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Cannes Film Review: ‘Based on a True Story’

Cannes Film Review: ‘Based on a True Story’
It’s hard to talk about Roman Polanski’s “Based on a True Story” without revealing the twist, although it’s much harder trying to imagine anyone actually falling for it. A thin psychological two-hander between two writers, both of them women, this over-obvious metaphor for the creative process — never quite thrilling enough to qualify as a thriller, but still unsettling enough to intrigue — inevitably results in the publication of the book within the book upon which the film is based, and in so doing forces Polanski to return to his roots.

That doesn’t mean audiences will get much insight into either the director’s process or his own dark secrets, mind you. Rather, the film recalls the uncertain, almost hallucinatory quality of his early work — movies such as “Cul-de-Sac,” “Repulsion” and “Rosemary’s Baby,” where the very fabric of what we’ve been watching is called into question.
See full article at Variety - Film News »

‘Based on a True Story’: Eva Green and Emmanuelle Seigner Are Lovers in First Look at Roman Polanski’s New Drama

  • Indiewire
‘Based on a True Story’: Eva Green and Emmanuelle Seigner Are Lovers in First Look at Roman Polanski’s New Drama
Lionsgate has released the first-look image from Roman Polanski’s thriller-drama “Based on a True Story,” which marks the French-Polish director’s first film in four years. The film, whose original title in French is “D’après une histoire vraie” and stars Eva Green and Emmanuelle Seigner, will show at the Cannes Films Festival, which will run May 17 – 28.

Read More: Roman Polanski Compares Court to Nazis for Rejecting Motion to Avoid Further Jail Time

The film is an adaptation of Delphine de Vigan’s novel of the same name. Polanski wrote the script with writer and “Personal Shopper” director Olivier Assayas. “Based on a True Story” follows a Parisian writer (Seigner) who gets romantically involved with an obsessed admirer (Green) who tries to impose influence on her.

Read More: The Films of Roman Polanski, Ranked Worst to Best

During his embattled five-decade career, Polanski has helmed a long list of acclaimed films,
See full article at Indiewire »

The Young Girls of Rochefort

Perhaps motivated by the success of La La Land, Criterion has reissued two impressive Jacques Demy musicals as separate releases. This all-singing, all-dancing homage to candy-colored vintage Hollywood musicals is a captivating Franco-American hybrid that allows free rein to Demy’s marvelously positive romantic philosophy.

The Young Girls of Rochefort

Blu-ray

The Criterion Collection 717

1967 / Color / 2:35 widescreen / 125 min. / Les Demoiselles de Rochefort / available through The Criterion Collection / Street Date April 11, 2017 / 39.95

Starring: Catherine Deneuve, Françoise Dorléac, Danielle Darrieux, George Chakiris, Gene Kelly, Michel Piccoli, Jacques Perrin

Cinematography: Ghislain Cloquet

Production Designer: Bernard Evein

Film Editor: Jean Hamon

Original Music: Michel Legrand

Produced by Mag Bodard, Gilbert de Goldschmidt

Written and Directed by Jacques Demy

I was going to squeak by reviewing only Jacques Demy’s The Umbrellas of Cherbourg, but the interest in the new La La Land prompted some emails and messages that tell me a revisit of the charming
See full article at Trailers from Hell »

UK industry veteran Terry Glinwood dies aged 82

  • ScreenDaily
UK industry veteran Terry Glinwood dies aged 82
Glinwood worked with Roman Polanski, Jeremy Thomas, Karel Reisz and Terry Jones.

UK industry veteran Terry Glinwood has died aged 82 following complications from surgery for a minor complaint.

Glinwood’s career spanned fifty years as a producer and sales executive during which time he worked closely with some of the European industry’s leading figures.

He entered the business in the 1960s as a production controller working on Roman Polanski films Repulsion and Cul-De-Sac.

In the 1970’s he would work closely with fellow-producers Ned Sherrin and Beryl Vertue and director Bob Kellett on a string of UK comedies including Up Pompeii and The Alf Garnett Saga as well with UK producer John Heyman and Grease and Saturday Night Fever producer Robert Stigwood.

In the same decade Glinwood struck up a fertile collaboration with Rpc boss Jeremy Thomas for whom he would work in a sales and financing capacity on Merry Christmas Mr. Lawrence, The Last Emperor and [link
See full article at ScreenDaily »

‘Cul-De-Sac’ Blu-ray Review (Criterion)

Stars: Donald Pleasence, Lionel Stander, Françoise Dorléac, Jack MacGowran, Iain Quarrier | Written by Roman Polanski, Gerard Brach | Directed by Roman Polanski

Roman Polanski’s taste for dark absurdist comedy is in full swing in 1966 comedy-thriller Cul-De-Sac. It’s his second English-language film, sandwiched between Repulsion and Fearless Vampire Killers. Compared with his towering classics (and there are a few) it is slight, but even minor Polanski is a joy to watch.

Especially with a setup like this. We open with Dickey (Lionel Stander, the spit of Ernest Borgnine) and Albie (Jack MacGowran), their car sputtering along the Northumberland coast. Albie is dying from a gunshot wound, so Dickey heads off for help, and finds himself on a coastal island, in a castle owned by George (Donald Pleasence) and his glamorous wife Teresa (Françoise Dorléac).

So begins a strange semi-hostage relationship between the very American gangsters and the gentle married couple.
See full article at Blogomatic3000 »

Explore Roman Polanski’s “Cinema of Invasion” in a New Video Essay

“No one does it to you like Roman Polanski” – a tagline that would take on some rather unfortunate new contexts only a few years after its unveiling, or the rare bit of marketing to properly sell an artist? Answer: both. But we’ll only focus on the second point, our impetus being a new, Cristina Álvarez López– and Adrian Martin-helmed video essay on some of the director’s close-quarter thrillers as a “cinema of invasion.”

Even this well-learned Polanski admirer, one who could fire off more than a few examples of how the assorted films — Knife in the Water, Repulsion, Cul-de-sac, Rosemary’s Baby, The Tenant, Frantic, Bitter Moon, and The Ghost Writer — overlap, was impressed and, more importantly, surprised by the connections drawn here. Taking full advantage of both the material at hand and ways of bringing them closer together (disassociated sound, split-screen), Álvarez López and Martin’s
See full article at The Film Stage »

Roman Polanski & Olivier Assayas To Adapt The Novel ‘Based on a True Story’

  • Indiewire
Roman Polanski & Olivier Assayas To Adapt The Novel ‘Based on a True Story’
Though director Roman Polanski’s next film was set to tackle the Dreyfus affair, the 1890s French political scandal involving a Captain of the French Army who was convicted of passing secrets to the Germans, it has so far failed to get off the ground. But now The Film Stage reports that Polanski will adapt Delphine de Vigan’s novel “Based on a True Story,” with a script from writer-director Olivier Assayas. The novel tells the story of a writer who goes through a rough time after the release of their latest book, and their relationship with an admirer who tries to impose influence on the writer.

Read More: Roman Polanski Will Not Be Extradited to U.S.

Polanski is best known for his numerous acclaimed films during his five-decade career. Some of these include “Knife in the Water,” “Repulsion,” “Cul-de-Sac,” “Rosemary’s Baby,” “Macbeth,” “Chinatown,” and “The Pianist.” His
See full article at Indiewire »

Gene Gutowski, Producer of Polanski Films and Holocaust Survivor, Dies at 90

  • The Wrap
Gene Gutowski, Producer of Polanski Films and Holocaust Survivor, Dies at 90
Gene Gutowski, who produced three of Roman Polanski‘s 1960s movies and was a co-producer on the director’s 2002 Oscar winning Holocaust drama, “The Pianist,” has died. He was 90. Gutowski’s son Adam Bardach told the Associated Press that his father died of pneumonia at a hospital in Warsaw, Poland. Gutowski and Polanski collaborated on “Repulsion,” “Cul-de-Sac” and “The Fearless Vampire Killers” in the 1960s. They reunited more than three decades later on “The Pianist.” Also Read: William Schallert, Character Actor and Former SAG President, Dies at 93 The movie was “a personal catharsis” for Gutowski, who wrote that “watching crowds of terrified helpless.
See full article at The Wrap »

What?

What is this -- a naughty sex odyssey as absurdist art? Or a non-pc slice of sleazy art film exploitation? Either way it's a (minor) Polanski masterpiece of direction, influenced by the Italian setting. Is what turns Polanski on? The entire excercise is a Kafka comedy of erotic discomfort. What? Blu-ray Severin 1972 / Color / 2:35 widescreen / 110 min. / Che? / Street Date April 26, 2016 / 29.95 Starring Marcello Mastroianni, Sydne Rome, Hugh Griffith, Guido Alberti, Gianfranco Piacentini, Romollo Valli. Cinematography Marcello Gatti, Giuseppe Ruzzolini Production Design Aurelio Crugnola Film Editor Alastair McIntyre Original Music Claudio Gizzi Written by Gérard Brach, Roman Polanski Produced by Carlo Ponti Directed by Roman Polanski

Reviewed by Glenn Erickson

It's a slippery slope, I tell you: art films are the gateway to surrealism, and surrealism connects straight to bondage and kinky costume play, which is a direct conduit either to Comic-Con or being forced to resign from the P.T.A.
See full article at Trailers from Hell »

Series Mania: David Chase – ‘The Sopranos’ Was a Middle Finger at the TV Establishment’

Series Mania: David Chase – ‘The Sopranos’ Was a Middle Finger at the TV Establishment’
Paris — The head of the jury at the 7th Series Mania, “The Sopranos” showrunner David Chase took to the stage for an extended interview, reflecting on a long and varied career that very nearly took some very different turns. Beginning with his childhood in New Jersey, he revealed that his youth was vital to his later career as a writer, but not for the reasons many expected. “We were one of the last families to get a television set,” he said. “My father didn’t want to do it. He thought I would spend all my time watching television. Which is what I did do once we got the television. He said he was going to put a lock on it, and he never did do that. But I did watch quite a bit on it.”

Describing post-war New Jersey as “sauvage,” painting a picture of an outgoing, outdoorsy child,
See full article at Variety - TV News »

New on Video: ‘Day for Night’

  • SoundOnSight
Day for Night

Written by François Truffaut, Jean-Louis Richard, and Suzanne Schiffman

Directed by François Truffaut

France, 1973

From Fellini to Fassbinder, Minnelli to Godard, some of international cinema’s greatest directors have turned their camera on their art and, by extension, themselves. But in the annals of great films about filmmaking, few movies have captured the rapturous passion of cinematic creation and the consuming devotion to film as well as François Truffaut’s Day for Night. While there are a number of stories at play in this love letter to the movies, along with several terrific performances throughout, the crux of the film, the real star of the show, is cinema itself.

Prior to Martin Scorsese and Quentin Tarantino, Truffaut was arguably the most fervent film loving filmmaker, wearing his affection for the medium on his directorial sleeve and seldom missing an opportunity to sound off in interviews or in
See full article at SoundOnSight »

‘Knife in the Water’ anticipates Roman Polanski’s creeping dread

  • SoundOnSight
Knife in the Water

Directed by Roman Polanski

Poland, 1962

Certainly a stretch to categorize as horror, Roman Polanski’s debut feature anticipates the creeping dread and tense blocking that will characterize his later, truer films of the genre.

Husband and wife Andrzej (Leon Niemczyk) and Krystyna (Jolanta Umecka) pick up a young hitchhiker (Zygmunt Malanowicz) on their way to a sailing outing. The young man joins them on the water and tensions rise among the three as the men jockey for power.

Coming after a number of murky, eerie shorts – including 1957’s grim A Murder – Knife in Water is Lifeboat meets Dead Calm but with Polanski’s signature brooding unease rather than overt, textbook suspense or violence. Repulsion, Rosemary’s Baby, and The Tenant make up the director’s “Apartment Trilogy,” and though Knife in Water is almost exclusively on open water it may as well mark the beginning of a “Claustrophobia Quadrilogy.
See full article at SoundOnSight »

New on Video: ‘Macbeth’

  • SoundOnSight
Macbeth

Written by Roman Polanski and Kenneth Tynan

Directed by Roman Polanski

UK, 1971

Following the success of Rosemary’s Baby in 1968, and prior to what is arguably still his greatest film, Chinatown (1974), Roman Polanski made three curious filmmaking choices. One was the international coproduction and rarely discussed What? (1972), one was the racing documentary Weekend of a Champion (1972), and the third, which actually came before these two, was Macbeth (1971). It is obviously not that a Shakespearean adaptation in itself is unusual, but rather that it so seemingly diverted from the films that were garnering the young Polanski his worldwide acclaim: taut thrillers like The Knife in the Water (1962), Repulsion (1965), Cul-De-Sac (1966), and Rosemary’s Baby. Yet in Macbeth, there are a number of characteristic Polanski touches — in story and style — harkening back to these previous works and in many ways pointing toward those to come.

Don’t be fooled by the Playboy
See full article at SoundOnSight »

Top 10 performances in Roman Polanski films

  • Hitfix
Tomorrow, more than a year after its Cannes Competition premiere, Roman Polanski's "Venus in Fur" finally opens in Us theaters. It's the 20th narrative feature of a career that now spans six decades, so a list themed around the Oscar-winning director's work seemed in order. Given that "Venus in Fur" -- Polanski's third film, after "Death and the Maiden" and "Carnage," to replicate the scale and pace of an intimate stage production -- is based so explicitly around notions of performance, and the push-pull relationship between actor and director, a selection of his most successful actorly collaborations seemed the obvious way to go. Like so many auteurs celebrated for their own idiosyncratic style, Polanski's facility with actors isn't discussed as frequently as his formal abilities and preoccupations, yet he's always had the knack for drawing surprising work out of established stars and newcomers alike -- often casting actors intriguingly out of their element,
See full article at Hitfix »

New on Video: ‘Tess’

  • SoundOnSight
Tess

Written by Gérard Brach, Roman Polanski, and John Brownjohn

Directed by Roman Polanski

France/UK, 1979

Roman Polanski revealed an exceptional eye for gripping visual design in his earliest films. In those works, like Knife in the Water, Cul-de-sac, Repulsion, Rosemary’s Baby and, somewhat later, The Tenant, most of this pictorial construction was derivative of themes, and subsequent depictions of, confinement, claustrophobic paranoia, and severely taut antagonism. In terms of visual and narrative scope, Chinatown opened things up somewhat, but it was with Tess, his 1979 adaptation of Thomas Hardy’s “Tess of the d’Urbervilles,” that Polanski significantly broadened his canvas to encompass the sweeping tale of the Victorian era loves and conflicts of this eponymous peasant girl.

Polanski speaks to this distinction during an interview in the newly released Criterion Collection Blu-ray/DVD of Tess. In discussing the film for the French TV program Cine regards, the director
See full article at SoundOnSight »

Ten Tigon Tales of Terror

Although Hammer Films will always be associated with British horror, the studio did have stiff competition. Amicus specialised in the successful horror anthologies and Us counterparts American International Pictures established a permanent UK base in the mid sixties. Other smaller independents took their own bite from the cherry tree of horror with some success, the best known being Tigon Films.

Tigon has received some belated recognition in recent years. Andy Boot’s book on British horror Fragments of Fear devotes a chapter to the company while John Hamilton’s excellent book Beast in the Cellar covers the varied career of Tigon’s charismatic founder Tony Tenser.

Like Hammer’s Sir James Carreras, Tenser was one of the British Film Industry’s great entrepreneurs. Born in London to poor Lithuanian immigrants and a movie fan since childhood, he was an ambitious man with a natural talent for showmanship. Combining shrewd business
See full article at Shadowlocked »

Jacqueline Bisset Drops S-Bomb During Bizarre Golden Globes Speech

Jacqueline Bisset won a Golden Globe Award for her role in BBC’s ‘Dancing On The Edge!’ But not only did she have to walk incredibly far to the stage, her speech was kind of insane!

Jacqueline Bisset was incredibly stunned to win a Golden Globe — and she made that clear in her speech! The 69-year-old actress took home the award for Best Supporting Actress in a Series, Miniseries or TV Movie on Jan. 12, beating out names like Sofia Vergara and Hayden Panettiere. But even when the music began to play, she refused to walk off the stage; she actually proceeded to curse and talk about her mother!

Jacqueline Bisset Wins Golden Globe & Gives Bizarre Speech

Jacqueline stars in BBC’s Dancing On The Edge, a drama about a black jazz band in London in the 1930s. She plays Lady Lavinia Cremone, a wealthy recluse.

The actress got her start
See full article at HollywoodLife »

Gilbert Taylor, Legendary Cinematographer, Dead At 99

  • CinemaRetro
 

Gilbert Taylor, the legendary cinematographer, has passed away at age 99. Although he photographed some of the greatest films of all time, Taylor never received a single Oscar nomination (though he was nominated for two BAFTAs for his work on Polanski's Repulsion and Cul-de-sac).  He was among the most revered artists in his trade. Among the classics he worked on: Star Wars, Dr. Strangelove, A Hard Day's Night, Dr. Strangelove, Frenzy and The Omen. For more click here
See full article at CinemaRetro »

Gilbert Taylor obituary

Cinematographer on the first Star Wars film who worked with the Boulting Brothers, Hitchcock and Polanski

The British cinematographer Gilbert Taylor, who has died aged 99, was best known for his camerawork on the first Star Wars movie (1977). Though its special effects and set designs somewhat stole his thunder, it was Taylor who set the visual tone of George Lucas's six-part space opera.

"I wanted to give it a unique visual style that would distinguish it from other films in the science-fiction genre," Taylor declared. "I wanted Star Wars to have clarity because I don't think space is out of focus … I thought the look of the film should be absolutely clean … But George [Lucas] saw it differently … For example, he asked to set up one shot on the robots with a 300mm camera lens and the sand and sky of the Tunisian desert just meshed together. I told him it wouldn't work,
See full article at The Guardian - Film News »

Gilbert Taylor Dies

Gilbert Taylor Dies
Influential and respected cinematographer Gilbert Taylor, whose career encompassed the likes of Dr. Strangelove, Star Wars and A Hard Day’s Night, has died at the age of 99.Though he might be best remembered by fans for working on George Lucas’ original space fantasy, his career was long and fascinating, and saw him work with many of the world’s most respected directors. Born in Bushey Heath in 1914, he got his break into the film industry in 1929 at London’s Gainsborough Studios, where he began working as a camera assistant. While his career was interrupted by military service during World War II, he still managed to find a creative outlet, filming nighttime raids over Germany for the Royal Air Force.Among the films he worked on either as Camera Assisstant or Cinematographer are such notable titles as Brighton Rock, The Outsider, Ice Cold In Alex, Repulsion, Cul-de-sac, Frenzy and Flash Gordon.
See full article at EmpireOnline »
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