DOCSLIB.ORG

Dlkj;Fdslk ;Lkfdj

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Dlkj;Fdslk ;Lkfdj MoMA CELEBRATES THE 75th ANNIVERSARY OF THE NEW YORK FILM CRITICS CIRCLE BY INVITING MEMBERS TO SELECT FILM FOR 12-WEEK EXHIBIITON Critical Favorites: The New York Film Critics Circle at 75 July 3—September 25, 2009 The Roy and Niuta Titus Theaters & The Celeste Bartos Theater NEW YORK, June 19, 2009 —The Museum of Modern Art celebrates The New York Film Critics Circle’s (NYFCC) 75th anniversary with a 12-week series of award-winning films, from July 3 to September 25, 2009, in The Roy and Niuta Titus Theaters. As the nation‘s oldest and most prestigious association of film critics, the NYFCC honors excellence in cinema worldwide, giving annual awards to the ―best‖ films in various categories that have all opened in New York. To mark the group‘s milestone anniversary, each member of the organization was asked to choose one notable film from MoMA‘s collection that was a recipient of a NYFCC award to be part of the exhibition. Some screenings will be introduced by the contributing film critics. Critical Favorites: The New York Film Critics Circle at 75 is organized by Laurence Kardish, Senior Curator, Department of Film, in collaboration with The New York Film Critics Circle and 2009 Chairman Armond White. High-resolution images are available at www.moma.org/press. No. 58 Press Contacts: Emily Lowe, Rubenstein, (212) 843-8011, [email protected] Tessa Kelley, Rubenstein, (212) 843-9355, [email protected] Margaret Doyle, MoMA, (212) 408-6400, [email protected] Film Admission: $10 adults; $8 seniors, 65 years and over with I.D. $6 full-time students with current I.D. (For admittance to film programs only.) The price of a film ticket may be applied toward the price of a Museum admission ticket when a film ticket stub is presented at the Lobby Information Desk within 30 days of the date on the stub (does not apply during Target Free Friday Nights 4:00–8:00 p.m.). Admission is free for Museum members and for Museum ticketholders. The public may call (212) 708-9400 for detailed Museum information. Visit us at www.moma.org # # # SCREENING SCHEDULE For schedule of introductions by selecting film critics, please visit www.moma.org Friday, July 3 7:00 Mr. Deeds Goes to Town. 1936. USA. Directed by Frank Capra. Screenplay by Robert Riskin. With Gary Cooper, Jean Arthur, George Bancroft, Lionel Stander. ―Forget the abysmal 2002 Adam Sandler remake. The original, directed by Frank Capra and written by Robert Riskin, is a screwball delight. This comedy pithily pits small town values against big city opportunism and mendacity. Nice guy Longfellow Deeds (Cooper), a greeting card versifier from a small town in Vermont, is probably Capra‘s least complicated hero, while Babe Bennett (Arthur), the newspaper reporter who falls in love with him even as she‘s writing exploitative stories making fun of his rube-like ways, is among his most conflicted and complex heroines‖ (Leah Rozen, People Magazine). NYFCC Best Picture, 1936. 115 min. Saturday, July 4 4:00 Far from Heaven. 2002. USA. Written and directed by Todd Haynes. With Julianne Moore, Dennis Quaid, Dennis Haysbert, Patricia Clarkson. ―Why did the New York critics vote a movie about a 1957 Connecticut housewife as 2002‘s best? Because Far from Heaven is pure cinema. Because Julianne Moore and Dennis Quaid, as her gay husband, are in peak form. And because director Todd Haynes, channeling Douglas Sirk‘s magnificent obsession with shadows and symbols that define character, creates an imitation of life from half a century ago that holds up a cracked mirror to the here and now‖ (Peter Travers, Rolling Stone). NYFCC Best Picture, 2002. 107 min. 7:30 Fargo. 1996. USA. Directed by Joel Coen. Screenplay by Joel Coen, Ethan Coen. With Frances McDormand, William H. Macy, Steve Buscemi, Peter Stormare. ―Fargo stands at the top of [the Coen brothers‘] oeuvre: funny, violent, and dark, set in a universe where a kidnapping plot‘s venal miscreants are forced to live by Murphy‘s Law. Frances McDormand delights as the unflappable Police Chief Marge Gunderson, who calmly cleans up messes and solves the case. Snowy but never cold, this film still dazzles with its unpredictability and harsh sense of justice. Oh yeah—and the woodchipper‖ (Marshall Fine, Star Magazine). NYFCC Best Picture, 1996. 98 min. Sunday, July 5 2:00 The Best Years of Our Lives. 1946. USA. Directed by William Wyler. Screenplay by Robert E. Sherwood. With Fredric March, Myrna Loy, Dana Andrews, Teresa Wright. ―The Best Years of Our Lives was released in 1946, as American servicemen returning from the war struggled with readjustment to civilian life. But the picture isn‘t just a dated time capsule. It resonates today, largely because the performances—from Dana Andrews, Myrna Loy, Frederic March, Teresa Wright, and Harold Russell—are so uniformly superb, and so piercing. Cinematographer Gregg Toland‘s framing underscores each character‘s sense of isolation and, ultimately, connection‖ (Stephanie Zacharek, Salon.com). NYFCC Best Picture, 1946. 163 min. Monday, July 6 4:00 Sideways. 2004. USA. Directed by Alexander Payne. Written by Payne, Jim Taylor. With Paul Giamatti, Thomas Haden Church, Virginia Madsen, Sandra Oh. ―Sideways may look like a standard midlife crisis, buddies-on-the-road movie, but don‘t be fooled. It‘s remarkably sweet and funny and sad. At a time when most Hollywood comedies are little 2 more than gagfests peopled by joke-bots, its humanity should be doubly prized—even if, unlike Paul Giamatti‘s wine connoisseur, you like Merlot‖ (Peter Rainer, The Christian Science Monitor). NYFCC Best Picture, 2004.126 min. Wednesday, July 8 8:00 Mr. Deeds Goes to Town. 1936. USA. See Friday, July 3 Thursday, July 9 4:30 The Best Years of Our Lives. 1946. USA. See Sunday July 5 8:00 Far from Heaven. 2002. USA. See Saturday July 4. Friday, July 10 4:30 Sideways. 2004. USA. See Monday, July 6. 8:00 Fargo. 1996. USA. See Saturday, July 4. Saturday, July 11 2:00 Chicken Run. 2000. USA/Great Britain. Directed by Peter Lord, Nick Park. Screenplay by Karey Kirkpatrick, based on an original work by Lord and Park. With Mel Gibson, Julia Sawalha, Miranda Richardson, Jane Horrocks. ―In their first full-length feature, Nick Park and the distinctive Aardman claymation artists behind Wallace and Gromit conjure a perceptive, funny, detail perfect fable about group effort and Anglo-American relations among fowl of the Greatest Generation. If The Great Escape or Stalag 17 were retold with animated chickens—and the chickens had lips (and the voice talents of Mel Gibson and Imelda Staunton, among any)—well then, a great war epic might look something like this‖ (Lisa Schwarzbaum, Entertainment Weekly). NYFCC Best Animated Film, 2000. 85 min. 5:00 La Dolce Vita. 1960. Italy. Written and directed by Federico Fellini. With Marcello Mastroianni, Anita Ekberg, Anouk Aimee, Yvonne Furneaux. ―To address Fellini‘s La Dolce Vita in seventy-five words is blasphemy—a quickie replacing an orgy. The sensual 1960 masterpiece is expansive, a feast, the definition of what it was to live the good life in postwar Rome for a people who knew suffering and deprivation, and defiantly chose life. Anita Ekberg is Venus incarnate, a statue that has stepped off her pedestal into the audience‘s open arms—and those of the magnetic Marcello Mastroianni! Magnifico!‖ (Thelma Adams, Us Weekly). NYFCC Best Foreign Film, 1961. In Italian; English subtitles. 174 min. 8:30 Umberto D. 1952. Italy. Written and directed by Vittorio De Sica. With Carlo Battisti, Maria-Pia Casilio, Lina Gennari, Ileana Simova. ―The heroic era of Neorealism reached its climax (and box-office disaster) with this wrenching portrait of an elderly, middle-class pensioner slowly losing his home and his dignity. With its episodes of deliberately undramatic activity, Umberto D. comes close to achieving an ideal announced by André Bazin—the perfect aesthetic illusion of reality—and 3 foreshadows the observational cinema of filmmakers such as Hou Hsiao-hsien and Chantal Akerman. With its unabashed emotion, it also breaks your heart‖ (Stuart Klawans, The Nation). NYFCC Best Foreign Film, 1955. In Italian; English subtitles. 89 min. Sunday, July 12 12:30 Shoah. 1985. France. Directed by Claude Lanzmann. ―The NYFCC named Claude Lanzmann‘s magisterial nine-and-a-half- hour account of the extermination of six million Jews the best documentary of 1985. Shoah is an historic documentary as well as a great, unique film and, in addressing the issue of representation, a rigorous work of film-philosophy. Refusing to ―reconstruct‖ the past, Lanzmann compels viewers to imagine the unimaginable. For all its devotion to detail, Shoah is a film that ultimately unfolds in the mind‘s eye‖ (J. Hoberman, The Village Voice). NYFCC Best Nonfiction Film,1985. 564 min. with a one-hour intermission. Monday, July 13 4:30 Umberto D. 1952. Italy. See Saturday July 11. 8:00 La Dolce Vita. 1960. See Saturday July 11. Wednesday, July 15 4:30 Spellbound. 1945. USA. Directed by Alfred Hitchcock. Screenplay by Ben Hecht, Angus MacPhail. With Ingrid Bergman, Gregory Peck, Rhonda Fleming, Leo G. Carroll. ―Bergman won the NYFCC‘s Best Actress award for Alfred Hitchcock‘s thriller and The Bells of St. Mary’s, released, along with Saratoga Trunk, at the height of her popularity in late 1945. Cast as a dishy ‗dream detective‘ who unlocks shell-shocked vet Gregory Peck‘s unconscious to solve a murder, it‘s a stylish, fascinating window into contemporary attitudes toward psychiatry, as filtered through the disparate sensibilities of Hitchcock, producer David O. Selznick, screenwriter Ben Hecht, and Salvador Dalí, who designed the famed fantasy sequence‖ (Lou Lumenick, The New York Post).
Load more

Recommended publications
  • Before the Forties
    Before The Forties director title genre year major cast USA Browning, Tod Freaks HORROR 1932 Wallace Ford Capra, Frank Lady for a day DRAMA 1933 May Robson, Warren William Capra, Frank Mr. Smith Goes to Washington DRAMA 1939 James Stewart Chaplin, Charlie Modern Times (the tramp) COMEDY 1936 Charlie Chaplin Chaplin, Charlie City Lights (the tramp) DRAMA 1931 Charlie Chaplin Chaplin, Charlie Gold Rush( the tramp ) COMEDY 1925 Charlie Chaplin Dwann, Alan Heidi FAMILY 1937 Shirley Temple Fleming, Victor The Wizard of Oz MUSICAL 1939 Judy Garland Fleming, Victor Gone With the Wind EPIC 1939 Clark Gable, Vivien Leigh Ford, John Stagecoach WESTERN 1939 John Wayne Griffith, D.W. Intolerance DRAMA 1916 Mae Marsh Griffith, D.W. Birth of a Nation DRAMA 1915 Lillian Gish Hathaway, Henry Peter Ibbetson DRAMA 1935 Gary Cooper Hawks, Howard Bringing Up Baby COMEDY 1938 Katharine Hepburn, Cary Grant Lloyd, Frank Mutiny on the Bounty ADVENTURE 1935 Charles Laughton, Clark Gable Lubitsch, Ernst Ninotchka COMEDY 1935 Greta Garbo, Melvin Douglas Mamoulian, Rouben Queen Christina HISTORICAL DRAMA 1933 Greta Garbo, John Gilbert McCarey, Leo Duck Soup COMEDY 1939 Marx Brothers Newmeyer, Fred Safety Last COMEDY 1923 Buster Keaton Shoedsack, Ernest The Most Dangerous Game ADVENTURE 1933 Leslie Banks, Fay Wray Shoedsack, Ernest King Kong ADVENTURE 1933 Fay Wray Stahl, John M. Imitation of Life DRAMA 1933 Claudette Colbert, Warren Williams Van Dyke, W.S. Tarzan, the Ape Man ADVENTURE 1923 Johnny Weissmuller, Maureen O'Sullivan Wood, Sam A Night at the Opera COMEDY
    [Show full text]
  • Layout Version Gerlach
    The Brock Review Volume 10 (2008) © Brock University Greenscape as Screenscape: The Cinematic Urban Garden 1 Nina Gerlach Ruprecht-Karls-Universität Heidelberg Abstract : The relationship between city and garden appears in many feature films in order to visualize narrative dualisms. In particular, the character of the boundary - as a fundamental medial characteristic of gardens - determines the meaning of the represented space. According to the Western representation of ideal places and the historically-developed antagonism of city and garden, the boundary defines the latter as the diametrically opposed utopian antithesis to urban life. This antagonism is used, for example, in The Garden of the Finzi-Continis (1970) in the political context of World War II, or as in Being There (1979), embedded in a philosophical discourse centered on Voltaire and Sartre. The dystopian city of Los Angeles in Ridley Scott’s Blade Runner (1982) lacks space not only for gardens, but for any natural environment in general. The only garden that remains, exists as a kind of Paradise Lost , a placeless topos with a unicorn, banished into and limited by the world of imagination of the protagonist. As this example indicates, the cinematic garden and particularly the more specialized topic of the relationship between the garden and the city within cinema is still an under-examined realm of the research of garden history.2 In cinematic genres where the city is usually presented as the essential character -- such as in Neorealism, Film Noir, and dystopian science fiction -- garden space is hardly discovered. 3 These types of films frequently transport an extremely negative connotation of the city.
    [Show full text]
  • Scandinavian Cinema from the Silent Era Prof
    © Lynn R. Wilkinson UGS302 (64115): Nordic Light: Scandinavian Cinema from the Silent Era Prof. Lynn Wilkinson to the 2000s COURSE DESCRIPTION: Ingmar Bergman is perhaps the best known Scandinavian filmmaker, but Northern Europe has a remarkable tradition of filmmakers and filmmaking. Including films from Sweden, Denmark, and Iceland, this course will provide an introduction to some of the masterpieces of Scandinavian film from the Golden Age of silent film through the 2000s and to the culture of Scandinavia. ASSIGNMENTS AND GRADING: One two-page paper (5%); one five-page paper which may be rewritten (20%); one storyboard (10%) accompanied by a five-page essay (20%); five quizzes (20%; you may drop the lowest grade); one class presentation (5%). Class participation will count 20%. REQUIRED TEXTS: Bordwell and Thompson: Film Art: An Introduction. 10th edition (2009) McGraw Hill: ISBN 10: 0073386162 Earlier editions on reserve: PN 1995 B617 2004 TEXT; PN1995 B617 2001 TEXT Recommended: Tytti Soila et al.: Nordic National Cinemas Routledge: ISBN-10: 0415081955 On Reserve: PN 1993.5 s2 s65 1998; also available as an electronic resource Braudy and Cohen: Film Theory and Criticism. 6th edition (FTC on syllabus) Oxford Univ. Press: ISBN 10 0195158172 On reserve: PN 1994 M364 2004 Mette Hjort: Purity and Provocation: Dogme 95 British Film Institute On reserve: PN1995.9 E96 P87 2003 Mette Hjort: Italian for Beginners University of Washington Press, 2010 PN 1997 I51555 H56 2010 Björn Norðfjörð: Dagur Kári’s Nói the Albino University of Washington
    [Show full text]
  • A Publication of the Science Fiction Research Association in This Issue
    292 Spring 2010 Editors Karen Hellekson SFRA 16 Rolling Rdg. A publication of the Science Fiction Research Association Jay, ME 04239 Review [email protected] [email protected] In This Issue Craig Jacobsen SFRA Review Business English Department Counting Down 2 Mesa Community College 1833 West Southern Ave. SFRA Business Mesa, AZ 85202 Statement in Response to the Arizona Immigration Bill 2 [email protected] Ask not what you can do for SFRA… 2 [email protected] SFRA Award Winners 3 Call for Executive Committee Candidates 4 Managing Editor Feature Janice M. Bogstad McIntyre Library-CD Scholarly Research and Writing 101 4 University of Wisconsin-Eau Claire Nonfiction Reviews 105 Garfield Ave. Classics and Contemporaries 8 Eau Claire, WI 54702-5010 [email protected] The Universe of Oz 9 The Unknown Lovecraft 10 Nonfiction Editor War of the Words: The Utopian Vision of H. G. Wells 11 Ed McKnight Fiction Reviews 113 Cannon Lane Deceiver 12 Taylors, SC 29687 [email protected] The Casebook of Victor Frankenstein: A Novel 12 Ares Express 14 Fiction Editor Nebula Awards Showcase 2010 15 Edward Carmien Brain Thief 16 29 Sterling Rd. Transition 17 Princeton, NJ 08540 Media Reviews [email protected] Avatar 18 Media Editor Pumzi 20 Ritch Calvin The Imaginarium of Doctor Parnassus 22 16A Erland Rd. Southern Portable Panic: Federico Álvarez’s Ataque de Pánico! 23 Stony Brook, NY 11790-1114 District B13 (Banlieue 13) 24 [email protected] Small Steps for Ants, a Giant Leap for Mankind: The SFRA Review (ISSN 1068- 395X) is published four times a year by Saul Bass’s Phase IV 24 the Science Fiction Research Association Pushing the Wrong Buttons 25 (SFRA), and distributed to SFRA members.
    [Show full text]
  • Dos Films Recientes Descubren a Ettore Scola, Un Veterano
    personalidades ( i). Dos films recientes descubren a Ettore Scola, un veterano Ha hecho trece películas como director y algunas más como libretista, es uno de los profesionales italianos con mayor experiencia, pero sólo ahora se sabe que Ettore Scola puede ser un nombre importante. El estreno de Un día muy especial repitió el alerta y éste quizá sea el momento de iniciar la revisión de Scola: para saber que ha hecho mucha película menor, frívola y poco creativa para llegar ahora a una primera culminación Si no fuera porque Nos habíamos amado tanto y Un día muy especial han obligado a la atención pública, ia personalidad de Ettore Scola (47 años, trece films como director, una larga lista de libretos) permanecería desco­ nocida para casi toda la crítica. En rigor es todavía un desconoci­ do, en parte porque no existe hasta ahora ningún análisis del conjunto de su obra, en parte porque sus propios films no descubren una actitud nítida y permanente ante el mundo o ante el propio medio expresivo. Aunque su talento más notorio parece ser satírico o farsesco (libretos para Dino Risi y Pietrangeli, sus primeros films como director), los dos títulos más Importan­ tes de su carrera parecen más serios Un momento histórico muy particular que las múltiples comedias previas. cas y la idea se apoya en un efecto de algunos rasgos comunes en ideas, des­ Sin embargo detrás de Un día muy es­ libreto (la permanente, monótona, pre­ arrollos y diálogos, parte de esas ca­ pecial, un film sombrío, asoma lo que sencia de la trasmisión radial invadien­ racterísticas eran también las de otros alguien llamó una comedia trágica, don­ do el adificio de apartamentos romano films italianos de la época: el amargo de Marcello Mastroianni baila una rum­ donde quedan solos Sophia Loren y cierre de Adua y sus amigas (ex-prosti- ba melancólica y donde los diálogos Marcello Mastroianni).
    [Show full text]
  • Annual Report and Accounts 2004/2005
    THE BFI PRESENTSANNUAL REPORT AND ACCOUNTS 2004/2005 WWW.BFI.ORG.UK The bfi annual report 2004-2005 2 The British Film Institute at a glance 4 Director’s foreword 9 The bfi’s cultural commitment 13 Governors’ report 13 – 20 Reaching out (13) What you saw (13) Big screen, little screen (14) bfi online (14) Working with our partners (15) Where you saw it (16) Big, bigger, biggest (16) Accessibility (18) Festivals (19) Looking forward: Aims for 2005–2006 Reaching out 22 – 25 Looking after the past to enrich the future (24) Consciousness raising (25) Looking forward: Aims for 2005–2006 Film and TV heritage 26 – 27 Archive Spectacular The Mitchell & Kenyon Collection 28 – 31 Lifelong learning (30) Best practice (30) bfi National Library (30) Sight & Sound (31) bfi Publishing (31) Looking forward: Aims for 2005–2006 Lifelong learning 32 – 35 About the bfi (33) Summary of legal objectives (33) Partnerships and collaborations 36 – 42 How the bfi is governed (37) Governors (37/38) Methods of appointment (39) Organisational structure (40) Statement of Governors’ responsibilities (41) bfi Executive (42) Risk management statement 43 – 54 Financial review (44) Statement of financial activities (45) Consolidated and charity balance sheets (46) Consolidated cash flow statement (47) Reference details (52) Independent auditors’ report 55 – 74 Appendices The bfi annual report 2004-2005 The bfi annual report 2004-2005 The British Film Institute at a glance What we do How we did: The British Film .4 million Up 46% People saw a film distributed Visits to
    [Show full text]
  • Berkeley Art Museum·Pacific Film Archive W in Ter 20 19
    WINTER 2019–20 WINTER BERKELEY ART MUSEUM · PACIFIC FILM ARCHIVE UNIVERSITY OF CALIFORNIA PROGRAM GUIDE ROSIE LEE TOMPKINS RON NAGLE EDIE FAKE TAISO YOSHITOSHI GEOGRAPHIES OF CALIFORNIA AGNÈS VARDA FEDERICO FELLINI DAVID LYNCH ABBAS KIAROSTAMI J. HOBERMAN ROMANIAN CINEMA DOCUMENTARY VOICES OUT OF THE VAULT 1 / 2 / 3 / 4 / 5 / 6 CALENDAR DEC 11/WED 22/SUN 10/FRI 7:00 Full: Strange Connections P. 4 1:00 Christ Stopped at Eboli P. 21 6:30 Blue Velvet LYNCH P. 26 1/SUN 7:00 The King of Comedy 7:00 Full: Howl & Beat P. 4 Introduction & book signing by 25/WED 2:00 Guided Tour: Strange P. 5 J. Hoberman AFTERIMAGE P. 17 BAMPFA Closed 11/SAT 4:30 Five Dedicated to Ozu Lands of Promise and Peril: 11:30, 1:00 Great Cosmic Eyes Introduction by Donna Geographies of California opens P. 11 26/THU GALLERY + STUDIO P. 7 Honarpisheh KIAROSTAMI P. 16 12:00 Fanny and Alexander P. 21 1:30 The Tiger of Eschnapur P. 25 7:00 Amazing Grace P. 14 12/THU 7:00 Varda by Agnès VARDA P. 22 3:00 Guts ROUNDTABLE READING P. 7 7:00 River’s Edge 2/MON Introduction by J. Hoberman 3:45 The Indian Tomb P. 25 27/FRI 6:30 Art, Health, and Equity in the City AFTERIMAGE P. 17 6:00 Cléo from 5 to 7 VARDA P. 23 2:00 Tokyo Twilight P. 15 of Richmond ARTS + DESIGN P. 5 8:00 Eraserhead LYNCH P. 26 13/FRI 5:00 Amazing Grace P.
    [Show full text]
  • January 2012 at BFI Southbank
    PRESS RELEASE November 2011 11/77 January 2012 at BFI Southbank Dickens on Screen, Woody Allen & the first London Comedy Film Festival Major Seasons: x Dickens on Screen Charles Dickens (1812-1870) is undoubtedly the greatest-ever English novelist, and as a key contribution to the worldwide celebrations of his 200th birthday – co-ordinated by Film London and The Charles Dickens Museum in partnership with the BFI – BFI Southbank will launch this comprehensive three-month survey of his works adapted for film and television x Wise Cracks: The Comedies of Woody Allen Woody Allen has also made his fair share of serious films, but since this month sees BFI Southbank celebrate the highlights of his peerless career as a writer-director of comedy films; with the inclusion of both Zelig (1983) and the Oscar-winning Hannah and Her Sisters (1986) on Extended Run 30 December - 19 January x Extended Run: L’Atalante (Dir, Jean Vigo, 1934) 20 January – 29 February Funny, heart-rending, erotic, suspenseful, exhilaratingly inventive... Jean Vigo’s only full- length feature satisfies on so many levels, it’s no surprise it’s widely regarded as one of the greatest films ever made Featured Events Highlights from our events calendar include: x LoCo presents: The London Comedy Film Festival 26 – 29 January LoCo joins forces with BFI Southbank to present the first London Comedy Film Festival, with features previews, classics, masterclasses and special guests in celebration of the genre x Plus previews of some of the best titles from the BFI London Film Festival:
    [Show full text]
  • Now AVAILABLE in a BLU-RAY Edition! the CRITERION COLLECTION PRESENTS Beauty and the Beast
    1946 now AVAILABLE In A BLU-RAY EdItIon! THE CRITERION COLLECTION PRESENTS BeautY And thE BEAst CINEMA’S MOST GLORIOUS FAIRY TALE COMES TO NEW LIFE ON CRITERION BLU-RAY! The sublime adaptation by JEAN Cocteau (Orpheus) of Mme. Leprince de Beaumont’s fairy-tale masterpiece—in which the true love of a beautiful girl melts the heart of a feral but gentle beast—is a landmark feat of motion picture fantasy, with unforgettably romantic performances by JEAN MARAIS (Orpheus) and Josette Day (Les parents terribles). The spectacular visions of enchantment, desire, and death in Beauty and the Beast (La Belle et la Bête) have become timeless icons of cinematic wonder. Blu-ray SPECIAL EDITION FEATURES WINNER • High-definition digital transfer from restored film PRIx LOUIS Delluc, 1946 elements, with uncompressed monaural soundtrack • Composer Philip Glass’s opera La Belle et la Bête, presented in 5.1 DTS-HD Master Audio as an alternate soundtrack • Two commentaries: one by film historian Arthur “One of the most magical of all films.” Knight and one by writer and cultural historian —Roger Ebert Sir Christopher Frayling • Screening at the Majestic, a 1995 documentary featuring interviews with cast and crew “A sensuously fascinating film, • Interview with cinematographer Henri Alekan a fanciful poem in movement.” —The New York Times • Rare behind-the-scenes photos and publicity stills • Film restoration demonstration • Original trailer, directed and narrated by director 1946 • 93 mInUtEs • BLAck & whItE • monaural • In Jean Cocteau, plus restoration trailer from 1995 FREnch wIth EngLIsh sUBtItLEs • 1.33:1 AspEct RAtIo • PLUS: A booklet featuring an essay by film critic BLU-RAY EDITION SRP $39.95 Geoffrey O’Brien, a piece on the film by Cocteau, PREBOOK 6/21/11 STREET 7/19/11 excerpts from Francis Steegmuller’s 1970 book Cat.
    [Show full text]
  • Lesleywalker
    (3/10/21) LESLEY WALKER Editor FILM & TELEVISION DIRECTOR COMPANIES PRODUCERS “MILITARY WIVES” Peter Cattaneo 42 Rory Aitken Tempo Productions Ltd. Ben Pugh “THE MAN WHO KILLED DON Terry Gilliam Amazon Studios Mariela Besuievsky QUIXOTE” Recorded Picture Co. Amy Gilliam Gerardo Herrero Gabriele Oricchio “THE DRESSER” Richard Eyre BBC Suzan Harrison Playground Ent. Colin Callender “MOLLY MOON: THE Christopher N. Rowley Amber Ent. Lawrence Elman INCREDIBLE HYPNOTIST” Lipsync Prods. Ileen Maisel “HOLLOW CROWN: HENRY IV”Richard Eyre BBC Rupert Ryle-Hodges Neal Street Prods. Sam Mendes “I AM NASRINE” Tina Gharavi Bridge and Tunnel Prods James Richard Baille (Supervising Editor) David Raedeker “WILL” Ellen Perry Strangelove Films Mark Cooper Ellen Perry Taha Altayli “MAMMA MIA” Phyllida Lloyd Playtone Gary Goetzman Nomination: American Cinema Editors (ACE) Award Universal Pictures Tom Hanks Rita Wilson “CLOSING THE RING” Richard Attenborough Closing the Ring Ltd. Jo Gilbert “BROTHERS GRIMM” Terry Gilliam Miramax Daniel Bobker Charles Roven “TIDELAND” Terry Gilliam Capri Films Gabriella Martinelli Recorded Picture Co. Jeremy Thomas “NICHOLAS NICKLEBY” Douglas McGrath Cloud Nine Ent. S. Channing Williams Hart Sharp Entertainment John Hart MGM/United Artists Jeffery Sharp “ALL OR NOTHING” Mike Leigh Cloud Nine Entertainment Simon Channing Williams Le Studio Canal “SLEEPING DICTIONARY” Guy Jenkin Fine Line Simon Bosanquet "FEAR AND LOATHING IN Terry Gilliam Rhino Patrick Cassavetti LAS VEGAS" Stephen Nemeth "ACT WITHOUT WORDS I" Karel Reisz Parallel
    [Show full text]
  • False Authenticity in the Films of Woody Allen
    False Authenticity in the Films of Woody Allen by Nicholas Vick November, 2012 Director of Thesis: Amanda Klein Major Department: English Woody Allen is an auteur who is deeply concerned with the visual presentation of his cityscapes. However, each city that Allen films is presented in such a glamorous light that the depiction of the cities is falsely authentic. That is, Allen's cityscapes are actually unrealistic recreations based on his nostalgia or stilted view of the city's culture. Allen's treatment of each city is similar to each other in that he strives to create a cinematic postcard for the viewer. However, differing themes and characteristics emerge to define Allen's optimistic visual approach. Allen's hometown of Manhattan is a place where artists, intellectuals, and writers can thrive. Paris denotes a sense of nostalgia and questions the power behind it. Allen's London is primarily concerned with class and the social imperative. Finally, Barcelona is a haven for physicality, bravado, and sex but also uncertainty for American travelers. Despite being in these picturesque and dynamic locations, happiness is rarely achieved for Allen's characters. So, regardless of Allen's dreamy and romanticized visual treatment of cityscapes and culture, Allen is a director who operates in a continuous state of contradiction because of the emotional unrest his characters suffer. False Authenticity in the Films of Woody Allen A Thesis Presented To the Faculty of the Department of English East Carolina University In Partial Fulfillment of the Requirements for the Degree MA English by Nicholas Vick November, 2012 © Nicholas Vick, 2012 False Authenticity in the Films of Woody Allen by Nicholas Vick APPROVED BY: DIRECTOR OF DISSERTATION/THESIS: _______________________________________________________ Dr.
    [Show full text]
  • Film Essay for "The Best Years of Our Lives"
    The Best Years of Our Lives Homer By Gabriel Miller Wermels (Harold Russell), a “The Best Years of Our Lives” originated in a recommen- seaman, who dation from producer Samuel Goldwyn's wife that he read has long a “Time” magazine article entitled "The Way Home" been en- (1944), about Marines who were having difficulty readjust- gaged to the ing to life after returning home from the war. Goldwyn girl next door. hired novelist MacKinlay Kantor, who had flown missions He returns as a correspondent with the Eighth Air Force and the from the war Royal Air Force (and would go on to win the Pulitzer Prize a spastic, in 1955 for his Civil War novel “Andersonville”), to use that unable to article as the basis for a fictional adaptation of approxi- control his mately 100 pages. Inexplicably, Kantor turned in a novel movements. in verse that ran closer to 300 pages. Goldwyn could barely follow it, and he wanted to shelve the project but Sherwood was talked into letting Kantor work on a treatment. and Wyler made some William Wyler, his star director, returned to Goldwyn significant Studios in 1946, having been honorably discharged from changes that the Air Force as a colonel, also receiving the Legion of added more Merit Award. Wyler's feelings about his life and profession complexity had changed: "The war had been an escape into reality … and dramatic Only relationships with people who might be dead tomor- force to the row were important." Wyler still owed Goldwyn one more story. In film, and the producer wanted him to make “The Bishop's Kantor's ver- Wife” with David Niven.
    [Show full text]