Rebel Without A Cause (1955)
Director: Nicholas Ray
Screenplay: Stewart Stern; adapted by Irving Shulman, from a story by Nicholas Ray
When I was 12-years old, I don’t know exactly what it was that possessed me to do so, but I sat down one night and watched ‘Rebel Without a Cause.’ I was into old-time 50s nostalgia, such as ‘Grease,’ and ‘Happy Days,’ and decided to see this movie and the James Dean persona/image that influenced many of that decade. Yet, what I found was something else that day. the realization that a film could reveal hidden messages, meanings, and metaphors that aren’t just what the film is about. I remember it distinctly, Jim Backus, who you
Dubbed The Classics – Festival of the Films That Will Live Forever, the new film fest is founded by producer Ivonne Torres and Juan Carvajal, co-founder and artistic director of the three-year old Bogota Independent Film Festival, IndieBo.
Buoyed by sell-out crowds at IndieBo last July when the festival screened restored classics via a new pact with Martin Scorsese’s Film Foundation, Carvajal said: “I saw how these movie gems – rescued and restored with the support of the Film Foundation – deserved nothing better than to be enjoyed where they belong: the big screen.”
For many moviegoers in Bogota, it was the first time to see such classics as Joseph L. Mankiewicz’s “All About Eve,” Elia Kazan’s “On the Waterfront,” and [link=nm
Kl Studio Classics
1972 / Color / 2:35 widescreen / 100 min. / Special Edition / Street Date October 31, 2017 / available through Kino Lorber / 29.95
Starring: Steve McQueen, Robert Preston, Ida Lupino, Joe Don Baker, Ben Johnson, Mary Murphy, Dub Taylor, Don ‘Red’ Barry, Bill McKinney.
Cinematography: Lucien Ballard
Film Editors: Frank Santillo, Robert L. Wolfe
Second Unit Director: Frank Kowalski
Bud Hurlbud: Special Effects
Original Music: Jerry Fielding
Written by Jeb Rosebrook
Produced by Joe Wizan
Directed by Sam Peckinpah
I suppose there were plenty of successful rodeo-themed westerns back in the day, perhaps the kind interrupted by a cowboy song every ten minutes or so.
In the press conference, Guadagnino discussed his collaboration with cinematographer Sayombhu Mukdeeprom (who also shot his upcoming Suspiria remake), Sufjan Stevens writing two original songs for the film when only one was requested, and avoiding romantic film cliches.
Hammer and Chalamet talked about the non-verbal sensuality of their character’s relationship at Nyff Live. Stuhlbarg discussed his character’s famous conversation with Elio in the film, and Guadagnino lists all the things he hates
Tom Farrell, who started out studying with Nicholas Ray, also has a long history with Sam Shepard and Wim Wenders, who co-directed Ray's final film Lightning Over Water. Tom appeared in Wim's Until the End of the World, Faraway, So Close!, Don't Come Knocking, and had a very memorable scene with Harry Dean Stanton in Paris, Texas, written by Sam Shepard.
Tom Farrell with Harry Dean Stanton on the bridge in Paris, Texas
After hearing of Harry Dean Stanton's passing on September 15, 2017 from natural causes at the age of 91 in Los Angeles, Tom sent a remembrance of what is now famously called "The Screaming Man on the Bridge with Harry Dean Stanton" that was shot by Robby Müller in December of 1983, cued by assistant director Claire Denis.
"The film crew drove north of Los Angeles for about
She won a supporting actress Oscar (for 1952’s The Bad and the Beautiful) and worked with legendary actors (Humphrey Bogart, Jimmy Stewart, Dorothy Lamour and Robert Mitchum) and directors (Fritz Lang, Elia Kazan, Vincent Minnelli and Nicholas Ray, whom she married). Grahame’s specialty was the film noir femme fatale. Unfortunately, she also made some fatal career moves.
In June 1951, Ray caught her in bed at their Malibu home...
The Law and Jake Wade
Warner Archive Collection
1958 / Color / 2:35 widescreen / 86 min. / Street Date September 12, 2017 / available through the WBshop / 21.99
Starring: Robert Taylor, Richard Widmark, Patricia Owens, Robert Middleton, Henry Silva, DeForest Kelley, Henry Silva, Burt Douglas, Eddie Firestone.
Cinematography: Robert Surtees
Film Editor: Ferris Webster
Written by William Bowers from a novel by Marvin H. Albert
Produced by William B. Hawks
Directed by John Sturges
As the 1950s wore down, MGM was finding it more difficult to properly use its last remaining big-ticket stars on the steady payroll, Cyd Charisse and Robert Taylor. Cyd
“Film Stars Don’t Die in Liverpool” is a tawdrier, more tragic, but similarly superficial “My Week with Marilyn,” devoted to the dying days of an actress who always lived in Monroe’s voluptuous shadow. By the time it ends, that darkness has grown so complete that it’s hard to tell whose story we’re even watching.
Gloria Grahame was born for black-and-white.
In my conversation with Fernando Trueba at the W Hotel Union Square in New York, he paid tribute to Emilio Ruiz del Río, who also worked with Stanley Kubrick (Spartacus), David Lean (Lawrence Of Arabia and Doctor Zhivago), Nicholas Ray (King Of Kings), John Milius (Conan The Barbarian), and Guillermo del Toro (Pan's Labyrinth). Fernando's latest, The Queen Of Spain (La Reina De España) stars Penélope Cruz who was also his The Girl Of Your Dreams (La Niña De Tus Ojos) with Antonio Resines, Santiago Segura, Rosa Maria Sardà, Jorge Sanz, Jesús Bonilla, and Loles León, who all return here.
Penélope Cruz as Queen Isabella of Castile with John Scott (Clive Revill): "He is not John Ford but he is inspired by him."
In The Queen Of Spain, Mandy Patinkin,
Below is the first part of our excerpts from the panel featuring the women of A Nightmare on Elm Street, Heather Langenkamp, Amanda Wyss, and Ronee Blakley. The actresses discussed how the landmark film from Wes Craven helped define a generation of kids who were directly affected by divorce, and they also shared stories from their experiences collaborating with Craven. In case you missed it, you can read part 1 of our A Nightmare on Elm Street panel coverage Here.
One thing I want to discuss is the relationship between Marge and Nancy in Nightmare.
Guitar stars Joan Crawford as the "railroad tramp" Vienna, who runs a saloon and is drawn to bad men, and her cowgirl nemesis Emma Small, played by an enthusiastically hateful Mercedes McCambridge. The actresses apparently tore it up behind the scenes (everybody who's spoken of the filming of this film makes it sound like
You Only Live Once
1937 / B&W / 1:37 Academy / 86 min. / Street Date July 25, 2017 / 29.98
Starring: Sylvia Sidney, Henry Fonda, Barton MacLane, Jean Dixon,
William Gargan, Jerome Cowan, Charles ‘Chic’ Sale, Margaret Hamilton, Warren Hymer,
Guinn ‘Big Boy’ Williams, Ward Bond, Jack Carson, Jonathan Hale
Cinematography: Leon Shamroy
Art Direction: Alexander Toluboff
Film Editor: Daniel Mandell
Original Music: Hugo Friedhofer
Written by Graham Baker and Gene Towne
Produced by Walter Wanger
Directed by Fritz Lang
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Tuesday, August 1
Tuesday’s Short + Feature: These Boots and Mystery Train
Music is at the heart of this program, which pairs a zany music video by Finnish master Aki Kaurismäki with a tune-filled career highlight from American independent-film pioneer Jim Jarmusch. In the 1993 These Boots, Kaurismäki’s band of pompadoured “Finnish Elvis” rockers, the Leningrad Cowboys, cover a Nancy Sinatra classic in their signature deadpan style. It’s the perfect prelude to Jarmusch’s 1989 Mystery Train, a homage to the King of Rock ‘n’ Roll and the musical legacy of Memphis, featuring appearances by Screamin’ Jay Hawkins and Joe Strummer.
Best in Show (Christopher Guest)
Christopher Guest has had an exceptionally strong ’00s with A Mighty Wind and For Your Consideration, and it remains to be seen how his upcoming Mascots will be received, but his arguable peak is still the gloriously funny mockumentary Best in Show. Guest’s other films have lovingly skewered egotistical oddballs and the insanity of subjective or objective criticism, so Best in Show is
Unlike most legendary auteurs, Ray’s career is incredibly uneven. He was a square peg trying to fit into the cylinder of Hollywood, but completely unwilling to round his sharp corners. It wasn’t that his style couldn’t adapt to Hollywood, as his mastery of storytelling through the use of space, composition and performance was readymade for the studio era. However, his uncompromising view of life and the existential struggle of his characters never fit neatly in stories with a clear resolution. His ability to
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