Hitchcock made Saboteur (1942) and Shadow of a Doubt (1943) back to back. He even used the same cinematographer, Joseph Valentine, who would work one more time with Hitch on 1948’s Rope.
The two movies also share a distinction of showing, in snapshot, two sides of Hitchcock’s filmography.
Read MoreHitchcock made Saboteur (1942) and Shadow of a Doubt (1943) back to back. He even used the same cinematographer, Joseph Valentine, who would work one more time with Hitch on 1948’s Rope.
The two movies also share a distinction of showing, in snapshot, two sides of Hitchcock’s filmography.
Read MoreLegendary filmmaker and former film critic Francois Truffaut once said, “I demand that a film express either the joy of making cinema or the agony of making cinema. I am not at all interested in anything in between; I am not interested in all those films that do not pulse.”
Read MoreIf anyone says any of the current digital projection formats are better than 70mm film, they’re lying to you.
Or don’t know what they’re talking about.
Or haven’t recently seen a movie shot on 70mm film, projected on 70mm film.
Read MoreWhen looking at the last few decades of American film, many of them are often safe, formulaic, and lack a form of human insight. While there are some exceptions in America, most other countries still have filmmakers who go against these conventions, and one of the most significant is Britain’s own Mike Leigh.
Read MoreI love reading. I have almost never read something and then thought “Well that was a waste of three days, three weeks, three months. . .”
Read MoreWhen looking at the studio era of filmmakers – a time from the 1930’s through 50s when men for hire would crank out three or four films a year – one name that often gets overlooked is William A. Wellman. He was a contract director for Warner Bros., and made over 80 films, among them the first Academy Award Winner for Best Picture Wings, the landmark gangster film The Public Enemy, the first version of A Star is Born, and the classic comedy Nothing Sacred.
Read MoreVisionary director Terry Gilliam’s career has been as labyrinthine, strange, and unexpected as many of his movies.
Most peg Gilliam’s highpoint and masterpiece as the 1985 dystopian sci-fi satire comedy Brazil. And then, common wisdom goes, after the difficulties and underperformance of 1988’s fantastical fairy tale (and masterpiece) The Adventures of Baron Munchausen, Gilliam more or less had to become a director for hire.
Read MoreOlivia Wilde’s 2019 Booksmart stars Kaitlyn Dever and Beanie Feldstein as high school seniors and best friends Amy and Molly. It’s the night before graduation and they’ve played by the rules, overachieved, gotten into great colleges, only to discover many others did too. . .yet still had fun. To make up for lost time, they work to pack an entire missed teenage wildlife into one night.
Read MoreLast Thursday, we screened the 1959 French new wave classic Hiroshima, Mon Amour written by Marguerite Duras and directed by Alain Resnais.
For anyone who has never seen this gut punch masterclass in editing, non-linear storytelling, stream of consciousness moviemaking, Hiroshima, Mon Amour tells the story of two lovers-a French actress and a Japanese architect-across the two days or so of their brief affair in Hiroshima, Japan.
Read MoreHitchcock, shockingly, has been one of the few directors to work in America in all its history that seemed to fully grasp the cinematic tool of casting with hidden purpose.
Hitchcock would often cast a Cary Grant, a Jimmy Stewart, a Grace Kelly, even a Sean Connery in roles that would explicitly take their star personas and subvert them in some interesting way that would add a whole cinematic layer to the proceedings.
Read MoreIt had been years since I had seen Clerks. Decades even. But curious to see how it held up, I plopped down in my favorite corner seat in the side of the theater and watched.Next Saturday, April 8, 2023, we return to our year long The Master: Alfred Hitchcock series with two of his clever investigations into the mysteries of matrimony veiled as mass entertainments: 1941’s Suspicion and 1964’s Marnie. And from there, you’ll be getting a Hitchcock double, at the very least, monthly through the end of the year.
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