-IE" style="font-size: 10pt; line-height: 115%;"></span></p><p class="MsoNormal"><b>BY JOHN EXSHAW</b></p><p class="MsoNormal"><span lang="EN-IE" style="font-size: 10pt; line-height: 115%;">Forty years ago today, Sergio Leone*s <i>Once Upon a Time in the West</i> had its world premi豕re in Rome, an event which, it goes without saying, should not be allowed to pass without notice, even though that is precisely what seems to have happened throughout this anniversary year. Whereas 2005 saw the opening of the <i>Once Upon a Time in Italy...: The Westerns of Sergio Leone</i> exhibition at the Autry Museum in Los Angeles, followed, in 2006, by commemorative events marking the fortieth anniversary of <i>The Good, the Bad and Ugly</i>, and a season of Italian Westerns at the 2007 Venice film Festival, 2008 has come and (almost) gone with not so much as a screeching train whistle sounded in celebration of what is often called ※the greatest Western ever made§.<o:p /></span></p> <p class="MsoNormal"><span lang="EN-IE" style="font-size: 10pt; line-height: 115%;">There was, of course, a showing of the newly restored version of the film at the Samuel Goldwyn Theater in L.A. in June, which was billed by the Academy of Motion Picture Arts and Sciences as marking ※the 40<sup>th</sup> anniversary of the film*s 1968 release in Italy§, though the fact the restoration had already been shown at the Rome Film Festival in October, 2007, suggested that this was more a matter of convenient timing than a committed attempt to celebrate the Great Event. Even when the restoration played, as part of the London Film Festival, to a packed house in Leicester Square this October, it was left to Sir Christopher Frayling to make the point in his introduction that it <i>was</i> in fact the film*s fortieth anniversary. He could also, had he wished, have drawn attention to the irony of Paramount Pictures paying what one can safely assume was considerably more than a fistful of dollars to restore a film which they themselves had butchered in the first place (giving it, in the memorable words of <i>films &amp; filming</i>*s David Austen, ※the appearance of having been savaged by a rampant lawn-mower§), but was, of course, far too polite to do so.<o:p /></span></p> <p class="MsoNormal"><span lang="EN-IE" style="font-size: 10pt; line-height: 115%;">While such screenings may certainly be considered better than a poke in the eye with a pointed stick, they nonetheless fall far short of what might 每 and <i>ought</i> 每 to have been done. Open-air showings in Monument Valley, for instance, exhibitions in Almer赤a and at Cinecitt角 Studios, a special concert to mark both the film*s release <i>and</i> the recent eightieth birthday of composer Ennio Morricone, the carving of Charles Bronson*s face into Mount Rushmore 每 to name only the most obvious.<o:p /></span></p> <p class="MsoNormal"><span lang="EN-IE" style="font-size: 10pt; line-height: 115%;">In a way, however, this muted (or, to be blunt, virtually non-existent) response mirrors the film*s initial reception in 1968-1969. In Italy, it made a respectable box-office showing, though less so than <i>The Good, the Bad and the Ugly</i>. In France, it proved hugely popular, running in Paris for two years. But in America, the shortened (by some twenty-odd minutes) version took only one million dollars before being consigned to cinematic Boot Hill, the words of <i>Time</i> magazine*s verdict carved on its marker: ※Tedium in the Tumbleweed§. Audiences expecting another installment in the <i>Dollars</i> series were disappointed by the film*s deliberate pace and relative lack of action and humour (to say nothing of the fact that the story, post-Paramount cuts, didn*t make much sense). And critics, many of whom were hostile to the very idea of Italian Westerns, unwisely chose to dismiss the film instead of reserving judgment (as the aforementioned David Austen did) until a more complete version was made available. Nor were they prepared to accept what Christopher Frayling terms Leone*s decision to collide ※fairy tale images of the West with the real thing,§ which, as John Gillett darkly put it in the <i>Monthly Film Bulletin</i>, suggested ※that Leone has set out to make a Western for Art.§<o:p /></span></p> <p class="MsoNormal"><span lang="EN-IE" style="font-size: 10pt; line-height: 115%;">Today, of course, <i>Once Upon a Time in the West</i> has completed a comeback only marginally less improbable than George Foreman*s second tenure as heavyweight champion of the world, regularly featuring in lists of the Top Ten Westerns of all time, and finding an echo in films as diverse as they are generally unworthy (<i>Once Upon a Time in Mexico</i>, <i>Once Upon a Time in China</i>, <i>Once Upon a Time in the Midlands</i>), to say nothing of being championed by such notables as John Boorman, Martin Scorsese, George Lucas, John Carpenter, and Quentin Tarantino. As Boorman so eloquently put it, ※In <i>Once Upon a Time in the West</i> the Western reaches its apotheosis. Leone*s title is a declaration of intent and also his gift to America of its lost fairy stories. This is the kind of masterpiece that can occur outside trends and fashion. It is both the greatest and the last Western.§ <o:p /></span></p> <p class="MsoNormal"><span lang="EN-IE" style="font-size: 10pt; line-height: 115%;">Next year will see a double-bill of Leone anniversaries 每 the eightieth of his birth and the twentieth of his death 每 and it is to be hoped that fitting commemorative events will be arranged to mark both occasions (as well as the release of <i>Once Upon a Time in the West</i> outside Italy). At present, Sir Christopher Frayling, the man who has done more for Leone*s reputation than anyone else, is in discussion with the Italian Cultural Institute in London to arrange a Leone symposium, complete with exhibition and screenings, for April, the month of Leone*s death. And surely it would take little effort to persuade Ennio Morricone to arrange a special concert in honour of his greatest collaborator and friend? And then there*s Rome, and Almer赤a, and Arizona . . . In the Chinese calendar, 2009 is designated the Year of the Ox, but among aficionados of Sergio Leone, the Western, and great cinema, it will be surely be known as the Year of the Lion . . .</span></p><p class="MsoNormal"><span lang="EN-IE" style="font-size: 10pt; line-height: 115%;"><br /><o:p /></span></p> <p> </p> Mon, 22 Dec 2008 05:34:30 +0000 /fbe/index.php?/archives/2735-guid.html http://creativecommons.org/licenses/by/3.0/ ROBERT REDFORD: THE SUNDANCE KID IN A PLACE CALLED TRINITY https://www.google.com//fbe/index.php?/archives/2252-ROBERT-REDFORD-THE-SUNDANCE-KID-IN-A-PLACE-CALLED-TRINITY.html John Exshaw /fbe/index.php?/archives/2252-ROBERT-REDFORD-THE-SUNDANCE-KID-IN-A-PLACE-CALLED-TRINITY.html#comments /fbe/wfwcomment.php?cid=2252 0 /fbe/rss.php?version=2.0&type=comments&cid=2252 nospam@example.com (Cinema Retro) <p><b>We never know what to expect when Cinema Retro's John Exshaw reports on an event - except that it will be from a unique angle... Here's John's first-hand coverage of Robert Redford's recent visit to Trinity College in Dublin...</b><b>oh, and if you're among those of us who have committed to memory the dialogue from <i>Butch Cassidy and the Sundance Kid, </i>you'll find the coverage even more enjoyable.</b></p><p> </p><p class="MsoBodyText"><b><font size="4">A Public Interview with Robert Redford presented by the School of Drama, Film and Music, Trinity College, Dublin 每 Thursday, 10 July, 2008</font></b></p> <p class="MsoNormal"><b>Report by John Exshaw 每 18/7/08</b></p> <p class="MsoNormal"><o:p> </o:p></p> <p class="MsoNormal">Raindrops keep falling on my head as I make my way towards Trinity College, Dublin, for a showdown with the Sundance Kid. On what passes for a summer*s day in Ireland, Robert Redford has ridden into town for tomorrow*s commencement ceremony, at which he will receive an honorary Doctorate of Letters from the country*s most prestigious seat of learning 每 <i>alma mater</i> of such luminaries as Jonathan Swift, Oscar Wilde, Bram Stoker, and Samuel Beckett, to name but a few. Before that, however, he has sportingly agreed to be interrogated by Michael Dwyer, film critic of <i>The Irish Times</i>, in a public interview to be held in the college*s Edmund Burke theatre.</p> <p class="MsoNormal"><o:p> </o:p></p> <p class="MsoNormal">I arrive in the modernist eyesore that is the TCD*s Arts Building and stand in the foyer, pools of water forming round my feet. To be frank, I*m feeling pretty Randolph Scott 每 saddle-sore and in no mood for small talk. It*s not just the shitty weather, nor the fact that I should be working on my <i>Hennessy</i> article for the next issue of <i>Cinema Retro</i>. No, what*s riling me 每 the particular burr under my saddle blanket 每 is the following line in an e-mail I received about this evening*s gabfest: ※Please note that at the request of Robert Redford*s publicist no recording is permitted during this event.§ Just like that. No apology, no explanation. No doubt the Duke would approve but, personally, it*s just the sort of bullshit that*s liable to get me all fired up. And a fired-up <i>Retro</i> writer ain*t a pretty sight . . .</p> <p class="MsoNormal"><o:p> </o:p></p> <p class="MsoNormal" /><div class="serendipity_imageComment_center" style="width: 450px;"><div class="serendipity_imageComment_img"><img width="450" height="300" src="/fbe/uploads/redford2copy.jpg" /></div><div class="serendipity_imageComment_txt">The Great Waldo Pepper arrives at the Trinity College seminar in Dublin. (Photo copyright: John Exshaw) </div></div><br />This was my first encounter, even at a distance, with that mythical creature of ill-repute, the Hollywood Publicist, and my first thought, naturally enough, was <i>what an asshole!</i> Why the hell shouldn*t journalists be allowed to record what someone says in a public interview in order to report it accurately? Or, to put it another way, in order to do our job properly? Is it possible the<span> </span>asshole in question would prefer his client*s comments to be reported <i>inaccurately</i>? Or is he (assuming for the moment that the asshole in question is a male asshole, while not implying that women don*t have every right to be assholes too) afraid that the interview might fall into the hands of someone who*ll re-edit it in such a way as to make his client sound, well, like an asshole? If there are good reasons (at least from a publicist*s point of view) for such a prohibition, then he should at least have the manners to say what they are. And if there aren*t, then he should stop being such an asshole.<span> </span><p> </p><p class="MsoNormal"><span> </span></p> <p class="MsoNormal">So, in a fairly ornery mood, I head into the theatre. There*s no sign of Mr. Redford*s publicist, which is a pity because I*d like to have given him a piece of my mind. Followed by a Harvey Logan Special in the nuts. The seats in the theatre are quickly filled by the (mainly female) audience. Forty minutes after the supposed kick-off, and following an introduction from Kevin Rockett, head of the School of Drama, Film and Music and a four-minute compilation of Redford*s Greatest Movie Moments, I*m still standing in the designated photographers* area like an unemployed cigar store Indian, camera in hand, awaiting the star of the show. I remember something George Roy Hill said in <i>The Making of Butch Cassidy and the Sundance Kid</i> about Redford having to listen to Paul Newman*s lame jokes while Newman had to endure Redford*s habitual tardiness. That was 39 years ago, and it looks like nothing*s changed on the latter score. Well, they do say consistency is a virtue . . .</p> <p class="MsoNormal"><o:p> </o:p></p> <p class="MsoNormal">Finally, the doors open and the Great Man 每 indeed the Great Waldo Pepper 每 makes his entrance, setting off some mild (mainly female) hysteria in the audience. I grab some pictures and hotfoot it back to my seat. By the time I*ve put my camera away and got my notebook open, Redford has nearly finished his thoughts on what Dwyer terms the possible ※regime change§ in America in the forthcoming presidential election. Looking back now on my notes, I see the following: ※Yes # inexperienced # good # need for change # yesterday # age is an issue.§ What on earth does it mean? Maybe something like, ※Yes, we need a change. John McCain is inexperienced but was good yesterday. Barack Obama*s age is an issue.§ Or maybe it was the other way round? But as I can*t play it back on my trusty Dictaphone, you*ll just have to make sense of it for yourselves, won*t you? (for which you can thank that asshole . . .)</p> <p class="MsoNormal"><o:p> </o:p></p> <p class="MsoNormal">Finally, following some recollections about how, when he was studying in Paris, Redford was ※humiliated§ by his own ignorance of American politics, the talk moves on to movies and I*m able to get my act together and focus. And so, taking our cue from the title sequence of <i>Butch Cassidy and the Sundance Kid</i>, you can take it that ※Most of what follows is true§ . . .</p> <p><b></b></p><p><b></b></p> <br /><a href="/fbe/index.php?/archives/2252-ROBERT-REDFORD-THE-SUNDANCE-KID-IN-A-PLACE-CALLED-TRINITY.html#extended">Continue reading "ROBERT REDFORD: THE SUNDANCE KID IN A PLACE CALLED TRINITY"</a> Sat, 26 Jul 2008 21:37:00 +0000 /fbe/index.php?/archives/2252-guid.html http://creativecommons.org/licenses/by/3.0/ CINEMA RETRO'S JOHN EXSHAW ATTENDS JOHN BARRY CONCERT IN DUBLIN - AND MEETS THE MAN HIMSELF https://www.google.com//fbe/index.php?/archives/2108-CINEMA-RETROS-JOHN-EXSHAW-ATTENDS-JOHN-BARRY-CONCERT-IN-DUBLIN-AND-MEETS-THE-MAN-HIMSELF.html John Exshaw /fbe/index.php?/archives/2108-CINEMA-RETROS-JOHN-EXSHAW-ATTENDS-JOHN-BARRY-CONCERT-IN-DUBLIN-AND-MEETS-THE-MAN-HIMSELF.html#comments /fbe/wfwcomment.php?cid=2108 0 /fbe/rss.php?version=2.0&type=comments&cid=2108 nospam@example.com (Cinema Retro) <p> </p><h1>ALL TIME HIGH: BARRY STRIKES <st1:city w:st="on"><st1:place w:st="on">DUBLIN</st1:place></st1:city> LIKE THUNDERBALL!</h1> <p class="MsoNormal"><b>RT谷 Summer Evening Concert Season: The Film Music of John Barry<o:p /></b></p> <p class="MsoNormal"><b>The National Concert Hall, <st1:city w:st="on"><st1:place w:st="on">Dublin</st1:place></st1:city>, Friday 20 June, 2008<o:p /></b></p> <p class="MsoNormal">Report by John Exshaw 每 22/6/08</p> <p class="MsoNormal">To say that the John Barry concert in <st1:city w:st="on"><st1:place w:st="on">Dublin</st1:place></st1:city> on Friday 20 June went over big would be a gross understatement, if not an outright distortion. Giving the first-ever concert of his film music in the capital, the multiple Oscar-winning composer was cheered to the rafters by a packed house at the National Concert Hall 每 and before a single note had even been played. By the end of the evening 每 and two standing ovations later 每 it was clear that the 74-year-old veteran, who seemed genuinely moved by the warmth of his reception, could consider his no-doubt arduous six-hour flight from New York to have been very much worth the effort, a sentiment heartily endorsed by his enthusiastic and appreciative audience.</p> <p class="MsoNormal"><o:p /></p><div style="width: 400px;" class="serendipity_imageComment_center"><div class="serendipity_imageComment_img"><img width="400" height="600" src="/fbe/uploads/BARRYDUBLIN.jpg" /></div><div class="serendipity_imageComment_txt">(Photo copyright John Exshaw. All rights reserved)</div></div><p> </p><p class="MsoNormal">The concert, part of the Summer Evening season arranged by RT谷, the national broadcaster, and featuring the RT谷 National Symphony Orchestra, was presented by Aed赤n Gormley, host of the station*s <i>Movie &amp; Musicals</i> programme on <i>lyric fm</i>, which was broadcasting the event live, and it was a pleasant surprise to learn that Barry himself would take the baton for the two opening pieces, <i>Goldfinger</i> (1964) and <i>We Have All the Time in the World</i> (from <i>On Her Majesty*s Secret Service</i>, 1969), as it had initially been thought that he would only be in attendance, rather than participating.</p> <p class="MsoNormal">When the applause that greeted these two pieces had eventually subsided, Barry gave way on the podium to Nicholas Dodd 每 orchestrator and conductor of, <i>inter alia</i>, the Bond movies <i>The World is Not Enough</i> (1999), <i>Die Another Day</i> (2002) and <i>Casino Royale</i> (2006) 每 who proceeded to send a shiver down the collective spine with the ominous and threatening theme from <i>Zulu</i> (1964), followed by <i>Somewhere in Time</i> (1980), <i>Moviola</i> (1993), and the main themes from <i>The Persuaders</i> (1971-1972), <i>Mary, Queen of Scots</i> (1971), and <i>Midnight Cowboy</i> (1969, and featuring an excellent, mournful harmonica solo by John Murray Ferguson), before taking us into the interval with a suite comprising pieces from <i>Dances with Wolves</i> (1990).</p> <p class="MsoNormal">The second part of the concert included <i>Born Free</i> (1966), <i>All Time High</i> (from <i>Octopussy</i>, 1983), <i>Out of Africa</i> (1985, and a particular favourite of Gormley*s listeners on <i>RT谷</i> <i>lyric fm</i>), <i>Body Heat</i> (1981, featuring a marvellously slinky sax solo by Fintan Sutton), the incidental piece <i>Space March</i> from <i>You Only Live Twice</i> (1967), and the theme from <i>The Knack#and How to Get It</i> (1965). The finale was provided by the <i>James Bond Suite</i>, a suitably roof-raising crowd-pleaser comprised of <i>007</i>, <i>From Russia with Love</i> (both 1963), <i>Thunderball</i> (1965), <i>You Only Live Twice</i>, <i>Diamonds Are Forever</i> (1971) and <i>On Her Majesty*s Secret Service</i> as well.</p> <p class="MsoNormal"><o:p /></p><div style="width: 450px;" class="serendipity_imageComment_center"><div class="serendipity_imageComment_img"><img width="450" height="300" src="/fbe/uploads/doddbarryresize.jpg" /></div><div class="serendipity_imageComment_txt">Nicholas Dodd and John Barry. (Photo copyright John Exshaw. All rights reserved)</div></div><br />During this amazing sequence, Dodd not only got the best out of the orchestra (ably led by first violin, Alan Smale), but provided a splendid spectacle himself 每 arms waving, hair flying everywhere, hands thrusting out, cajoling and coaxing, his body swaying and bouncing to the rhythm 每 at one point so wrapped up in the music that he had to turn two pages of the score in immediate succession just to catch up with himself (even though it was obvious he knows it all by heart).<p> </p><p class="MsoNormal">John Barry then came onto the podium for the first of his standing ovations, before removing himself to a safe distance as Dodd tore into an encore of the full <i>007</i> piece. When Barry rejoined him, Dodd proved himself as good at working an audience as he is at working an orchestra, giving the crowd an exaggerated deaf ear gesture to encourage even more applause for the beaming Barry, who closed proceedings with a brief but heartfelt thank-you speech.</p> <p class="MsoNormal">At the reception afterwards, and spurred on by the stern maxim that &<i>Cinema Retro</i> always gets its man*, I managed to ask Barry a few questions before being stampeded by a pack of autograph hounds. What criteria, I enquired, does he apply when approached to score a film? To which, in a voice still retaining traces of his native Yorkshire, he replied, ※I think the number one single thing is a great script 每 that it*s a really great story, you know, with a beginning and a middle and an end, and it*s almost like a piece of literature. And then the director, of course. Meet with the director and see that he loves it and what he*s going to do with it. And once you get a great script and a great director, you*re in very good shape.§</p> <p class="MsoNormal">Remembering that Sergio Leone would sometimes preface a question to Ennio Morricone by helpfully saying, ※You know, it*s the one which goes da-da-da§, I asked Barry what happens if the director is a musical illiterate and says, I*d like a bit here that goes dum-dee-dum-dee-dum? ※Then fuck you!§ Barry laughs. ※ No, no, the good directors trust you, they don*t start whistling things in your ear because, you know, they either hire you because you know what the hell you*re doing 每 so don*t hire me and then start telling me what to do! I mean, [with] a good director I say, what kind of a mood do you want, what are we trying to say? Like <i>Out of Africa</i>, Sydney Pollack <i>talked</i> what he wanted then I went away and wrote it. So that kind of help 每 what the emotion is between the two main characters and all that, that*s the kind of direction I like, and I can use.</p> <p class="MsoNormal"><o:p /></p><div style="width: 450px;" class="serendipity_imageComment_center"><div class="serendipity_imageComment_img"><img width="450" height="300" src="/fbe/uploads/aedinbarryresize.jpg" /></div><div class="serendipity_imageComment_txt">Aed赤n Gormley and John Barry (Photo copyright John Exshaw. All rights reserved)</div></div> <p> </p><p class="MsoNormal">Recalling also Morricone*s assertion that, unlike other composers, a film composer must be familiar with the musical style of any era in which a movie might be set, I asked Barry if, with a film like <i>The Lion in Winter</i> (1968, set in medieval England), he had to research the musical history of the period. ※No,§ he replied, ※because I studied with Dr. Francis Jackson, who was my first teacher and he was a Master of Music at York Minster, so all that choral stuff in Latin, I knew all that. So although everybody thought, oh this is new, it was actually sort of the first stuff I*d done, so that*s why I loved doing that movie.§</p> <p class="MsoNormal">Soon after which the autograph hounds butted in, so I took my leave and found refuge on a sofa next to Nicholas Dodd, still perspiring happily following his tremendous exertions onstage. Seizing the moment, I asked him how he came to be involved with tonight*s concert, and about his association with John Barry. Pausing only to wipe his brow, he said, ※Well, the first time John saw me working was in <st1:street w:st="on"><st1:address w:st="on">Abbey Road</st1:address></st1:street> studios, on an album of The Ten Tenors. They were taking his famous themes, like <i>Out of <st1:place w:st="on">Africa</st1:place></i>, and [long-time Barry collaborator] Don Black put lyrics to them and I was the orchestrator. And John had heard of me because I*ve been involved in the last three James Bonds, orchestrating, conducting. I*d met him a couple of times, but at that point it*s when he saw me 每 I think it was about three or four years ago 每 and things sort of progressed from there . . .§<o:p> </o:p></p> <p class="MsoNormal">Remarking on his obvious joy in conducting, I asked if there was something particular in John Barry*s music to which he responded. ※Damn good themes!§ he responded without hesitation. ※And that*s it. Beautifully orchestrated by Nic Raine and beautifully played this evening by the RT谷 National. It*s absolutely marvelous the way they played. And they*re just <i>good</i> themes and well-orchestrated 每 it*s just thoroughly good music.§ From a technical point of view, are some of them harder to get right in performance than others? ※Not really, no. All of John*s music and all of his themes 每 and that*s why he is a legend and so well-known and loved 每 [succeed because] quite simply he writes music that communicates very easily to most people. And it*s very accessible music, so whilst a theme may be different, like <i>Out of Africa</i> which seems to have just a little more coherency in the sense of being such a strong theme 每 whereas others are not so well-known and not so popular. But that doesn*t mean to say they*re any less of a theme. So, in a technical sense, they*re all the same, to bring out the push-and-pull of the phrase.§</p> <p class="MsoNormal">Before hitting the highway, I buttonholed Julie Knight, press officer of <i>RT谷 lyric fm</i>, to discover if there were any plans for further movie-related concerts. Nothing definite, she replied, though she intended to pursue a suggestion put to her this evening that a certain well-known Continental composer might be persuaded to do his thing at the NCH in the near future 每 provided, of course, that the sky does not fall on his aged head in the meantime and that <st1:city w:st="on"><st1:place w:st="on">Paris</st1:place></st1:city> is not burning . . . </p> <p class="MsoNormal"><o:p> </o:p></p> <p class="MsoNormal"><span> </span><a href="http://www.rte.ie/lyricfm/concerts/1177706.html">Click here</a> to listen to a podcast of the concert</p><br /><p class="MsoNormal"><span> </span></p> Tue, 24 Jun 2008 17:30:00 +0000 /fbe/index.php?/archives/2108-guid.html http://creativecommons.org/licenses/by/3.0/ A SPY'S GUIDE TO THE NEW IAN FLEMING EXHIBITION AT THE IMPERIAL WAR MUSEUM, LONDON https://www.google.com//fbe/index.php?/archives/1882-A-SPYS-GUIDE-TO-THE-NEW-IAN-FLEMING-EXHIBITION-AT-THE-IMPERIAL-WAR-MUSEUM,-LONDON.html John Exshaw /fbe/index.php?/archives/1882-A-SPYS-GUIDE-TO-THE-NEW-IAN-FLEMING-EXHIBITION-AT-THE-IMPERIAL-WAR-MUSEUM,-LONDON.html#comments /fbe/wfwcomment.php?cid=1882 0 /fbe/rss.php?version=2.0&type=comments&cid=1882 nospam@example.com (Cinema Retro) <p><b></b></p><p><img style="BORDER-RIGHT: 0px; PADDING-RIGHT: 5px; BORDER-TOP: 0px; PADDING-LEFT: 5px; BORDER-LEFT: 0px; BORDER-BOTTOM: 0px" height="241" src="/fbe/uploads/eye1.jpg" width="241" /></p><p><b>We've intercepted this Top Secret memo that divulges inside information about the recent VIP opening of <i>For Your Eyes Only</i>, the new Ian Fleming exhibition taking place at the Imperial War Museum, London. Read it, then forget you ever saw the memo....</b></p><p /><p class="MsoNormal">To: M</p><p class="MsoNormal">From: Head of R, GCHQ</p><p class="MsoNormal">Subject: Former SMERSH sleeper agent, code-name Deep Sleep Six (Real name: Krassno Granitskiovich. Aliases: Red Grant, Jr., Captain <city w:st="on"><place w:st="on">Norwood</place></city> Nash) </p><p class="MsoNormal">Documentation: E-mail intercept, sent to G, head of SMERSH Veterans* Association</p><p class="MsoNormal"><p /></p><p class="MsoNormal">Greetings Comrade G,</p><p class="MsoNormal"><p /></p><p class="MsoNormal">Following instructions, attended opening of special exhibition, &For Your Eyes Only: Ian Fleming and James Bond*, at Imperial War Museum, London, 16 April, 2008, having neutralised and taken the place of reporter of nostalgic-revisionist organ &Cinema Retro*, using silicone mask provided by Otdyel II. Met at museum (dedicated to past glories of British imperialist war-mongers) by the American, Pfeiffer, and the Briton, Worrall, capitalist running-dogs and editors of aforementioned &Cinema Retro*. Enemy failed to penetrate disguise.</p><p class="MsoNormal"><p /></p><p class="MsoNormal" /><div class="serendipity_imageComment_center" style="WIDTH: 450px"><div class="serendipity_imageComment_img"><img height="300" src="/fbe/uploads/iff1.jpg" width="450" /></div><div class="serendipity_imageComment_txt">Photo copyright Mark Mawston. All rights reserved.</div></div><p /><p class="MsoNormal">Event began with Bollinger champagne reception (not Dom P谷rignon, as favoured by British assassin and enemy of the Russian and former Soviet peoples, James Bond). Speech of welcome given by Air Chief Marshal Sir Peter Squire, GCB, DFC, AFC, DSc, FRAeS, Chairman of the Trustees of the Imperial War Museum. Follow-up speech by the Right Honourable Margaret Hodge, Minister of State for Culture, Media, and Sport. Official opening speech delivered by Miss Honor Blackman, actress responsible for impersonating Pussy Galore, former associate of deceased agent, Auric Goldfinger.</p><p class="MsoNormal"><p /></p><p class="MsoNormal">Exhibition dedicated to life of Ian Fleming, fascist hyena and biographer of the killer Bond, on pretext of centenary of birth (see conclusion below). Items of interest include: bourgeois dinner-jacket and bow tie belonging to the author; desk and Remington Remette typewriter from Goldeneye, the author*s colonial-imperialist home in Jamaica; copy of &Checklist of Birds of the West Indies* (1947) by James Bond (a transparent attempt to confuse real-life assassin with local ornithologist); a recipe for scrambled eggs, headed ※Scrambled Eggs Never Let You Down§ (copy forwarded for deciphering); book entitled &Sea Fauna or The Finny Tribe of Golden Eye*, with notes and illustrations by Fleming; and manuscript of propaganda work, &Casino Royale*, detailing the regrettable failure of SMERSH operative, Le Chiffre.</p><p class="MsoNormal"><p /></p><div class="serendipity_imageComment_center" style="WIDTH: 450px"><div class="serendipity_imageComment_img"><img height="300" src="/fbe/uploads/iff4.jpg" width="450" /></div><div class="serendipity_imageComment_txt">Fleming's desk - where James Bond novels came to life. (Photo copyright Mark Mawston. All rights reserved.)</div></div><p /><p class="MsoNormal">These items followed by various family portraits and mementos, including letters from enemy of the Revolution, Winston Churchill; Christmas stockings large enough to clothe an entire village of peasants; various sporting trophies from Eton, the so-called public school (and breeding ground of reactionary imperialist swine); and various documents pertaining to the class enemy Fleming*s time spent as a ※journalist§ (a remarkably transparent cover) in Moscow, including a denied request for an interview signed by our late, Great and Glorious Leader, the much-loved Chairman Stalin himself! (Overcome with emotion, I found myself singing the Internationale 每 until I noticed the American Pfeiffer looking at me suspiciously. Strongly suspect this Pfeiffer may be none other than the Yankee pig-dog Felix Leiter, lackey of the CIA and cohort of Bond.)<span> </span></p><p class="MsoNormal"><p /></p><p class="MsoNormal">The next exhibits are dedicated to the fantasist Fleming*s secret service in the Naval Intelligence Division during the Great Struggle against the forces of National Socialism. These include the coat worn by Fleming during his observation of the Dieppe Raid in 1942, a courier*s passport allowing him passage from Madrid to Gibraltar; various documents pertaining to his work with Rear Admiral Godfrey, the Director of Naval Intelligence, and the clandestine activities of 30 Assault Unit, overseen by Fleming, as well as information on the German V1 and V2 flying bombs, allegedly the forerunners of former Soviet agent Drax*s Moonraker rocket. A manuscript of<span> </span>fictional &Moonraker*, with original title, &Mondays Are Hell*, crossed out and replaced by the words ※The Moonraker§, is also displayed.</p><p class="MsoNormal"><p /></p><p class="MsoNormal" /><p class="MsoNormal">The post-Struggle section of the exhibition includes a Mercury News map of the world showing the location of various journalists (and spies, as we well know) employed by the <i>Sunday Times</i> newspaper, of which Fleming was the foreign news manager, along with various souvenir items from the author*s effete and luxurious travels for a series of articles (and later book), &Thrilling Cities*. This is followed by a most interesting item 每 a portrait of the killer, Bond, commissioned by Fleming circa 1957, incontestable proof that the assassin known as 007 really exists and was not just a figment of the lap-dog Fleming*s decadent day-dreams (as the British establishment, with inexplicable perversity, would have the masses believe). After all, even a degenerate bourgeois like Fleming would not commission a portrait of a non-existent character! There is also a cup, in the shape of a chamber pot, presented by Fleming to the Old Etonian Golfing Society 每 a typical example of British public school humour. This is followed by a case containing first editions of Fleming*s glorification of the murderous functionary, Bond, and original art-work for the books by the illustrator, Richard Chopping.</p><p class="MsoNormal" /><div class="serendipity_imageComment_center" style="WIDTH: 450px"><div class="serendipity_imageComment_img"><img height="300" src="/fbe/uploads/iff5.jpg" width="450" /></div><div class="serendipity_imageComment_txt">An extensive display of Bond books.(Photo copyright Mark Mawston. All rights reserved.) </div></div><p /><p class="MsoNormal"><p /></p><br /><p class="MsoNormal"><p /></p><p class="MsoNormal"><p /></p><p class="MsoNormal"><p /></p><p class="MsoNormal"><span></span></p><p class="MsoNormal"><span></span></p><p><b></b></p> <br /><a href="/fbe/index.php?/archives/1882-A-SPYS-GUIDE-TO-THE-NEW-IAN-FLEMING-EXHIBITION-AT-THE-IMPERIAL-WAR-MUSEUM,-LONDON.html#extended">Continue reading "A SPY'S GUIDE TO THE NEW IAN FLEMING EXHIBITION AT THE IMPERIAL WAR MUSEUM, LONDON"</a> Fri, 09 May 2008 09:44:00 +0000 /fbe/index.php?/archives/1882-guid.html http://creativecommons.org/licenses/by/3.0/