Intrigo: Death of an Author
This film tells us that the gulf between what we want to know and what we can know may never be illuminated.
* 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.
"Yeah, well, sometimes nothin' can be a real cool hand."
Members of the RogerEbert.com film community remember the late Haskell Wexler.
Women taking action in Hollywood; Contrasting "Safe" and "Still Alice"; Bridge between love and lipstick; Adrià Julià on Rocky Ascending; What "American Sniper" says about America.
"Something's Gonna Live" (78 minutes) is available via iTunes, Amazon Instant, and DVD.
Architecture's loss was the movies' immeasurable gain. Robert Boyle, Albert Nozaki and Henry Bumstead, classmates at the University of Southern California in the 1930s could not find jobs in their studied profession. They wound up at Paramount Studios, where, as production designers and art directors, they set the stage for some of the movies' most indelible images.
Boyle designed Alfred Hitchcock's "Saboteur," "Shadow of a Doubt," "North by Northwest," "The Birds," and "Marnie." And those are the just the Hitchcock credits. Bumstead earned Academy Awards for his contributions to "To Kill a Mockingbird" and "The Sting." He received nominations for his work on "Vertigo" and "Unforgiven." Tokyo-born Nozaki was the art director on "The War of the Worlds" and "The Ten Commandments," for which he was nominated for an Academy Award.
• "The Outer Limits" (original series) is available on Netflix (DVD), Hulu Plus and Amazon Instant Video. • "In Cold Blood" is available on Netflix (DVD and Blu-ray) and Amazon Instant Video. • "Cool Hand Luke" is available on Netflix (DVD and Blu-ray) and Amazon Instant Video. • "American Beauty" is available on Netflix (DVD and Blu-ray) and Amazon Instant Video. • "Road to Perdition" is available on Netflix (DVD and Blu-ray).
by Jeff Shannon Eyes Wide Open: A Single Artist's Vision
Ask anyone who's devoted their life to the study and appreciation of movies and they can probably tell you exactly when they were "bitten by the movie bug," that moment of personal epiphany that sparked an all-consuming passion for what is arguably the greatest, most powerful medium of artistic expression.
In my case, it was Stanley Kubrick's "2001: A Space Odyssey" that literally changed my life. That's an influential milestone I share with many cinephiles who came of age in the 1950s and '60s, especially those "movie brats" (among them James Cameron, George Lucas and Steven Spielberg) who were drawn to imaginative visions of the future. Because I'd spent most of my childhood outdoors or casually enjoying Disney films and other kid-friendly fare, I didn't see Kubrick's visionary masterpiece until it played a return engagement at Seattle's glorious Cinerama Theater, in 1971, when I was nine years old.
(With its huge, curved Cinerama screen, the Cinerama is still the only theater in Seattle capable of showing "2001" as Kubrick intended. It exclusively hosted the film's original 77-week Seattle run beginning in April 1968, and the fully restored 70-millimeter print of "2001" had its world premiere there, appropriately enough, in 2001, two years after the aging cinema was purchased and beautifully renovated by Microsoft co-founder Paul Allen. It's now one of only three theaters in the world -- along with the Cinerama Dome in Los Angeles and the Pictureville Cinema in Bradford England -- equipped to exhibit three-panel Cinerama, requiring three synchronized projectors for the only seven films created in the three-strip Cinerama process, including 1956's "This Is Cinerama" and 1962's "How the West Was Won." Starting this week [Sept. 30th] and running through mid-October, Seattle's Cinerama is hosting a "70mm Festival" of 15 films, including "2001," that originally premiered there.)
Like no other film before it, "2001" opened my eyes to the power of a single artist's vision and led me to understand the supremacy of a great director. I didn't know it then, but I'd discovered the basis of auteur theory, and while it would be foolish to deny that film is (to echo that award-acceptance cliché) the most collaborative of all art forms, it's no contradiction to embrace the Kubrick quote that greets all visitors to kubrickfilms.com, Warner Bros.' authorized Kubrick website: "One man writes a novel. One man writes a symphony. It is essential for one man to make a film." (Disregard "man"; Kubrick would've been the first to include female filmmakers in his statement.)
"I don't think we need another film about the Holocaust, do we? It's like, how many have there been? You know? We get it. It was grim. Move on. No, I'm doing it because I've noticed that if you do a film about the Holocaust, you're guaranteed an Oscar.... 'Schindler's Bloody List,' 'Pianist' -- Oscars comin' outta their ass."
-- Kate Winslet (in character) on "Extras" (2005)
There are two main reasons I don't do Oscar predictions: 1) I'm bad at it; and 2) the Oscars take place in a corner of the cinematic universe that's only tangentially related to the movies I love. The Oscar ceremonies have been called the Gay Super Bowl and that's as good a characterization as any -- or at least it was, until "Crash" won.
But some peculiarities at the Golden Globules got me to wondering about the Academy rules. Although I remembered that Peter Finch had won a posthumous Oscar for "Network" in 1976, I didn't know for certain if the rules permitted a posthumous nomination -- like, say, for Heath Ledger, who won a Globule for best supporting actor as the Joker in "The Dark Knight." Turns out, nothing in the Academy's Rule Six: Special Rules for the Acting Awards prohibits it.
Perhaps a more pertinent question would be: Is it really a supporting role? Kate Winslet got her hands on two Globules this year -- one for lead performance in "Revolutionary Road" and another for supporting performance in "The Reader." Some have suggested that the latter is a little like considering Faye Dunaway's role in "Chinatown" a supporting one, but I figured the Hollywood Foreign Press Association just wanted to award Winslet a pair of Globulettes for reasons known best to themselves, so they went out of their way to nominate her in separate categories.
UPDATE: Indeed, Oscar voters have nominated Winslet's "Reader" performance in the lead category. She did not receive a nomination for "Revolutionary Road" -- even though she may well have received enough votes to qualify for both. At least, I think that's what this rule says:
5. In the event that two achievements by an actor or actress receive sufficient votes to be nominated in the same category, only one shall be nominated using the preferential tabulation process and such other allied procedures as may be necessary to achieve that result.
[Oscar rules below.]
Q. In the most recent Answer Man, you discussed the fact that Jennifer Connelly is photographed at the end of a dock or pier in "Dark City," "Requiem for a Dream" and "House of Sand and Fog." In a deleted scene on the DVD of "A Beautiful Mind," there is a sequence where Russell Crowe dreams of Jennifer Connelly running toward a dock on a lake.
Nothing that has happened since the Academy Awards nominations were announced has swayed me from my immediate conviction that "Chicago" will be the big winner on Oscar night. I know that "The Pianist" was named best film by the British Academy. I know "The Hours" was honored for its screenplay at the Writers Guild Awards. But, hey, I also know the Directors Guild honored Rob Marshall for "Chicago" over Martin Scorsese--and when a rookie can outpoll a living national treasure in a vote of directors, there's a bandwagon on the way."Chicago" is not the best of the nominated films. That would be "Gangs of New York." But you have to understand that the academy doesn't vote for the best film. It votes for the best headline. This year, it sees big type that shouts "The Musical Comes Back!" Having failed to honor "Moulin Rouge!" last year, the academy will vote this year the way it thinks it should have voted the year before. (Example: The 2001 Oscar for best actor went to Russell Crowe, who more reasonably should have won a year earlier for "The Insider.") Here are the major categories and my predictions: