There are two movies in "Jackie." One of these movies is just OK. The other is exceptional. The first one keeps undermining the second.
* 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.
An appreciation of Stephen Frears' "My Beautiful Laundrette" after its Criterion release.
Marie writes: I recently heard from an ex-coworker named Athena aka the production manager on an animated series I'd painted digital backgrounds for. She sent me some great photos she'd found on various sites. More than few made me smile and thus inspired, I thought I'd share them with club members. I've added captions for fun but if you can come up with something better, feel free to submit your wit by way of posted comment. Note: I don't know who the photographers are; doesn't say. (Click pics to enlarge.)
"I want a peanut for every photo you took of me..."
From Richard T. Jameson, Editor, Movietone News, 1971-81; Editor, Film Comment, 1990-2000:
The opening credits of Richard Lester's "Juggernaut" (1974) play over a neutral backdrop that can just barely be detected as an undefined image rather than a simple blank screen. Whether it's an out-of-focus image or something more elemental -- say, the granules of the film emulsion itself -- is hard to say. The basic color is a beige-y grey, with now and then the merest hint of a diagonal band of something warmer attempting to form across the frame. On the soundtrack are noises similarly difficult to ascertain; some suggest hammers falling, an unguessable project under construction, while in other select nanoseconds we seem to be listening to something beyond the normal range of hearing -- the mutual brushing of atoms, perhaps, in an unimaginably microscopic space. In short, nothing; and the essence of everything.
The first shots cut in after the (swiftly flashed) credits have ended, and we get our worldly bearings. An oceanliner is preparing to depart an English port and, among other things, a dockside band is tuning up. I say "first shots," but we won't cheat: there can be only one opening shot, and it's over with before we barely register it. And indeed, why register it? It's nothing dramatic. Indeed, it's barely informational. There are streamers, fluttering limply and unremarkably in the breeze. Send-off streamers; bon voyage and all that. Most of their brief time onscreen, they're out of focus, because that's a gentle way of easing us from the shimmering nothingness behind the credits and into the coherent imagery of a movie we are obliged to pay attention to. Besides, this is 1974, five years after cinematographer Laszlo Kovacs and "Easy Rider" had made rack focus a fashionable, sometimes almost fetishistic aspect of self-consciously contemporary moviemaking. (Not that Kovacs worked on "Juggernaut": the DP is Gerry Fisher, working with Lester for the first and last time.) So out-of-focus and then in-focus streamers, no big whoop. And the movie moves on.
It's only on a second viewing that these streamers may hit us like a fist in the chest. For the essence of the shot is that there are two streamers in particular traversing the frame in clarity. And one is red, one is blue.