Posted by Kimberly Lindbergs on February 16, 2017
“Beat” Takeshi Kitano has been making headlines recently. Late last year the 70-year-old Japanese filmmaker, actor, author and entertainer was awarded France’s coveted Legion of Honor for his contribution to contemporary arts while film retrospectives in New York and Rio de Janeiro, along with a spate of fresh Blu-ray releases from Film Movement and Third Window Films, have spawned renewed interest in his work. Kitano is also wrapping up production on his latest directorial effort, the third film in his lauded crime trilogy Outrage: Final Chapter (2017), and we can look forward to seeing him in the highly anticipated live-action adaptation of Ghost in the Shell (2017) soon. As a longtime admirer, it has been a joy to see the arc of his career take shape from popular television comedian to celebrated film auteur and beloved cultural figure.
Through April 28, FilmStruck subscribers have access to four of Takeshi Kitano’s earliest films including Boiling Point (1990), Sonatine (1993), The Blind Swordsman: Zatoichi (2003) and my personal favorite of the bunch, Violent Cop (1989). Violent Cop was the first feature film Kitano directed and its impact should not be underestimated. As he continues to gain new admirers around the world, I thought I would revisit the movie that launched Kitano’s filmmaking career and transformed his public persona from a fun-loving clown into a cinematic powerhouse in Japan and abroad.
Posted by Greg Ferrara on January 29, 2017
I just did a Fritz Lang movie last week (The Big Heat from 1953) and there have been other posts on the director around these parts lately as well so forgive me if I dive into familiar waters one more time. You see, I tend to focus on the ethical dilemmas of Lang’s work, in movies like M (1931), Fury (1936), Scarlet Street (1945), and, of course, The Big Heat*, where the good guys and the bad guys tend to overlap. But before I take a break from writing about Lang, I’d like to throw in one more post on what may be my biggest Lang surprise in all my years of watching him. It’s a movie that throws so many genre tropes together into one big pot, it’s a miracle any of it works at all. But it does, magnificently so. It’s one of those movies that came and went and despite having plenty of big names in the cast, it feels like a low budget movie shot on the run. This amazing little piece of work called While the City Sleeps (1956) may be Lang’s most purely enjoyable film.
Posted by Greg Ferrara on January 20, 2017
William P. McGivern created Harry Callaghan, better known as Dirty Harry. Not literally. He created the literary environment that made Harry Callaghan possible, as well as Paul Kersey, the vigilante at the center of Death Wish (1974). McGivern was the writer who gave us The Big Heat (1953) and Rogue Cop (1954), both made into movies in the fifties and the former, The Big Heat, gave us the character of Detective Sergeant Dave Bannion, the cop at the heart of the film who fights against a corrupt system outside the lines, quitting his job to pursue vigilante justice on his own. It’s a good story but is Dave Bannion a good guy? Is there a good guy in the story? Maybe.
Posted by Nathaniel Thompson on December 28, 2016
As with many years past, I’m spending the transitional period between Christmas and New Year’s in Los Angeles — and as anyone else around here can tell you, it’s a calm but vaguely spooky environment. All of the usual traffic jams and chattering people have temporarily vanished into the ether, leaving a city still filled with sunlight, palm trees and holiday decorations everywhere. We’ve seen a lot of notable films shot in L.A. over the decades (and you can sample most of them in the superb documentary Los Angeles Plays Itself), but the one that really captures this eerie feeling of being in L.A. at winter time (even if it isn’t specifically set at that time of year) is The Long Goodbye (1973), one of the great ’70s noir films and a highlight in the career of director Robert Altman. [...MORE]
Posted by Kimberly Lindbergs on December 8, 2016
Today (Dec. 8) is Maximilian Schell’s birthday. The handsome Swiss actor is one of my favorite screen performers and he would have been 85 today if he hadn’t passed away in 2014 after abruptly contracting pneumonia. To celebrate the occasion, I thought I’d take a look at one of my favorite Maximilian Schell films; the stylish and highly entertaining caper, Topkapi (1964) directed by Jules Dassin (Brute Force , The Naked City ). If you’re searching for an enjoyable way to pass a few hours, this playful, frothy cocktail of a film is sure to warm your spirits. Topkapi is currently streaming on FilmStruck and available on DVD and Blu-ray from Kino Lorber. You can also occasionally catch it playing on TCM.
Posted by Nathaniel Thompson on November 16, 2016
Though he still doesn’t quite enjoy household name status, Cornell Woolrich might be the most influential American mystery writer of the past century. The adaptations are an obvious place to start with Alfred Hitchcock’s Rear Window (1954) leading the pack, but his real legacy is the way he permanently embedded modern thrillers with recurring themes of the unreliability of memory, the pitfalls of falling in love with someone you think you know and the inescapable darkness that can claim even the most virtuous of souls. If you want to find out where films like Memento (2000) and The Usual Suspects (1995) came from, look no further than this master storyteller.
Hollywood really jumped on the Woolrich bandwagon in the ‘40s with a slew of radio adaptations as well as fascinating films like The Leopard Man (1943), Phantom Lady (1944), The Chase (1946), and Night Has a Thousand Eyes (1948). The big screen took less of an interest in him the following decades as television honed in on him instead, churning out numerous versions of his novels and short stories for home viewers on such programs as Alfred Hitchcock Presents and Thriller. The 1960s would prove to be Woolrich’s last decade on earth with his passing in 1968, but he had another resurgence from a most unlikely source: acclaimed French filmmaker François Truffaut.
Posted by Nathaniel Thompson on September 21, 2016
I have a real soft spot for that strange period after the ‘70s when all the British filmmaking enfants terribles tried to wedge their styles into a movie landscape that had radically changed in front of them. Ken Russell tore into the American cinematic arena with Altered States (1980) and Crimes of Passion (1984); Lindsay Anderson veered from satirical outrage with Britannia Hospital (1982) to genteel drama with The Whales of August (1987); John Boorman went phantasmagorical with Excalibur (1981) and primitive with The Emerald Forest (1985); Derek Jarman dispensed with narrative entirely for The Angelic Conversation (1985) and The Last of England (1988). Then there’s the strange case of Nicolas Roeg, who was riding high after the triple punch of Walkabout (1970), Don’t Look Now (1973), and The Man Who Fell to Earth (1976). Needless to say, the early ‘80s took him in some very surprising directions, first with the very ill-received Bad Timing (1980), which is now regarded as a transgressive classic, and what remains one of his most neglected and misunderstood films, Eureka (1983), airing on TCM in the appropriately wee hours of Friday. [...MORE]
Posted by Nathaniel Thompson on September 14, 2016
Do you love dogs? Of course you do, and so do most moviegoers if Hollywood history is any indication. However, if you had to name the biggest decade for man’s best friend, which one would it be? The heyday of Rin-Tin-Tin in the ‘20s? The arrival of Lassie in 1943 or her TV reign in the ‘50s? Maybe, but for my money the winner hands down has to be the 1970s – and there’s one breed that personified the Me Decade more than any other. Just as the United States was plunging into the chaos of Watergate, the whole country seemed to go canine crazy in 1972 when the most famous comic strip pooch got a theatrical vehicle with Snoopy Come Home and the Newberry-winning novel Sounder became a multiple Oscar-nominated prestige release. [...MORE]
Posted by Kimberly Lindbergs on December 10, 2015
Posted by Pablo Kjolseth on September 20, 2015
(Editor’s Note: Pablo Kjolseth unexpectedly found himself on the road assisting with Cory McAbee’s latest film project, so he handed over the reigns for today’s post to Michael J. Casey, film critic and reporter for The Boulder Weekly.)
Above all things, cinema is a style. Movies are a glorious and exciting exploration of the human condition, but without style, the images simply hang to the screen, failing to be anything more than a light flickering on a blank canvas.
That’s why those who crack the code are so lauded, and few have been as voraciously lauded as the French director, Robert Bresson (1901-1999). Though he only made 13 features over the course of four decades, every one of his films bear a signature style, the mark of a master. Of these 13, TCM is showing five of his most acclaimed works on Sept. 25, and though all of them explore Bresson’s thoughts on style, cinematography and spirituality, none convey his ideas quite like his 1959 masterpiece, Pickpocket. [...MORE]
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