American Fable is ambitious, maybe too much so sometimes, but there's an intense pleasure in the boldness of the film's style.
* This filmography is not intended to be a comprehensive list of this artist’s work. Instead it reflects the films this person has been involved with that have been reviewed on this site.
"Life Itself" won the 2015 Best Documentary award from the Producer's Guild of America.
Part two of our countdown of twelve great scenes set around Christmas: #8–#5.
Brian Doan wonders if Mark Cousins' "The Story of Film," showing over 15 weeks on TCM this fall, deserves all the praise it has received.
Marie writes: Widely regarded as THE quintessential Art House movie, "Last Year at Marienbad" has long since perplexed those who've seen it; resulting in countless Criterion-esque essays speculating as to its meaning whilst knowledge of the film itself, often a measure of one's rank and standing amongst coffee house cinephiles. But the universe has since moved on from artsy farsty French New Wave. It now prefers something braver, bolder, more daring...
Marie writes: Every once in while, I'll see something on the internet that makes me happy I wasn't there in person. Behold the foolish and the brave: standing on one of the islands that appear during the dry season, kayacker's Steve Fisher, Dale Jardine and Sam Drevo, were able to peer over the edge after paddling up to the lip of Victoria Falls; the largest waterfall in the world and which flows between Zambia and Zimbabwe, in Africa. It's 350 feet down and behind them, crocodiles and hippos can reportedly be found in the calmer waters near where they were stood - but then, no guts, no glory, eh? To read more and see additional photos, visit "Daredevil Kayakers paddle up to the precipice of the Victoria Falls" at the DailyMail.
Marie writes: the great Ray Harryhausen, the monster innovator and Visual Effects legend, passed away Tuesday May 7, 2013 in London at the age of 92. As accolades come pouring in from fans young and old, and obituaries honor his achievements, I thought club members would enjoy remembering what Harry did best.
Marie writes: Behold the amazing Art of Greg Brotherton and the sculptures he builds from found and re-purposed objects - while clearly channeling his inner Tim Burton. (Click to enlarge.)
"With a consuming drive to build things that often escalate in complexity as they take shape, Greg's work is compulsive. Working with hammer-formed steel and re-purposed objects, his themes tend to be mythological in nature, revealed through a dystopian view of pop culture." - Official website
Marie writes: For those unaware, it seems our intrepid leader, the Grand Poobah, has been struck by some dirty rotten luck..."This will be boring. I'll make it short. I have a slight and nearly invisible hairline fracture involving my left femur. I didn't fall. I didn't break it. It just sort of...happened to itself." - Roger
(Click to enlarge)
Marie writes: I may have been born in Canada, but I grew-up watching Sesame Street and Big Bird, too. Together, they encouraged me to learn new things; and why now I can partly explain string theory.That being the case, I was extremely displeased to hear that were it up Romney, as President he wouldn't continue to support PBS. And because I'm not American and can't vote in their elections, I did the only thing I could: I immediately reached for Photoshop....
(Click image to enlarge.)
Marie writes: club member Sandy Kahn has found some more auctions! Go here to download a free PDF copy of the catalog.
Marie writes: behold the power of words, the pen mightier than the sword.
Marie writes: many simply know her as the girl with the black helmet. Mary Louise Brooks (1906 - 1985), aka Louise Brooks, an American dancer, model, showgirl and silent film actress famous for her bobbed haircut and sex appeal. To cinefiles, she's best remembered for her three starring roles in Pandora's Box (1929) and Diary of a Lost Girl (1929) directed by G. W. Pabst, and Prix de Beauté (1930) by Augusto Genina. She starred in 17 silent films (many lost) and later authored a memoir, Lulu in Hollywood."She regards us from the screen as if the screen were not there; she casts away the artifice of film and invites us to play with her." - Roger, from his review of the silent classic Pandor's Box.
Marie writes: some of you may recall reading about the Capilano Suspension Bridge in North Vancouver, British Columbia Canada. (Click to enlarge.)
Marie writes: If you're like me, you enjoy the convenience of email while lamenting the lost romance of ink and pen on paper. For while it's possible to attach a drawing, it's not the same thing as receiving hand-drawn artwork in the mail. Especially when it's from Edward Gorey..."Edward Gorey and Peter Neumeyer met in the summer of 1968. Gorey had been contracted by Addison-Wesley to illustrate "Donald and the...", a children's story written by Neumeyer. On their first encounter, Neumeyer managed to dislocate Gorey's shoulder when he grabbed his arm to keep him from falling into the ocean. In a hospital waiting room, they pored over Gorey's drawings for the first time together, and Gorey infused the situation with much hilarity. This was the beginning of an invigorating friendship, fueled by a wealth of letters and postcards that sped between the two men through the fall of 1969."
What do you think of while you listen to classical music? Do you have an education in music, and think of the composer's strategies, or the conductor's interpretation? Do you, in short, think in words at all? I never do, and I suppose that would make me incompetent as a music critic. I fall into a reverie state.
Marie writes: I love cinematography and worship at its altar; a great shot akin to a picture worth a thousand words. The best filmmakers know how to marry words and images. And as the industry gears up for the Golden Globes and then the Oscars, and the publicity machine starts to roll in earnest, covering the Earth with a daily blanket of freshly pressed hype, I find myself reaching past it and backwards to those who set the bar, and showed us what can be accomplished and achieved with light and a camera...
Cinematography by Robert Krasker - The Third Man (1949) (click to enlarge images)
Roger and Chaz outside the CBC Studios. They were recently featured on CBS News Sunday Morning to discuss the launch of their new show "Ebert Presents At The Movies".
Actress Jill Clayburgh, whose portrayal of women in the 1970s helped define and and reshape the role of leading lady, died last week of chronic lymphocytic leukemia at her home in Lakeville, Connecticut; she was 66. She's best known for her Academy Award nominated roles in "An Unmarried Woman" (Winner: Best Actress Cannes 1978) and "Starting Over." Roger has remembered her on his site: Jill Clayburgh: In Memory.
The Grand Poobah writes: I saw this stag in the Michigan woods near our country place, where I am still working on my memoir. (click to enlarge)
Here you'll find my list from Dec. 30, 1999.
Selznick, Rossellini & Fellini, by Rossellini & Maddin.
Brad Damaré of Ann Arbor, MI, was kind enough to point me to a marvelous YouTube post of the entire 16-minute 2005 collaboration between Guy Maddin ("The Saddest Music in the World") and Isabella Rossellini: "My Dad Is 100 Years Old" (in English, with Italian subtitles). In this personal tribute to Roberto Rossellini, the subject of recent retrospectives and the father of neorealism (and more), Isabella creates imaginary conversations between herself, her papa, producer David O. Selznick, Federico Fellini, Alfred Hitchcock, Charlie Chaplin and her mother, Ingrid Bergman -- with the actress/daughter playing all the parts. (My delight in her performances is only enhanced by Isabella's recent appearances as Alec Baldwin's volatile ex-wife on "30 Rock.")
Through his daughter, papa Rossellini expounds on his contrarian theories of film -- not as dreams or distractions, manipulations or entertainments, but as works that engage the viewer's conscience. As is often the case on YouTube, the soundtrack slips out of synch partway through, but it's not all that distracting. In some ways it's perfectly appropriate (I wouldn't put it past Maddin to have come up with the effect deliberately), since Italian films were shot without sound (MOS) into the 1960s, with little attention to precisely matching looped dialogue to lip movements.
Nineteen years after his death, he remains as famous as any director in movie history - even Steven Spielberg. Other directors have had their films remade, but only Alfred Hitchcock made one so monumental that another director, a good one, actually tried to duplicate it, shot by shot. Gus Van Sant's "Psycho" (1998) was a bad idea, but it's the thought that counts.
Q. "The X Files" obviously took place in summer, as evidenced by the complaints about the heat in Dallas, the lack of overcoats in Washington, D.C., the corn crops, and the copious sweat in all locations. Therefore, the sun should not have been brightly shining in Antarctica. That continent should have been in the middle of its dark and stormy winter. (Denise Leder, Las Vegas)
This book represents only the tip of the iceberg. When Daniel Selznick, David O. Selznick's younger son, asked Rudy Behlmer to edit a selection of his father's memos, Behlmer had little notion of the task involved. The archive was lodged at that time at Bekins Moving and Storage in Los Angeles and Behlmer wrote: "I'll never forget walking into the building in which the files are stored for the first time and being confronted by approximately two thousand file boxes!" Those were only the memos--the written record of substantially every thought Selznick had about his career from 1916 to 1965. to When the David O. Selznick Collection was acquired by the University of Texas in 1981, it included countless other boxes, containing scripts and all their revisions, bills and statements, publicity materials, fan mail, receipts, and the continuity record of every day's shooting on almost every film. On an ordinary day Selznick used two secretaries, sometimes more, to take his dictation, and executives were not surprised when a Selznick memo arrived 15 minutes before they were scheduled to meet with him in person.
For an hour the screen was filled with clips from the movies of 37 years. Garbo in "Camille." Katharine Hepburn in "The Philadelphia Story" and again with Spencer Tracy in "Adam's Rib." Ingrid Bergman in "Gaslight." Audrey Hepburn in "My Fair Lady." And, of course, Judy Garland in "A Star Is Born."