The Photograph is an enjoyable enough love story, and sweet enough to indulge in during a holiday dedicated to candy hearts.
* 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.
Celebrating a lasting beauty of French cinema on her 100th birthday.
An appreciation of Richard Schickel, Time magazine film critic and prolific film director and book author.
An interview with actress Lana Wood about her experience making John Ford's masterpiece, "The Searchers."
An essay on the legacy of actress Joan Crawford.
An FFC on recent comments by Michael Eisner.
An analysis of Lawrence Michael Levine's "Wild Canaries" and its ties to classic rom-com capers.
An obituary for Luise Rainer.
Nell Minow responds to our Movie Love Questionnaire.
Marie writes: For those unaware, it seems our intrepid leader, the Grand Poobah, has been struck by some dirty rotten luck..."This will be boring. I'll make it short. I have a slight and nearly invisible hairline fracture involving my left femur. I didn't fall. I didn't break it. It just sort of...happened to itself." - Roger
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The Grand Poobah writes: Unless we find an angel, our television program will go off the air at the end of its current season. There. I've said it. Usually in television, people use evasive language. Not me. We'll be gone. I want to be honest about why this is. We can't afford to finance it any longer.
To read the full story, visit "The Chimes at midnight" on the Blog.
Take a breath and be brave. Very, very brave.... smile....Behold the "Willis Tower" in Chicago (formerly the Sears Tower) - the tallest building in North America and its famous attraction, The Skydeck. In January 2009, the Willis Tower owners began a major renovation of the Skydeck, to include the installation of glass balconies, extending approximately four feet over Wacker Drive from the 103rd floor. The all-glass boxes allow visitors to look directly through the floor to the street 1,353 feet (412 m) below. The boxes, which can bear five short tons of weight (about 4.5 metric tons), opened to the public on July 2, 2009.
I will do most anything to avoid thinking. At the hint of strenuous thought I flee. I run like the dickens. I do not want my world to be disrupted. Seventy five percent of my energy is spent repairing a glorious cocoon of comfort.
Inside this shelter there is no overhead lighting, only lamps. There are no cold mornings or metaphysical crises. Everything is as it should be. Every question is easily answered. There you will find me licking my wounds, secretly enjoying the tang of blood and pus. Thankfully, for the health of body and soul, this cocoon is under constant siege. The valiant twenty five percent of life force that remains does all in its power to destroy a sheltering that in reality is more prison than sanctuary. This twenty five percent is Saint George. The cocoon is the terrible dragon. It is death.
As Cocteau said, "comfort kills creativity." You will find me angrily hissing this to myself all day every day. On good days I heed the wisdom of the French man. On bad ones I refuse.
The Self-Styled Siren (aka Farran Smith Nehme) makes no apologies for her passion for pre-1960s movies. In a particularly lovely piece called "Intimacy at the Movies" she examines the mysterious forces behind her "old-movie habit." You see, the New York Film Festival was in October, and the Siren devoted herself to catching some of the big cinephiliac treasures of the fall, like Apichatpong Weerasethakul's Cannes-winning "Uncle Boonmee Who Can Recall His Past Lives," Raoul Ruiz's "Mysteries of Lisbon"... and she loved them, but...
Sometime around the two-week mark the withdrawal became too much and I posted on Facebook and Twitter that I was going to dig up a pre-1960 movie and watch it to the last frame. Maybe some followers thought I was being cute about how much I needed to do this. I was as serious as "All Quiet on the Western Front."
And I watched "Ivy" [Sam Wood, 1947; starring Joan Fontaine and Herbert Marshall]. And it was good. So good I started to wonder if this was simple addiction. It did feel uncomfortably like I was one of those people who went to sleep in Shreveport and woke up in Abilene. "Come on, Oscar nominee from 1934, let's you and me get drunk." But surely nobody ever wound up in rehab because they couldn't stop quoting Bette Davis movies. I can, in fact, stop anytime I like. Don't look at me like that. I have a Netflix copy of "Zodiac" right there on my dressing table, you just can't see it because it's under the eyeshadow palette. I've had it three weeks and haven't watched it yet, but I'm telling you I could watch it right now if I felt like it and if my daughter weren't already downstairs watching the 1940 "Blue Bird." I just don't want to. I'll watch "Zodiac" this weekend. Right now I need to keep watching old movies, I have too much else going on to quit something that isn't harming me anyway. Hey, did anybody else notice some benevolent soul has posted "Hold Back the Dawn" on Youtube?
By Michael Mann