Posted by Nathaniel Thompson on April 12, 2017
To view Swingers click here.
That’s right, Swingers is twenty years old. Ouch.
Anyone who’s been in Los Angeles for more than a day or two can tell you it’s impossible to go anywhere without meeting people who want to be in “the business.” It’s a charming trait of the city when you first move here and try to make new friends, as you sort out who’s on the level about their ambitions versus those who are, well, completely full of it. No film captures that feeling better than Swingers, a semi-autobiographical film from 1996 that put several names on the map including writer and star Jon Favreau (whose experiences when he moved to L.A. inspired the script), director Doug Liman (who went the indie route to keep the writer and his friends attached) and a supporting cast including an almost unsettlingly young Vince Vaughn, Ron Livingston and Heather Graham. [...MORE]
Posted by R. Emmet Sweeney on April 11, 2017
To view Perfect Friday, click here.
There is a blessed simplicity to a heist film, with its basic elements of planning and execution. Last week I looked at an elaborate cat-and-mouse variation of this trope, The Silent Partner (1978), while today I’ll discuss a streamlined version, the lighthearted British heist film Perfect Friday (1970). They are two of the six films FilmStruck is streaming in its “How to Rob a Bank” theme (alongside The League of Gentlemen, Max and the Junkmen , Revanche , and The Robber). Perfect Friday is shorn of any backstory or subplot, focused entirely on the robbery at hand. Stanley Baker stars as a mild mannered bank clerk looking to retire on one big score. He recruits a money hungry Lord (David Warner) and his wife (Ursula Andress) to pull off the job. But every word they speak is a lie, from promises of an equal split to the husband telling his wife he loves her. The scene is set for multiple betrayals, it is only a matter of who is holding the money-stuffed suitcase last.
Posted by Susan Doll on April 10, 2017
To view our theme “Icons: Laurence Olivier” click here.
In the last years of his life, Laurence Olivier was lauded as the world’s greatest actor in print interviews, on talk shows and during presentations for the numerous honorary awards he received. His experience as a classically trained thespian and his repute as an interpreter of Shakespeare generated the persona of an important actor. His stint as the director of London’s National Theatre made him synonymous with the British stage.
Posted by Jill Blake on April 8, 2017
In 1961, legendary author and screenwriter Elmore Leonard released his critically-acclaimed modern Western novel Hombre, a story about a white man, John Russell, raised by Apaches and his eventual return to civilization, with its complex politics and rampant prejudice. Russell struggles with deep moral conflict and reluctance to live as a white man after witnessing the horrific treatment of the people who raised him as one of their own. Five years later, director Martin Ritt (The Sound and the Fury , Hud , The Spy Who Came in from the Cold ), with an adapted screenplay by Irving Ravetch and Harriet Frank Jr., brought a faithful adaptation of Leonard’s story to the big screen in one of the greatest, underrated revisionist Westerns of all time.
Posted by Greg Ferrara on April 7, 2017
To view The American Friend click here.
Tom Ripley only ever wore a cowboy hat once. In Hamburg. And Wim Wenders loved it. Playing Tom Ripley, Dennis Hopper dons the hat as he roams about, confused and paranoid, running an art forgery scheme to make money off of ignorant investors. At one of those art auctions he’s introduced to a framer, Jonathan Zimmerman, played by Bruno Ganz, and gets the cold shoulder. Anyone who knows Tom Ripley knows that’s a mistake. Ripley is many things, from con man to sociopath, but he is, above all else, unstable. Tom Ripley never forgets a slight. That initiates a series of events that sets in motion Wenders’ 1977 thriller, The American Friend, based on Patricia Highsmith’s Ripley’s Game.
Posted by Kimberly Lindbergs on April 6, 2017
To view Remembrance of Things to Come click here.
“Gone and never to return
Remembrance of Things to Come aka Le Souvenir d’un avenir (2001) opens at the 1938 International Surrealist Exhibition at the Galerie des Beaux-Arts in Paris, which has been described as “the culminating avant-garde celebration in Europe before the devastating events leading to World War II” (Ubu Gallery). The exhibit outraged critics at the time and featured works of art by Salvador Dalí, Pablo Picasso, Man Ray, René Magritte, Lenora Carrington, Marcel Duchamp, Joseph Cornell, Hans Bellmer and Max Ernst among many others. We tour the dense galleries through the embracing and investigative eyes of Denise Bellon, a pioneering photojournalist who became one of the surrealists most ardent supporters and collaborators. Bellon is the subject of this fascinating documentary made by Chris Maker in association with Bellon’s daughter (filmmaker Yannick Bellon) and the film is now streaming on FilmStruck until July 28th. As is the case with many women who created work within the surrealist movement, Denise Bellon’s name is not as recognizable as her male counterparts but she was arguably one of the most innovative, daring and accomplished photographers of the period. Remembrance of Things to Come moves Bellon out of the shadows and into the spotlight where she belongs.
Posted by Nathaniel Thompson on April 5, 2017
To view The Brontë Sisters click here.
The love affair between European cinema and the literary works of the Brontë sisters has been a fascinating one for decades, though it’s often overlooked in favor of Hollywood’s more publicized adaptations like Wuthering Heights (1939) and Jane Eyre (1943). Over the years we’ve seen versions of their novels come from such disparate filmmakers as Luis Buñuel, Jacques Rivette, Franco Zeffirelli, Andrea Arnold and Robert Fuest, all of whom offered their own unique takes on the windswept, tormented romanticism that fueled their classic novels. The fascination with the Brontës continues to this day, as seen by the buzz over the BBC One television film, To Walk Invisible, a biography of the Brontës that debuted this month in the United States on PBS’ Masterpiece.
Posted by R. Emmet Sweeney on April 4, 2017
To view The Silent Partner click here.
In The Silent Partner, the devil is in the details. Elliott Gould’s mild-mannered bank teller Miles is transformed into a criminal strategist because he notices a scrawl of handwriting on a deposit slip. This causes his analytical mind to pivot its attentions from customer accounts to an elaborately unfolding heist. The script by Curtis Hanson is relentlessly logical as it pits the chess-playing, game theory wielding Gould against the brute force of a sociopathic thief named Harry, played with dark charisma by Christopher Plummer. Their pas de deux takes place all over Toronto (this was one of the early Canadian Tax Shelter films – 100% of costs were tax deductible), and what began as a teasing game becomes something elemental. The Silent Partner won six Canadian Film Awards, including Best Picture, but had trouble finding screens in the United States – but now The Silent Partner is streaming on FilmStruck as part of its six-film “How to Rob a Bank” collection.
Posted by Susan Doll on April 3, 2017
Currently available on FilmStruck for your streaming pleasure is “The Brontë Sisters,” a modest selection of titles related to the works of England’s beloved novelists of the Romantic era. Included in the series are the classic-film versions of Emily Brontë’s Wuthering Heights (1939) and Charlotte Brontë’s Jane Eyre (1944). While both feature Golden Age stars that mesmerize with magnetism and captivate with charisma, does one film have the edge in capturing the ill-fated relationships and melancholy atmosphere of Gothic Romance?
Posted by Jill Blake on April 1, 2017
As I prepare for this year’s TCM Classic Film Festival in Hollywood, I am revisiting the films of some of the actors and actresses whose work is being featured at the annual event. With a wide variety of events available at each time slot, it’s impossible to attend all the screenings, special presentations and interviews that I’d like to see. I don’t have any complaints, though, as there’s rarely a bad choice to be made. Like in years past, there will be a silent film presentation with live accompaniment. In previous years, I’ve seen Girl Shy (1924), The General (1925) and City Lights (1931). This year, the TCM Classic Film Festival is featuring Harold Lloyd’s 1928 comedy Speedy with live accompaniment by the extraordinary Alloy Orchestra. Any event featuring the Alloy is not to be missed, so I will be enthusiastically lining up for this screening on the closing night of the festival. Since I don’t want to watch Speedy this close to seeing it in a theatre with an appreciative audience, I decided to revisit some of Lloyd’s other work in preparation. Although I much prefer Lloyd’s feature-length films such as Safety Last (1923), Why Worry? (1923), Girl Shy (1924) and The Freshman (1925), I’ve selected three of my favorite short films featuring Lloyd that are currently available on The Criterion Channel of FilmStruck.
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