Edge of the City (1957)
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1957 / B&W / 2:35 widescreen / 101 min. / Street Date April 17, 2018 / Available from the Twilight Time Movies Store / 29.95
Starring: Joanne Woodward, Sheree North, Tony Randall, Jeffrey Hunter, Cameron Mitchell, Patricia Owens, Barbara Rush, Pat Hingle, Robert H. Harris, Aki Aleong, Charles Herbert, Mimi Gibson.
Cinematography: Joseph Lashelle
Film Editor: Lois R. Loeffler
Original Music: Leigh Harline
Written by Philip Yordan, front for Ben Maddow; from the book by John McPartland
Produced by Jerry Wald
The “Old School Kung Fu Fest” comes to the Lower East Side this weekend, offering the likes of Sammo Hung, Jackie Chan, Bruce Lee, and Tsui Hark, among others.
A print of My Neighbor Totoro screens on Saturday morning.
Frederick Wiseman‘s Hospital begins a week-long run.
A restoration of The Cabinet of Dr. Caligari screens this Monday.
BAFTA is to honour Us actor Sidney Poitier with its Fellowship honour at the Ee British Academy Film Awards in London on Feb 14.
Awarded annually, the Fellowship is the highest accolade bestowed by BAFTA upon an individual in recognition of an outstanding and exceptional contribution to film, television or games.
Fellows previously honoured for their work in film include Charlie Chaplin, Alfred Hitchcock, Steven Spielberg, Sean Connery, Elizabeth Taylor, Stanley Kubrick, Anthony Hopkins, Laurence Olivier, Judi Dench, Vanessa Redgrave, Christopher Lee, Martin Scorsese, Alan Parker and Helen Mirren. Mike Leigh received the Fellowship at last year’s Film Awards.
Poitier said: “I am extremely honored to have been chosen to receive the Fellowship and my deep appreciation to the British Academy for the recognition.”
The pioneering actor’s award-winning career includes six BAFTA nominations, including one BAFTA win for The Defiant Ones (1958), and a British Academy Britannia Award for Lifetime
Ruby Dee Dies
Dee began her lengthy career on the stage, working steadily on Broadway during the 40s. She appeared in 12 shows during the decade, including South Pacific (1943), Walk Hard (1944), Arsenic and Old Lace (1946) and John Loves Mary (1946).
The Jackie Robinson Story in 1950 was Dee’s breakout film, in which she played Rae Robinson. She went on to play Ruth Younger in the A Raisin in the Sun movie, and appear in a number of other films, including Edge of the City, Gone Are the Days , The Incident and Spike Lee’s Do the Right Thing. She received an Oscar nomination for her work in 2007’s American Gangster alongside Denzel Washington.
Dee was also a constant presence on the small screen, making appearances on a number of TV series.
Television is a gold goose that lays scrambled eggs;
and it is futile and probably fatal to beat it for not laying caviar.
When people argue over the quality of television programming, both sides — it’s addictive crap v. underappreciated populist art — seem to forget one of the essentials about commercial TV. By definition, it is not a public service. It is not commercial TV’s job to enlighten, inform, educate, elevate, inspire, or offer insight. Frankly, it’s not even commercial TV’s job to entertain. Bottom line: its purpose is simply to deliver as many sets of eyes to advertisers as possible. As it happens, it tends to do this by offering various forms of entertainment, and occasionally by offering content that does enlighten, inform, etc., but a cynic would make the point that if TV could do the same job televising fish aimlessly swimming around an aquarium,
The result is highly uneven, painfully drawn-out, deeply sincere,
It signaled that the balance of creative power in Hollywood was shifting; that the monopoly of the major studios was fading, and that a new breed of independent companies – often formed with or by the stars who had, at one time, been held in bondage to the majors under long-term contracts – were serious player in the industry (Marty had been produced by Hecht-Lancaster which had been formed by Burt Lancaster and producer Harold Hecht).
It was a victory for a new kind of anti-Hollywood storytelling; unglamorous tales about unglamorous people, real people. Postwar Italian neo-realism had demonstrated the power of the drama of everyday people just trying to get through a day, and Marty and other films like
To be fair, any number of directors could be classified as quintessentially American. There is the shining humanism of John Ford, the political posturing and questioning of Oliver Stone and Michael Moore, even the capitalist excess of Michael Bay. Below are four directors that may not immediately come to mind as proto typically American filmmakers. The films
Something Of Value
A dramatization of the real
Something Of Value
A dramatization of the real
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