We are happy to report, for the benefit of science-fiction buffs—who have long felt that, at its best, science fiction is a splendid medium for conveying the poetry and wonder of science—that there will soon be a movie for them. We have this from none other than the two authors of the movie, which is to be called Journey Beyond the Stars—Stanley Kubrick and Arthur C. Clarke.
Luis Buñuel's brilliant new comedy, The Discreet Charm of the Bourgeoisie (Le Charme Discret de la Bourgeoisie), is so free in form and yet so lucid and wise that it could give the Surrealists a whole new lease on life.
By setting his film in the surreal world of dreaming, Buñuel casts himself as a jester rather than as an Old Testament prophet, crying "Woe, woe." Awake, this assemblage might have been too much for the old man’s equanimity; while they sleep, it is enough that he skip about them, poking them keenly with his rattle.
The Discreet Charm of the Bourgeoisie is a cosmic vaudeville show —an Old Master’s mischief. Now seventy-two, Luis Bunuel is no longer savage about the hypocrisy and the inanity of the privileged classes. They don’t change, and since they have become a persistent bad joke to him, he has grown almost fond of their follies—the way one can grow fond of the snarls and the silliness of vicious pets.
I suspect that James Dickey, who adapted his best-selling novel Deliverance for the screen, and John Boorman, who directed it, are trying to tell us something fairly important by subjecting four sober, settled, middle-class gentlemen in their thirties to a series of wilderness trials that test their courage and cunning in a manner we usually associate with the initiation of adolescents into primitive tribes.
Deliverance, which James Dickey adapted from his own best-selling novel, is one of those rare films that resonates like a literary work but that —rarer still—avoids either being or sounding literary.
FROM DOMESTIC NIGHTMARES TO THE NIGHTMARE OF HISTORY. UNCANNY ERUPTIONS OF VIOLENCE IN KING’S AND KUBRICK’S VERSIONS OF ‘THE SHINING’
The impact of past violence on the present is examined in the novel and film versions of The Shining. John Lutz’s essay pinpoints in these works three interrelated elements of what Freud called the “uncanny”—the domestic abuse story, “the postcolonial narrative of American expansion at the expense of nonwhite victims, and the desire for power and control that underlies commodification and the social hierarchies that reinforce it.”
Il presente contributo di Giorgio Cremonini è inserito nel numero monografico intitolato "Quel che resta nella cornice", dedicato alla descrizione di alcune tra le più suggestive inquadrature della storia del cinema.
ADAPTATION OF AN AUTEUR: TRUFFAUT’S JULES ET JIM (1961) FROM THE NOVEL BY HENRI-PIERRE ROCHÉ – by Stuart Y. McDougal
In 1956, François Truffaut was browsing in a Paris bookstore when his eyes fell on a copy of Jules et Jim by Henri-Pierre Roché. He was immediately drawn to the title and, as he studied the jacket, intrigued to discover that it was a septuagenarian's first novel. At the time Truffaut was twenty-four and supporting himself by writing film criticism for Cahiers du Cinéma and Arts. He purchased the novel, took it home, and pored over it until, like a character in Fahrenheit 451, he knew it by heart.
Obituary of Richard Avedon, fashion photographer whose dispassionate eye was applied equally to portraiture and the documentary. By Val Williams
Jules and Jim is not only one of the most beautiful films ever made, and the greatest motion picture of recent years, it is also, viewed as a work of art, exquisitely and impeccably moral.
As an actor, Eastwood never lets down his guard. His idea of being a real man is that it’s something you have to pretend to be—as Sergio Leone put it, he’s wearing a suit of armor. This actor has made a career out of his terror of expressiveness. Now here he is playing a stiff, a ghost. It’s perfect casting, but he doesn’t have the daring to let go and have fun with it. Even as a ghost, he’s armored.
What keeps Back to the Future from being a comedy classic is that its eye is on the market. Despite Zemeckis and Gale’s wit in devising intricate structures that keep blowing fuses, the thinking here is cramped and conventional. I wish that moviemakers and their designers would stop using old Life magazines for their images of the American past.
In his second HBO stand-up special Chris Rock discusses life, relationships, racism, society, politics, and controversial figures such as OJ Simpson, Marion Barry, and even the President -- speaking not only from personal experience but also keen observations.
Shaffir’s Double Negative includes a 44-minute set called Children, followed by a 47-minute called Adulthood; both filmed on the same night at Cap City Comedy Club in Austin. Shaffir took only a brief intermission to change his wardrobe and the lighting, keeping the same crowd in the house.
The Five-O Interview James B. Harris: When Kubrick and I finished Paths Of Glory, Marlon Brando called us up and said I want to make pictures with you guys. I've seen "The james b. harrisKilling" and now Paths Of Glory and I think we should be in business. Let's plan [...]
Although a number of critics in the popular press laud Quentin Tarantino’s Pulp Fiction for its non-linear narrative, quirky performances, and oddly resonant dialogue regarding such issues as hamburgers, television pilot episodes, and foot massages, critics in other circles deride Tarantino’s creation for its extreme violence and lack of moral clarity.
by Gavin Smith Gavin Smith: What was it that drew you to the GoodFellas material? Martin Scorsese: I read a review of the book; basically it said, "This is really the way it must he." So I got the book in galleys and started really enjoying it because of the [...]
Scorsese's technique of "freezing” objects generates a particular method of cinematic exposition in which characters and objects are portrayed in a moment between movement and non-movement; this “moment” is the bridge between potential behavior and stasis. The "thing” is frozen or suspended on the screen, and the possibility of either stasis or experience emerges from this momentary suspension.
For his first stand-up special in nearly a decade, Chris Rock takes on many hot-button issues like Donald Trump and police violence, while also delving into his own personal life and mistakes, including cheating on his ex-wife and his self-described porn addiction.
Doll and Faller assert that Ridley Scott's film, Blade Runner, exhibits elements of two distinct pulp genres, film noir and science fiction. The genre cross-pollination is a reflection of Philip K. Dick's novel, Do Androids Dream of Electric Sheep?, upon which the movie is based.
For an audience of drummers, comedian Fred Armisen shares and demonstrates his thoughts on musical genres, drummer quirks, regional accents and more.
This article presents a case study of the filmmaker Stanley Kubrick, considering how his films can be considered an emotional response to the Holocaust, the legacy of European anti-Semitism, and stereotypes of the Jewish American woman.
It was a bit startling to pick up an English newspaper and see that the review of Victim was entitled “Ten-letter word”—but as it turned out. The Observer was referring not to Lenny Bruce’s much publicized hyphenated word but to the simple term “homosexual,” which it appears is startling enough in a movie to make the Johnson office refuse to give Victim a seal of approval.
The audiences at popular American movies seem to want heroes they can look up to; the audiences at art houses seem to want heroes they can look down on. Does this mean that as we become more educated, we no longer believe in the possibilities of heroism?
Emmy-winning comedian Dana Carvey blends pitch-perfect takes on big personalities with so-true-it-hurts stories from his life as a dad of millennials.
La Storia, diceva ancora Baudrillard, è uno scenario rétro, è un “cadavere” che si può mettere in scena, un "fossile” che può essere rappresentato e “simulato”. «La Storia fa così il suo ingresso trionfale nel cinema a titolo postumo». Baudrillard notava come questa riapparizione della Storia non avesse un valore di presa di coscienza, ma di nostalgia di un referente perduto.
The more an artist is worried by the problem of how his picture will be perceived by the public, what the critics will say, how the "authorities" will look on it, the greater the danger that the artist will deviate from the truth, and from his original conception, and the further he will be from the search for truth in art and from the sensitive questions of his time. And, as a result, the less will be the social impact of his film.
Che Kubrick conoscesse Freud è fuor di dubbio; lo si ricava da tutta la sua opera, ma basterebbe anche solo quell’accenno al Perturbante che il regista lascia cadere nell’intervista con Michel Ciment, a proposito del film The Shining: «Nel suo scritto sul perturbante Freud affermò che il perturbante costituisce l’unica sensazione che si provi con maggior forza sia nell’arte che nella vita»