A dispatch from the New York Film Festival on the latest from Kelly Reichardt, Oliver Laxe, Eloy Enciso Cachafeiro, and Pietro Marcello.
Sheila writes: "Life Itself" has been getting wonderful reviews all over the country, and in case you missed it, Chaz Ebert appeared on "The Tonight Show Starring Jimmy Fallon" on July 18th, to discuss the film and Roger. July 18th also marked Chaz and Roger's 22nd anniversary and so the moment was especially poignant. It was a great interview, funny and emotional, and you can see the clip here.
Marie writes: The unseen forces have spoken! The universe has filled a void obviously needing to be filled: there is now a font made entirely of cats. Called Neko Font (Japanese for "cat font") it's a web app that transforms text into a font comprised of cat pictures. All you need to do is write something in the text box, press "enter" on your keyboard and Neko Font instantly transforms the letters into kitties! Thanks go to intrepid club member Sandy Kahn for alerting the Ebert Club to this important advancement in typography. To learn more, read the article "There is now a font made entirely of cats" and to test it out yourself, go here: Neko Font. Meanwhile, behold what mankind can achieve when it has nothing better to do....
Recently I found myself, for the fifth time, among the denizens of a place that celebrates my favorite cinematic genre: the historic Castro Theatre in San Francisco, home of the Film Noir Foundation's 11th Annual Noir City Film Festival. The 27-film retrospective, which ran Jan. 25 to Feb. 3, featured newly restored prints, thanks to the Film Noir Foundation, as well as obscure films that may not have been seen in decades.
Marie writes: It's no secret that most Corporations are evil - or at the very least, suck big time. And while I have no actual proof, I'm fairly certain there is a special level of Dante's Hell reserved just for them. (Map of Dante's Hell.)That being the case, when my younger brother Paul wrote me about a cool project sponsored by Volkswagen, I was understandably wary and ready to denounce it sight-unseen as self-serving Corporate shyte. As luck would have it however, I was blessed at birth with curiosity and which got the better of me and why I took a look. For what I found was nothing less than extraordinary....
• "The Rack" (1956) • "Until They Sail" (1957) • "The Prize" (1963) • "Tales of Tomorrow: Ice From Space" (1953)"The Rack," "Until They Sail" and "The Prize" are now available on made-to-order DVD from the Warner Archive Collection for $19.95 each. "Tales of Tomorrow" can be viewed on Hulu Plus and Amazon Instant Video.
by Jeff Shannon You would think that every film Paul Newman ever appeared in would be readily available on home video, right? Guess again. One of the best films from Newman's early career has managed to slip through the cracks of home-video distribution for decades, and unless you're old enough to have seen it in theaters or on TV over the years, it's possible you've never even heard of it. So when I heard that "The Rack" (1956) was available on home video for the very first time, I couldn't wait to break the news to Stewart Stern.
For anyone who's wondering "Stewart who?" there's a convenient shortcut you can use when discussing the impressive life and career of Stewart Stern. All you have to say is, "He wrote 'Rebel Without a Cause.'" Uh-huh, that one. With a credit like that, any screenwriter could legitimately claim a slice of movie immortality, like James Dean did as the now-iconic star of Nicholas Ray's 1955 teen-angst classic. But to say that Stern only wrote "Rebel" is a bit like saying Frank Lloyd Wright designed a house. In the course of his distinguished, decades-spanning career, Stern wrote rich, psychologically perceptive scripts that were magnets for great actors and great acting: His script for "The Ugly American" (1963) gave Brando plenty to chew on; his Oscar-nominated script for "Rachel, Rachel" (1968) gave Joanne Woodward what is arguably the best role of her career (under the direction of her husband, Paul Newman; they also earned Oscar nods); and Stern's Emmy and Peabody-winning teleplay for "Sybil" (1976) transformed cute TV actress Sally Field into an Emmy winner with a pair of Oscars in her future. A few years later, Stern left Hollywood, weary of the rat race and struggling with writer's block, the delayed effect of post-traumatic stress from service in World War II. In the mid-'80s, Stern relocated to Seattle and never looked back. And while Stern may have been a nephew of Paramount Pictures founder Adolph Zukor, with additional family ties to MGM moguls Arthur Loew Sr. and Jr., his closest Hollywood connection was more personal and more warmly indicative of the man's soul and spirit: For 55 years, Stewart Stern was one of Paul Newman's very best friends.
Marie writes: Doug Foster is a filmmaker and artist who produces large scale digital film installations that often play with ideas of symmetry and optical illusion. His piece The Heretics' Gate is currently on view at "Daydreaming with... St. Michael's" - an exhibition taking place at St. Michael's church in Camden, London. Note: Foster's piece first appeared at the Hell's Half Acre exhibition at the Old Vic Tunnels in London in 2010."The Heretics' Gate" draws inspiration from Dante's Inferno, the first part of his epic poem The Divine Comedy. A twenty foot high, arched screen and a thirty foot long reflecting pool, are cleverly combined to deliver a mesmerizing and strangely ethereal vision of hell at the central focus point of the church's imposing gothic architecture. To learn more, visit: Liquid Hell: A Q&A With Doug Foster.NOTE: The exhibition is the latest installment in renowned British music producer James Lavelle's curatorial and collaborative art venture, "DAYDREAMING WITH..." - a unique and visceral new exhibition experience, inspired by the desire to marry music and visual art. The goal is to bring together some of the most acclaimed creative names working in music, art, film, fashion and design.
Marie writes: Having recently seen a stage play, I was reminded again of how much I enjoy them. And the buildings they're often performed in. Which sent me off looking for old ones and hopefully Theatres you never hear about - as then it's like stumbling upon a secret known only to a lucky few. And thus how I found "Minack Theatre Portcurno Cornwall" with a view over-looking the Cornish sea...
In 1959 Jean-Luc Godard famously proclaimed that tracking shots are a matter of morality -- an inversion of fellow Cahier du cinéma critic Luc Moullet's formulation that "morality is a matter of tracking shots" ("morale set affaire de travellings," sometimes translated as "morality is in the tracking shots"). The evangelical theorists behind what became known as the French New Wave had a tendency to ascribe moral values to cinematic style and technique.¹ André Bazin and the late Eric Rohmer, especially, championed the moral as well as aesthetic superiority of mise en scène over montage, of Hawksian "invisible cutting" over dictatorial Eisensteinian editing, and of deep-focus over a more selective, shallow depth-of-field. Bazin praised directors such as Orson Welles and William Wyler (in collaboration with cinematographer Gregg Toland) for staging shots so that "the viewer is at least given the opportunity to edit the scene himself, to select the aspects of it to which he will attend."
As David Bordwell summarized:
Their "deep-focus" style, he claimed, produced a more profound realism than had been seen before because they respected the integrity of physical space and time. According to Bazin, traditional cutting breaks the world into bits, a series of close-ups and long shots. But Welles and Wyler give us the world as a seamless whole. The scene unfolds in all its actual duration and depth. Moreover, their style captured the way we see the world; given deep compositions, we must choose what to look at, foreground or background, just as we must choose in reality. [...]
[Bazin wrote that deep-focus] "forces the spectator to participate in the meaning of the film by distinguishing the implicit relations" and creates "a psychological realism which brings the spectator back to the real conditions of perception."
James Bond (Daniel Craig) in "Casino Royale." With every move he makes, another chance he takes. Odds are...
What accounts for the movies' fascination with gambling? That's a question I mull over in a survey of pictures (from "Gilda" to "Barry Lyndon" to "Casino" to "California Split" to "The Cooler") about the addictive alchemy of luck, chance, fate and skill at MSN Movies. Making a movie is itself a grand gamble. You never know how it's going to turn out, and the results have as much to do with circumstance as they do with talent or craftsmanship. An excerpt from "High Rollers": Gambling does not rank among the "seven deadly sins." It doesn't have to. Just about all the capital vices can be found in the psyche of the gambler, and not just in the usual suspects, greed and envy. There's also plenty of room for gluttony (overindulgence, addiction, substance abuse); wrath (rage, vindictiveness); sloth (indifference, jadedness, existential apathy); lust (licentiousness, dissolution); and, the deadliest of all sins: pride (hubris, arrogance, usually expressed in the form of cheating, or a misplaced belief in a dubious "system" designed to beat the odds).
The grandest "Casino Royale" -- the ultimate gamble -- is, of course, the game of life itself: a series of cosmic wagers in which the stakes vary wildly from day to day, bet to bet. Some people seem to go "all in" all the time, some ante up just enough to get them through each hand they're dealt, and others are perpetual folders who try to opt out of the game entirely in order to avoid risking too much.
But since the time of Oedipus the central question has always been: How much of the outcome is governed by free will and how much by predestination? The answer depends on the (rigged?) nature of the game you're playing, and whether the winners and losers are predetermined, either by some higher interventionist power (appeased by superstitious rites, such as blowing on dice or disingenuously proclaiming the need for new footwear for one's tot), or by a simple calculation of the odds that invariably favor "the house."
Although one can only play the hand one is dealt, a poker or blackjack player retains a small degree of influence over his fate, as some game variables are subject to decision-making based on statistical knowledge and experience. Those who gamble on a roll of the dice or a spin of the wheel, however, rely on pure chance. Or, as it is known in gaming circles, "luck."
The odds of winning are never better than 50-50 (red or black in roulette), which is why most gambling stories -- and gambling movies -- are either about chance, or about cheating. As in the 1946 classic film noir, "Gilda," with Glenn Ford and Rita Hayworth, these tales are of the men and women who learn to "make their own luck."
The only way to increase your luck without trickery is with skill -- by learning to read the odds based on the cards that have already been played, or by learning to read the people who play them. In Curtis Hanson's new "Lucky You," hot-headed poker player Huck Cheever (Eric Bana) has to learn how to do both if he wants to woo songstress Billie Offer (Drew Barrymore). As his father, L.C. (Robert Duvall), tells him: "You've got it backwards, kid. You play cards the way you should live life, and you live life the way you should play cards."
That's the lesson movie gamblers are always trying to learn. Everybody has a "tell" -- a little unconscious tic that reveals when they're bluffing. In David Mamet's "House of Games," renowned psychoanalyst Margaret Ford (Lindsay Crouse) thinks she understands human behavior until she is schooled by Mike (Joe Mantegna) in the ways of gamblers and con men who avoid being understood. The big gamble comes down to a matter of pride -- and the skill and intuition to fool the other players.
In the most recent "Casino Royale" film, the hubris of James Bond (Daniel Craig) costs him a high stakes game, and nearly costs him his life. Every scene in the movie involves a bet, a bluff, or a calculated risk. Whether the game is espionage, romance, the stock market, or poker, the rules are basically the same: Outwit, outplay and outlast your opponents....
Continue reading at MSN Movies...
"You name it, I played it," said Jerry Paris. "I was the co-pilot, the best friend, the roommate, the Army buddy. In three movies, I was second banana to Bonzo the monkey. Remember Bonzo? He was the number one monkey in Hollywood, bigger even than Cheetah the Chimp, until he was killed in a tragic fire. Let's see. I was in 'Bonzo Goes to College,' and in 'Monkey Business,' and another one. 'Monkey Business,' also had Marilyn Monroe and Cary Grant, but as I recall Bonzo got equal billing.