A stellar high school comedy with an A+ cast, a brilliant script loaded with witty dialogue, eye-catching cinematography, swift editing, and a danceable soundtrack.
* 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.
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: Now this is something you don't see every day. Behold The Paragliding Circus! Acrobatic paragliding pilot Gill Schneider teamed up with his father’s circus class (he operates a school that trains circus performers) to mix and combine circus arts with paragliding - including taking a trapezist (Roxane Giliand) up for ride and without a net. Best original film in the 2012 Icare Cup. Video by Director/Filmmaker Shams Prod. To see more, visit Shams Prod.
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.
I've just been watching "The Thief of Bagdad" (1940), which has probably the most influential special effects of all pre-CGI films. It's going into the Great Movies Collection, not for the effects, of course, but because it is a sublime entertainment on a level with "The Wizard of Oz" or the first "Star Wars." But there are few effects in "Star Wars" (1977) that were not invented for, experimented with, or perfected in "The Thief of Bagdad." And some of them had their genesis in Raoul Walsh's magnificent 1924 silent film of the same name starring Douglas Fairbanks, Sr.
Left: Rex Ingram, as the genie, towers over Sabu, as the thief, in "The Thief of Bagdad." The shot was made by combining real footage of Ingram, close to the camera, and Sabu, several hundred feet away.
I went to one of the first editions of the Portland International Film Festival back in 1978 or 1979 (thanks to Ruth Hayler of Seven Gables Theatres), where I saw Peter Weir's "Picnic at Hanging Rock" for the first time. They were also doing an Alexander Korda retrospective, and it was great fun to see "The Four Feathers," "Thief of Bagdhad" and "The Private Life of Henry VIII" on the big screen.
PIFF is now celebrating its 30th year, and DK Holm reports on the films, the fest -- and the audiences -- at GreenCine Daily: Portland breeds a different sort of filmgoer. This is the town where its seemingly unemployed Generation Why sit for hours within its numerous coffee houses drinking $5 dollar brews seriatim and typing endlessly into their brand new MacBooks. Everyone in Portland is "in a band." Or they own a brew pub. Or they virtually live in one. Portland Man rides his bike to work (cursing at the Earth-fracking cars the entire route), enters each of the city's monthly foot race marathons, works for the city (probably the Water Bureau), shops at Whole Foods, and to this day thinks back fondly on that wine tour of Provence he and the wife made back in '92. Portland Woman, by contrast, is an independent and independently minded citizen who can't find a worthy male. She is a mirror image of the "Sex in the City" gals but without the clothes. She is obsessed with shopping, eating, her figure, her co-workers and office politics, her favorite celebrities (or her favorite causes), and is either about to enter, is in, or has just departed her Fag Hag stage. They complain about never meeting any good men and then move in with a meth addict. Personals ads here are very popular and highly effective. People in Portland don't "date." They have a date, and then get married.
Within this context, it's a wonder that any films get seen at all. Yet over the years, the festival has expanded from one small venue to its current reach, four auditoria scattered throughout the city (though all of the theaters are confined to the city's downtown area), hosting a dizzying number of offerings.