The exhaustively researched Hollywood history podcast You Must Remember This (Previously) presents a two part episode focusing on Madonna's use of classic Hollywood imagery and references as a form of conceptual art and her early attempts to trade pop idol success for movie stardom within the context of two high-profile relationships with Sean Penn and Warren Beatty. Episode One. Episode Two. Meanwhile, Todd In The Shadows creates video reviews for every movie Madonna was ever in. So far he's done Desperately Seeking Susan, Shanghai Surprise, A Certain Sacrifice, and Who's That Girl.
Huge collection of (and commentary on) matte art from classic films that has been rescanned for HD releases. Much more on the process of creating and filming this type of setup at last month's post. (previously)
Why This Movie Perfectly Re-Created a Picasso, Destroyed It, and Mailed the Evidence to Picasso’s Estate.
"Liquid Sky is one of the most visually ambitious films ever made about fashion, heroin, New Wave clubs, UFO saucers, ordering Chinese food and having them put it on your tab, the Empire State Building, androgyny, neon and tin foil. The 1982 cult classic may be the perfect embodiment of camp. " The Awl talks to the director of the film about his plans for a sequel.
If it weren't for the 1976 Copyright Act, copyright on work would expire after 56 years - which would have meant that Kerouac's On The Road, the original 12 Angry Men, and Elvis's All Shook Up would be public domain by today.
The Eidophusikon, an early form of motion picture, is a theatrical technology developed by fine art painter and theatrical set designer Philip de Loutherbourg using sound, colored filters, mechanical works, light from newly invented Argand lamps, mirrors and more . It was first exhibited at his home in 1781, featuring five scenes of land and seascape. In recent years, recognition of this as an early chapter in cinema history has prompted several institutions to recreate the experience. Among the most successful is the 2005 storm at sea depicted in Eidophusikon Reimagined by the Australian National University.
Warning! The following article is from The Great Soviet Encyclopedia (1979). It might be outdated or ideologically biased, entry for the United States of America
For the duration of the Toronto International Film Festival, TIFF has posted the short films they're screening this year on Youtube. You can watch them all, but if you only watch one, check out Noah, which is not safe for work and which I thought was pretty great.
Comic artist Chris Weston unilaterally declares it Kurt Russell week and produces a triptych of posters for Escape from New York, The Thing and Big Trouble in little China. These are just the roughs.
The problem is that cinema, as I define it and as something that inspired me, is under assault by the studios and, from what I can tell, with the full support of the audience. The reasons for this, in my opinion, are more economic than philosophical, but when you add an ample amount of fear and lack of vision and a lack of leadership you’ve got a trajectory that is pretty difficult to reverse. - "Retired" director Steven Soderbergh speaks to the San Francisco International Film Festival about the state of cinema - (summary, full audio at bottom of page 2)
Every film Pixar has produced has landed in the top fifty highest-grossing animated films of all time. What's their secret? Mathematics. Oh, and 22 Rules of Storytelling. [more inside]
Raising Arizona is notable among the Coen Brothers’ filmography for seamlessly fusing the ravishing grimness of their drama with the slapstick antics of their comedy. ... [It] is an intensely bittersweet film. That it is admittedly hilarious distracts from this sorrow, but it doesn’t dampen it. If not the absolute best by the Coens, it’s certainly their most charming. - Michael Nordine [more inside]
Between Peter Jackson’s penchant for cartoonish unserious gore and Bob McCarron’s off-screen makeup effects manipulations, Braindead achieves something that approaches inspired genius in the heretofore unknown artform of human carnage. The film is filled with moments of joyous slapstick tableaux... And then there is that moment where Braindead finally breaks through to achieve a transcendentally surreal glory of excess where Tim Balme wades into battle against the zombies armed with a lawnmower, drenching an entire room in showers of blood. (Braindead holds the record for the greatest amount of artificial blood ever used in a film). The film is a work of perverse genius. - Richard Scheib
Posters of famous movie cars (and trucks; and planes; ... a few space ships; .... the odd train.) done in the style of vintage race advertising posters.
Return of the Living Dead (NSFW) is one of the greatest zombie movies ever made. Not only does it have loads of great looking zombies in it, it's one of the few zombie movies, besides its sequel, that has a perfect blend of humor and horror.
During the Golden Age of Hollywood and until 1967, mainstream movie studios were banned by the Production Code from depicting taboo topics like drug addiction, explicit murder and venereal disease, or even showing explicit nudity. But in the 1930's and 1940's, films marketed as "educational" could and did fly under the radar, and three of the best known 'educational' propaganda exploitation films are: Sex Madness (1935), Reefer Madness (1936) and The Cocaine Fiends (1938). [more inside]
On October 4 you will have the cinematic opportunity of a lifetime to see David Lean's Lawrence of Arabia on the big screen in a new 4K digital restoration.
[all links may contain SPOILERS] Antonioni's unique style works beautifully in The Passenger. The dream-like long takes, especially the final seven minute one where the dusty town square is seen through the barred window of Locke's hotel room—evokes a world that he is barred from. There is nothing romantic or sentimental about the space that we see, but it conveys a sense of an ongoing life that Locke has chosen to retreat from. There is also Antonioni's eye for aesthetic detail-for whitewashed walls of buildings, and vividly colored backgrounds like yellow doors and red car seats. He is a director of great formal rigor and beauty, whose style effortlessly suits his vision. The slow rhythm of the film may put off some viewers, but it forces them to be more observant, and understand there is nothing accidental in the images that Antonioni constructs. - Leonard Quart [more inside]
[Peter] Brook's stripped-back adaptation [of King Lear]... draws from Jan Kott's insight that Lear, like Beckett's Endgame, reveals a world devoid of consolation, morality or universal justice. ... Brook's is a devastating realisation of the play: a pitiless examination of the cruelty and emptiness that lies at the heart of the lust for power. - Alison Croggon [more inside]
Once Upon A Time In America [auto-play audio] is the last of a string of films about the past and future of a country [Sergio Leone] knew first and best from the B-movies and yellowing paperbacks America sent abroad. For this 1984 swan song, Leone broke a directing hiatus that stretched back a decade, and turned away from Westerns toward another quintessentially American genre. His fantasia of gangland themes and images barely works by the standards of a gangster film, but succeeds brilliantly by those of epic poetry. - Keith Phipps [all links may contain spoilers] [more inside]
... Buckaroo Banzai is paradoxically decades ahead of its time and yet completely of its time; it’s profoundly a movie by, for, and of geeks and nerds at a time before geek/nerd culture was mainstreamed, and a movie whose pre-CG special effects and pre-Computer Age production design were an essential part of its good-natured enthusiasm. What at the time was a hip, modern take on classic SF is now, almost thirty years later, almost indistinguishable from the SF cinema that inspired it in terms of the appeal to modern viewers: the charmingly old-fashioned special effects, and the comparatively innocent earnestness of its tone. - Danny Bowes [more inside]
Stan Brakhage on birth and death
*. [graphic childbirth and autopsy footage] (* previously - dead links) [more inside]
Revisiting Cinefex - a nostalgia wormhole into the golden age of model work and practical effects and the odd piece of early CG via backissues of the quarterly magazine of motion picture visual effects. The latest issues covered touches on Young Sherlock Holmes's Stained glass knight - mainstream cinema’s first fully-rendered CG character created by Industrial Light & Magic's Pixar group.
"Aaron Sorkin is why people hate liberals." The writer of Sports Night, The West Wing, Studio 60 and The Newsroom makes Alex Pareene's Hack List at Salon.
Classic movies in miniature style. It all started 2 years ago with an experiment to blend traditional ‘oriental’ (Ottoman) motifs and contemporary ‘western’ cinema. After a positive response to "Ottoman Star Wars", I decided to take the theme further, and developed more film posters using the same technique.
Louis C.K. on eating pressure and providing an alternative to The Man - "I ask him to think about what he really needs; when he tells me, I give him a little more. It buys me goodwill with this person; I feel good about what I'm paying them. I like to give people a little more than they want, and I like to ask people for a little less than they're willing to give." [more inside]
And so I descend once more into the mysterious depths of 3 Women, a film that was imagined in a dream. Robert Altman's 1977 masterpiece tells the story of three women whose identities blur, shift and merge until finally, in an enigmatic last scene, they have formed a family, or perhaps have become one person. I have seen it many times, been through it twice in shot-by-shot analysis, and yet it always seems to be happening as I watch it. - Roger Ebert [more inside]
I got an e-mail from a friend asking if I wanted to attend a screening on the Fox lot of Peter Bogdanovich's original cut of At Long Last Love. And the answer in a case like should always be yes. [more inside]
Many films are called “classic,” but few qualify as turning points in the evolution of cinematic language, films that opened the way to a more mature art form. Michelangelo Antonioni’s L’Avventura is such a work. It divided film history into that which came before and that which was possible after its epochal appearance. It expanded our knowledge of what a film could be and do. It is more than a classic, it’s an historical milestone. ... Antonioni’s great achievement was to put the burden of narration almost entirely on the image itself, that is, on the characters’ actions and on the visual surface of their environment. He uses natural or manmade settings to evoke his characters’ state of mind, their emotions, their life circumstances. We learn more about them by watching what they do than by hearing what they say. We follow the story more by reading images than we do by listening to dialogue. The settings are not symbolic or metaphoric—they are extensions, manifestations, of the characters’ psyches. Physical landscape and mental landscape become one. - Gene Youngblood
What you see here is a prime example of what happens to film that is neglected and improperly stored. This is an original reel from It's a Mad, Mad, Mad, Mad World that is now untouchable. The film has turned acidic, sporting the strongest and most foul vinegar-like odor I have ever smelled. In fact, Robert Harris told me a story of how his contact lenses were singed by the fumes the film produced, causing temporary retinal damage to his eye. [more inside]
Beanplating on The Fifth Element from architecture students at the University of Waterloo. [more inside]
We shrugged when friends told us Prince's Sign "O" the Times was the greatest rock concert movie ever. There are limits to how great a rock concert movie can be, and we figured Jonathan Demme's--and Talking Heads'--Stop Making Sense had stretched them as far as they were liable to go. But even though Sign "O" the Times was directed by the artiste, whose previous cinematic exploits haven't exactly put him in Demme's class, Prince has come up with a contender. Where Demme goes for a sinuous, almost elegant clarity, Prince's movie is all murk, scuzz, steam, and, oh yeah, sex. With all due respect, which one sounds more like a real rock concert to you? - Robert Christgau [more inside]
Those Americans who are familiar with the name Claude Lanzmann most likely know him as the director of “Shoah,” his monumental 1985 documentary about the extermination of the European Jews in the Nazi gas chambers. As it turns out, though, the story of Lanzmann’s eventful life would have been well worth telling even if he had never come to direct “Shoah.” In addition to film director, Lanzmann’s roles have included those of journalist, editor, public intellectual, member of the French Resistance, long-term lover of Simone de Beauvoir and close friend of Jean-Paul Sartre, world traveler, political activist, ghostwriter for Jacques Cousteau — I could go on, but it’s a good deal more entertaining to hear Lanzmann himself go on, and thanks to the publication in English of his memoir, “The Patagonian Hare,” we now have the opportunity to do so. (previously)
"A Movie Marked Danger" - a Vanity Fair article on Sweet Smell of Success (1957), directed by Alexander Mackendrick, screenplay by Clifford Odets and Ernest Lehman, cinematography by James Wong Howe, soundtrack by Elmer Bernstein. (previously) [more inside]
As brutally stylish as it is when the fists and baseball bats are flying, the underlying themes of family and perseverance are what make The Warriors stand out from the rest of the "grim future" epics of the period. - Celluloid Dreams
The Big Sleep is a film I have found a very intense love for. The rotating cast of shadowy crooks and deceptive dames coupled with the roller-coaster plotting makes this classic movie endlessly entertaining. Bogart and Bacall are electrifying together and the supporting cast is equally captivating. Considering it’s over 60 years old, The Big Sleep still works in a big bad way and feels fantastically modern. It’s as if the film is simply too fast and too entertaining to age. It was crafted by the hands of some of Hollywood’s finest artists at the time and oozes quality as a result. Most of all though, this movie is just pulpy, fearless, fun and really, really cool. - Pictures and Noise [more inside]