Marie writes: As the dog days of summer slowly creep towards September and Toronto starts getting ready for TIFF 2013, bringing with it the promise of unique and interesting foreign films, it brought to mind an old favorite, namely The Red Balloon; a thirty-four minute short which follows the adventures of a young boy who one day finds a sentient red balloon. Filmed in the Menilmontant neighborhood of Paris and directed by French filmmaker Albert Lamorisse, The Red Balloon went on to win numerous awards and has since become a much-beloved Children's Classic.
Marie writes: I was looking for something to make Roger laugh, when the phone rang. It was a bad connection, but this much I did hear: "Roger has died." That's how I learned he was gone, and my first thought was of the cruel and unfair timing of it. He'd been on the verge of realizing a life long dream: to be the captain of his own ship.
I packed my bags last night, pre-flight Zero hour, 9 a.m. And I'm gonna be high as a kite by then. -- Elton John & Bernie Taupin, "Rocket Man" (1972)
Cinema, for me, has always been something like music composed with photographic images. Others see it more like "action painting," and we've seen a lot of discussion in recent years about what J. Hoberman and others have called "post-photographic cinema," in which computers have replaced cameras, and animation has replaced photography, as the primary means of creating images on a screen. (Hoberman: "With the advent of CGI, the history of motion pictures was now, in effect, the history of animation.") "Flight" is Robert Zemeckis's return to live-action photography for the first time since "Cast Away" (2000), after a series of IMAX 3D animated adventures: "The Polar Express" (2004), "Beowulf" (2001) and "A Christmas Carol" (2007). It's also a return to making movies aimed at an adult audience -- and one that proved to be a different, and more interesting, than the movie I'd seen advertised in the trailer.
Robert Zemeckis' new film "Flight" (2012) returns us to the terrain of live action after his three consecutive animated films (two of which were happy movies about Christmas). Here, he makes it clear from the very first scene that this is a far edgier Zemeckis. It is far more graphic and far more emotional than anything we have previously seen from him. The result is on the outside a big budget public service announcement, while on the inside, a film far more complicated than it seems.
"I believe that if, at the end, according to our abilities, we have done something to make others a little happier, and something to make ourselves a little happier, that is about the best we can do. To make others less happy is a crime. To make ourselves unhappy is where all crime starts. We must try to contribute joy to the world. That is true no matter what our problems, our health, our circumstances. We must try. I didn't always know this, and am happy I lived long enough to find it out." - from LIFE ITSELF
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Marie writes: Once upon a time when I was little, I spent an afternoon playing "Winne the Pooh" outside. I took my toys into the backyard and aided by a extraordinary one-of-a-kind custom-built device requiring no batteries (aka: artistic imagination) pretended that I was playing with my pals - Winnie the Pooh and Tigger too - and that there was honey nearby; the bumble bees buzzing in the flowerbeds, only too happy to participate in the illusion. And although it didn't have a door, we too had a tree - very much like the one you see and from which hung a tire. A happy memory that, and which came flooding back upon catching sight of these - the animation backgrounds from the new Winnie the Pooh; thank God I was born when I was. :-)
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