It is my experience that one gets a far richer, stranger cinema education in pursuing the careers of actors, that group defined first by (assuming luck shines upon them) two or three era-defining films and then so much that dictates their industry—pet projects, contractual obligations, called-in favors alimony payments, auteur one-offs, and on and on. Few embody that deluge of circumstance better than Michelle Yeoh and Isabelle Huppert, both of whom are receiving spotlights in March. The former’s is a who’s-who of Hong Kong talent, new favorites (The Heroic Trio), items we can at least say are of interest (Trio‘s not-great sequel Executioners), etc.
Huppert’s series runs longer, and notwithstanding certain standards that have long sat on the channel it adds some heavy hitters: Hong’s In Another Country, Cimino’s Heaven’s Gate, Breillat’s Abuse of Weakness, Hansen-Løve’s Things to Come. And, of course,...
Huppert’s series runs longer, and notwithstanding certain standards that have long sat on the channel it adds some heavy hitters: Hong’s In Another Country, Cimino’s Heaven’s Gate, Breillat’s Abuse of Weakness, Hansen-Løve’s Things to Come. And, of course,...
- 2/22/2023
- by Nick Newman
- The Film Stage
In film history, the anthology genre is the most challenging. Episodic films often have several directors and screenwriters which gives them an inconsistent tone and quality. But the genre’s pitfalls haven’t stopped such filmmakers including Akira Kurosawa (“Dreams”), the Coens (“The Ballad of Buster Scruggs”), Frank Miller and Robert Rodriguez (“Sin City”); Woody Allen, Francis Ford Coppola and Martin Scorsese (“New York Stories”); and Joe Dante, John Landis, George Miller and Steven Spielberg (“Twilight Zone: The Movie”).
Wes Anderson joined them with his latest film “The French Dispatch,” which received a nine-minute standing ovation at the Cannes Film Festival. The comedy brings to life three stories from an American magazine published in a fictional French city and features his stock company of actors including Bill Murray, Jason Schwartzman, Adrien Brody and Owen Wilson.
If you are a fan of the genre, here are the best anthology movies that...
Wes Anderson joined them with his latest film “The French Dispatch,” which received a nine-minute standing ovation at the Cannes Film Festival. The comedy brings to life three stories from an American magazine published in a fictional French city and features his stock company of actors including Bill Murray, Jason Schwartzman, Adrien Brody and Owen Wilson.
If you are a fan of the genre, here are the best anthology movies that...
- 10/30/2021
- by Susan King
- Gold Derby
HBO Max has put in development The Last Of The Mohicans, a series based on the historical novel by James Fenimore Cooper, from Emmy winner Cary Joji Fukunaga (True Detective), Watchmen director Nicole Kassell, Nick Osborne (Remember Me) and Paramount Television, where Fukunaga is under an overall deal, Deadline has confirmed. The project had been in development at Paramount TV since last April. Anonymous Content and Fukunaga’s Parliament of Owls are producing. Kassell will direct.
Written by Fukunaga and Osborne and directed by Kassell, The Last of the Mohicans series will be a retelling of Cooper’s French and Indian War novel that re-centers the classic tale on the unlikely romance between Uncas, a young Mohican, and Cora, the mixed-race daughter of a British colonel.
The Last of the Mohicans has a long history of both TV and film adaptions. There have been nine film adaptations, beginning with a 1912 version starring James Cruze.
Written by Fukunaga and Osborne and directed by Kassell, The Last of the Mohicans series will be a retelling of Cooper’s French and Indian War novel that re-centers the classic tale on the unlikely romance between Uncas, a young Mohican, and Cora, the mixed-race daughter of a British colonel.
The Last of the Mohicans has a long history of both TV and film adaptions. There have been nine film adaptations, beginning with a 1912 version starring James Cruze.
- 1/8/2020
- by Denise Petski
- Deadline Film + TV
Cary Joji Fukunaga’s “Last of the Mohicans” TV series has found a home at WarnerMedia’s HBO Max.
The Paramount Television-produced project — which is written by Emmy winner Fukunaga and Nick Osbourne, with “Watchmen’s” Nicole Kassell on board to direct — has been handed a script order from the forthcoming streaming service, a spokesperson for HBO Max tells TheWrap.
The project, which went into development at Paramount last April, is a retelling of James Fenimore Cooper’s novel about the French and Indian War that re-centers the classic tale on the unlikely romance between Uncas, a young Mohican, and Cora, the mixed-race daughter of a British colonel.
Fukunaga’s Parliament of Owls will produce the series along with Paramount and Anonymous Content.
“The clash of civilizations during the Seven Years War, which...
The Paramount Television-produced project — which is written by Emmy winner Fukunaga and Nick Osbourne, with “Watchmen’s” Nicole Kassell on board to direct — has been handed a script order from the forthcoming streaming service, a spokesperson for HBO Max tells TheWrap.
The project, which went into development at Paramount last April, is a retelling of James Fenimore Cooper’s novel about the French and Indian War that re-centers the classic tale on the unlikely romance between Uncas, a young Mohican, and Cora, the mixed-race daughter of a British colonel.
Fukunaga’s Parliament of Owls will produce the series along with Paramount and Anonymous Content.
“The clash of civilizations during the Seven Years War, which...
- 1/8/2020
- by Jennifer Maas
- The Wrap
A TV series adaptation of “The Last of the Mohicans” is in the works at Paramount Television from Cary Joji Fukunaga and “Watchmen” director Nicole Kassell.
The project is a retelling of James Fenimore Cooper’s novel about the French and Indian War that re-centers the classic tale on the unlikely romance between Uncas, a young Mohican, and Cora, the mixed-race daughter of a British colonel. Fukunaga’s Parliament of Owls will produce the series with Anonymous Content. Fukunaga will write with Nicholas Osborne, with Kassell directing.
“The clash of civilizations during the Seven Years War, which frames the story of ‘Last of the Mohicans’ has been a long-time passion of mine. It was a world war before the term even existed. The opportunity to recreate the story’s strong-willed and free-thinking characters, with talents including Nick Osborne and Nicole Kassell, is incredibly exciting to me. Together with Paramount TV and Anonymous Content,...
The project is a retelling of James Fenimore Cooper’s novel about the French and Indian War that re-centers the classic tale on the unlikely romance between Uncas, a young Mohican, and Cora, the mixed-race daughter of a British colonel. Fukunaga’s Parliament of Owls will produce the series with Anonymous Content. Fukunaga will write with Nicholas Osborne, with Kassell directing.
“The clash of civilizations during the Seven Years War, which frames the story of ‘Last of the Mohicans’ has been a long-time passion of mine. It was a world war before the term even existed. The opportunity to recreate the story’s strong-willed and free-thinking characters, with talents including Nick Osborne and Nicole Kassell, is incredibly exciting to me. Together with Paramount TV and Anonymous Content,...
- 4/11/2019
- by Tim Baysinger
- The Wrap
Exclusive: In their first collaboration, Maniac, The Alienist and True Detective’s Cary Joji Fukunaga has teamed with Watchmen director Nicole Kassell to bring The Last Of The Mohicans to the small screen. A TV series based on the historical novel by James Fenimore Cooper is in development at Paramount Television, where Fukunaga has been under an overall deal. Anonymous Content and Fukunaga’s Parliament of Owls are producing.
Written by Fukunaga and Nicholas Osborne and directed by Kassell, The Last of the Mohicans series will be a retelling of Cooper’s French and Indian War novel that re-centers the classic tale on the unlikely romance between Uncas, a young Mohican, and Cora, the mixed-race daughter of a British colonel.
“The clash of civilizations during the Seven Years War, which frames the story of Last of the Mohicans, has been a long-time passion of mine,” said Fukunaga. “It was a...
Written by Fukunaga and Nicholas Osborne and directed by Kassell, The Last of the Mohicans series will be a retelling of Cooper’s French and Indian War novel that re-centers the classic tale on the unlikely romance between Uncas, a young Mohican, and Cora, the mixed-race daughter of a British colonel.
“The clash of civilizations during the Seven Years War, which frames the story of Last of the Mohicans, has been a long-time passion of mine,” said Fukunaga. “It was a...
- 4/11/2019
- by Nellie Andreeva
- Deadline Film + TV
Films by Charlie Chaplin, Cecil B. DeMille, and Buster Keaton are among the “hundreds of thousands” of books, musical scores, and motion pictures that will enter the public domain on January 1, according to The Atlantic. All of the works were first made available to audiences in 1923, four years before the introduction of talkies. Due to changed copyright laws, this will be the largest collection of material to lose its copyright protections since 1998.
Artists looking to incorporate black-and-white era throwbacks into their modern creations will have lots of new options. The Atlantic consulted unpublished research from Duke University School of Law’s Center for the Study of the Public Domain, which shared with IndieWire a list of 35 films that will soon become available to all.
“Our list is therefore only a partial one; many more works are entering the public domain as well, but the relevant information to confirm this may...
Artists looking to incorporate black-and-white era throwbacks into their modern creations will have lots of new options. The Atlantic consulted unpublished research from Duke University School of Law’s Center for the Study of the Public Domain, which shared with IndieWire a list of 35 films that will soon become available to all.
“Our list is therefore only a partial one; many more works are entering the public domain as well, but the relevant information to confirm this may...
- 4/9/2018
- by Jenna Marotta
- Indiewire
'The Magnificent Ambersons': Directed by Orson Welles, and starring Tim Holt (pictured), Dolores Costello (in the background), Joseph Cotten, Anne Baxter, and Agnes Moorehead, this Academy Award-nominated adaptation of Booth Tarkington's novel earned Ricardo Cortez's brother Stanley Cortez an Academy Award nomination for Best Cinematography, Black-and-White. He lost to Joseph Ruttenberg for William Wyler's blockbuster 'Mrs. Miniver.' Two years later, Cortez – along with Lee Garmes – would win Oscar statuettes for their evocative black-and-white work on John Cromwell's homefront drama 'Since You Went Away,' starring Ricardo Cortez's 'Torch Singer' leading lady, Claudette Colbert. In all, Stanley Cortez would receive cinematography credit in more than 80 films, ranging from B fare such as 'The Lady in the Morgue' and the 1940 'Margie' to Fritz Lang's 'Secret Beyond the Door,' Charles Laughton's 'The Night of the Hunter,' and Nunnally Johnson's 'The Three Faces...
- 7/8/2017
- by Andre Soares
- Alt Film Guide
Ricardo Cortez: Although never as big a star as fellow 1920s screen heartthrobs Rudolph Valentino, Ramon Novarro, and John Gilbert, Cortez had a long – and, to some extent, prestigious – film career, appearing in nearly 100 movies between 1923 and 1950. Among his directors: Allan Dwan, Cecil B. DeMille, D.W. Griffith, James Cruze, Alexander Korda, Herbert Brenon, Roy Del Ruth, Frank Lloyd, Gregory La Cava, William A. Wellman, Alexander Hall, Lloyd Bacon, Tay Garnett, Archie Mayo, Raoul Walsh, Frank Capra, Walter Lang, Michael Curtiz, and John Ford. See previous post: “Remembering Ricardo Cortez: Hollywood's Silent “Latin Lover” & Star of Original 'The Maltese Falcon'.” First of all, why Ricardo Cortez? Since I began writing about classic movies and vintage filmmakers roughly 30 years ago, people have always been curious why I choose particular subjects. It sounds kind of corny, but I have always wanted to do original work and perhaps make a minor contribution to film history at the...
- 7/7/2017
- by Andre Soares
- Alt Film Guide
Ricardo Cortez biography 'The Magnificent Heel: The Life and Films of Ricardo Cortez' – Paramount's 'Latin Lover' threat to a recalcitrant Rudolph Valentino, and a sly, seductive Sam Spade in the original film adaptation of Dashiell Hammett's 'The Maltese Falcon.' 'The Magnificent Heel: The Life and Films of Ricardo Cortez': Author Dan Van Neste remembers the silent era's 'Latin Lover' & the star of the original 'The Maltese Falcon' At odds with Famous Players-Lasky after the release of the 1922 critical and box office misfire The Young Rajah, Rudolph Valentino demands a fatter weekly paycheck and more control over his movie projects. The studio – a few years later to be reorganized under the name of its distribution arm, Paramount – balks. Valentino goes on a “one-man strike.” In 42nd Street-style, unknown 22-year-old Valentino look-alike contest winner Jacob Krantz of Manhattan steps in, shortly afterwards to become known worldwide as Latin Lover Ricardo Cortez of...
- 7/7/2017
- by Andre Soares
- Alt Film Guide
Constance Cummings in 'Night After Night.' Constance Cummings: Working with Frank Capra and Mae West (See previous post: “Constance Cummings: Actress Went from Harold Lloyd to Eugene O'Neill.”) Back at Columbia, Harry Cohn didn't do a very good job at making Constance Cummings feel important. By the end of 1932, Columbia and its sweet ingenue found themselves in court, fighting bitterly over stipulations in her contract. According to the actress and lawyer's daughter, Columbia had failed to notify her that they were picking up her option. Therefore, she was a free agent, able to offer her services wherever she pleased. Harry Cohn felt otherwise, claiming that his contract player had waived such a notice. The battle would spill over into 1933. On the positive side, in addition to Movie Crazy 1932 provided Cummings with three other notable Hollywood movies: Washington Merry-Go-Round, American Madness, and Night After Night. 'Washington Merry-Go-Round...
- 11/5/2015
- by Andre Soares
- Alt Film Guide
Constance Cummings: Actress in minor Hollywood movies became major London stage star. Constance Cummings: Actress went from Harold Lloyd and Frank Capra to Noël Coward and Eugene O'Neill Actress Constance Cummings, whose career spanned more than six decades on stage, in films, and on television in both the U.S. and the U.K., died ten years ago on Nov. 23. Unlike other Broadway imports such as Ann Harding, Katharine Hepburn, Miriam Hopkins, and Claudette Colbert, the pretty, elegant Cummings – who could have been turned into a less edgy Constance Bennett had she landed at Rko or Paramount instead of Columbia – never became a Hollywood star. In fact, her most acclaimed work, whether in films or – more frequently – on stage, was almost invariably found in British productions. That's most likely why the name Constance Cummings – despite the DVD availability of several of her best-received performances – is all but forgotten.
- 11/4/2015
- by Andre Soares
- Alt Film Guide
'Pirates of the Caribbean: The Curse of the Black Pearl': Johnny Depp as Capt. Jack Sparrow. 'Pirates of the Caribbean: The Curse of the Black Pearl' review: Mostly an enjoyable romp (Oscar Movie Series) Pirate movies were a Hollywood staple for about three decades, from the mid-'20s (The Sea Hawk, The Black Pirate) to the mid-to-late '50s (Moonfleet, The Buccaneer), when the genre, by then mostly relegated to B films, began to die down. Sporadic resurrections in the '80s and '90s turned out to be critical and commercial bombs (Pirates, Cutthroat Island), something that didn't bode well for the Walt Disney Company's $140 million-budgeted film "adaptation" of one of their theme-park rides. But Neptune's mood has apparently improved with the arrival of the new century. He smiled – grinned would be a more appropriate word – on the Gore Verbinski-directed Pirates of the Caribbean: The Curse of the Black Pearl,...
- 6/29/2015
- by Andre Soares
- Alt Film Guide
Howard Hughes movies (photo: Leonardo DiCaprio as Howard Hughes in 'The Aviator') Turner Classic Movies will be showing the Howard Hughes-produced, John Farrow-directed, Baja California-set gangster drama His Kind of Woman, starring Robert Mitchum, Hughes discovery Jane Russell, and Vincent Price, at 3 a.m. Pt / 6 a.m. Et on Saturday, November 8, 2014. Hughes produced a couple of dozen movies. (More on that below.) But what about "Howard Hughes movies"? Or rather, movies -- whether big-screen or made-for-television efforts -- featuring the visionary, eccentric, hypochondriac, compulsive-obsessive, all-American billionaire as a character? Besides Leonardo DiCaprio, who plays a dashing if somewhat unbalanced Hughes in Martin Scorsese's 2004 Best Picture Academy Award-nominated The Aviator, other actors who have played Howard Hughes on film include the following: Tommy Lee Jones in William A. Graham's television movie The Amazing Howard Hughes (1977), with Lee Purcell as silent film star Billie Dove, Tovah Feldshuh as Katharine Hepburn,...
- 11/6/2014
- by Andre Soares
- Alt Film Guide
As the only woman to carve out a professional career as a director in Hollywood’s Golden Age, Dorothy Arzner (1897-1979) was one of a kind in the history of American cinema. During its 62nd edition, the San Sebastian Festival will pay homage to the work of Arzner, today considered a pioneer in women’s incorporation to the film industry, proclaimed as a filmmaker of strong style and personality for which she earned undeniable prestige within the Hollywood studio system.
Born in San Francisco but raised in Los Angeles, Dorothy Arzner’s parents ran a café popular with the famous actors and movie directors of the time, including Charles Chaplin, William S. Hart and Erich von Stroheim. Having obtained a degree at the University of Southern Carolina and after a stint as an ambulance driver in World War I, Arzner began a career in the world of journalism. However, introduction by a mutual friend to the director William C. de Mille (brother of the famous Cecil B. DeMille) was to forever change the direction of her life: following a visit to a film studio, she decided to become a film director. Her first work in the film industry was as a stenographer at the Players-Lasky studios (later to become Paramount), transcribing film scripts. Her skills and strong nature opened the way to works of greater responsibility: script writer, script girl and, finally, editor. It was there in the editing room that Arzner earned her excellent reputation i n the Hollywood movie industry, working on 52 films and assiduously collaborating with the filmmaker, James Cruze. In the famous motion picture starring Rudolph Valentino, Blood and Sand (1922), apart from her brilliant editing work, Arzner helmed the second unit crew for the bull-fighting scenes. She also worked as a script writer on some of Cruze’s films.
The tenacious artist pressed Paramount to let her direct a film, threatening the studio bosses with the acceptance of an offer from their rivals at Columbia. Finally, she made her directorial debut on Fashions for Women (1927), and the following year became the first woman ever to direct a talkie, Manhattan Cocktail (1928). Arzner went on to helm another 15 films in the 30s and early 40s, working with some of the greatest Hollywood stars like Clara Bow, Katharine Hepburn, Fredric March, Rosalind Russell, Claudette Colbert, Maureen O'Hara and Joan Crawford in comedies and dramas powerfully focused on women characters: The Wild Party (1929), Anybody's Woman (1930), Sarah and Son (1930), Honor Among Lovers (1931), Working Girls (1931), Merrily We Go to Hell (1932), Christopher Strong (1933), Nana (1934), Craig's Wife (1936) and The Bride Wore Red (1937).
In 1933 she became the first woman member of the Directors Guild of America and indeed remained its only female associate for several decades. She also went down in history as the inventor of the first boom mike for having used a microphone attached to a fishing rod when filming the early talkies.
Although she gradually fell from prominence, Arzner’s career was championed in the 60s by the feminist movements and she received several tributes, including one by the Directors Guild of America in 1975. Today her filmography is not only newly appreciated as an extremely unusual exception in the history of American film, but also for its intrinsic values. Arzner left her mark through a series of movies of refined visual style that questioned the traditional sexual roles of the time and the part played by woman in society or which, according to certain critics, introduced veiled lesbian undertones to the rigid Hollywood structure of the moment.
The retrospective dedicated by the San Sebastian Festival to Dorothy Arzner will be organized in collaboration with Filmoteca Española. The cycle will be complemented with a publication on her figure and work.
Born in San Francisco but raised in Los Angeles, Dorothy Arzner’s parents ran a café popular with the famous actors and movie directors of the time, including Charles Chaplin, William S. Hart and Erich von Stroheim. Having obtained a degree at the University of Southern Carolina and after a stint as an ambulance driver in World War I, Arzner began a career in the world of journalism. However, introduction by a mutual friend to the director William C. de Mille (brother of the famous Cecil B. DeMille) was to forever change the direction of her life: following a visit to a film studio, she decided to become a film director. Her first work in the film industry was as a stenographer at the Players-Lasky studios (later to become Paramount), transcribing film scripts. Her skills and strong nature opened the way to works of greater responsibility: script writer, script girl and, finally, editor. It was there in the editing room that Arzner earned her excellent reputation i n the Hollywood movie industry, working on 52 films and assiduously collaborating with the filmmaker, James Cruze. In the famous motion picture starring Rudolph Valentino, Blood and Sand (1922), apart from her brilliant editing work, Arzner helmed the second unit crew for the bull-fighting scenes. She also worked as a script writer on some of Cruze’s films.
The tenacious artist pressed Paramount to let her direct a film, threatening the studio bosses with the acceptance of an offer from their rivals at Columbia. Finally, she made her directorial debut on Fashions for Women (1927), and the following year became the first woman ever to direct a talkie, Manhattan Cocktail (1928). Arzner went on to helm another 15 films in the 30s and early 40s, working with some of the greatest Hollywood stars like Clara Bow, Katharine Hepburn, Fredric March, Rosalind Russell, Claudette Colbert, Maureen O'Hara and Joan Crawford in comedies and dramas powerfully focused on women characters: The Wild Party (1929), Anybody's Woman (1930), Sarah and Son (1930), Honor Among Lovers (1931), Working Girls (1931), Merrily We Go to Hell (1932), Christopher Strong (1933), Nana (1934), Craig's Wife (1936) and The Bride Wore Red (1937).
In 1933 she became the first woman member of the Directors Guild of America and indeed remained its only female associate for several decades. She also went down in history as the inventor of the first boom mike for having used a microphone attached to a fishing rod when filming the early talkies.
Although she gradually fell from prominence, Arzner’s career was championed in the 60s by the feminist movements and she received several tributes, including one by the Directors Guild of America in 1975. Today her filmography is not only newly appreciated as an extremely unusual exception in the history of American film, but also for its intrinsic values. Arzner left her mark through a series of movies of refined visual style that questioned the traditional sexual roles of the time and the part played by woman in society or which, according to certain critics, introduced veiled lesbian undertones to the rigid Hollywood structure of the moment.
The retrospective dedicated by the San Sebastian Festival to Dorothy Arzner will be organized in collaboration with Filmoteca Española. The cycle will be complemented with a publication on her figure and work.
- 4/19/2014
- by Sydney Levine
- Sydney's Buzz
One of the Most Amazing Silent Movies (or Movies of Any Era, Period) Ever Made Tops the List of Best of Movies Released in 1921 Rex Ingram’s The Four Horsemen of the Apocalypse, Metro Pictures' film version of Vicente Blasco Ibáñez’s epic novel -- from a scenario by the immensely powerful writer-producer June Mathis -- catapulted Mathis’ protégé, the until then little known Rudolph Valentino (photo, left), to worldwide superstardom, as The Four Horsemen became one of the biggest box-office hits of the silent era. Ingram’s wife, the invariably excellent Alice Terry (right, dark-haired in real life; a light-haired in her many movies), played Valentino's love interest. Ninety-two years after its initial launch, the Four Horsemen remains a monumental achievement. Released by MGM, Vincente Minnelli's 1962 remake of this Metro Pictures production featured an all-star cast: Glenn Ford, Ingrid Thulin (dubbed by Angela Lansbury), Charles Boyer, Lee J. Cobb,...
- 4/3/2013
- by Andre Soares
- Alt Film Guide
There are two stories I want to tell with this glorious 1922 poster: one is about the film itself—a forgotten silent melodrama—and the sad fates of its main protagonists, and the other is about the artist Henry Clive.
The Green Temptation, a film which I’m not even sure is extant (the silent film database silentera.com says “survival status: unknown”), starred Betty Compson as Genelle, a member of the Parisian underworld who, along with her partner Gaspard, runs a travelling theatre as a ruse to pickpocket their patrons and burgle their homes while they’re watching the show. When the First World War starts, Genelle joins the Red Cross as a nurse to evade the police and after the War emigrates to America to start a new life. But her attempt to turn over a new leaf is foiled by the reappearance of Gaspard who forces her to...
The Green Temptation, a film which I’m not even sure is extant (the silent film database silentera.com says “survival status: unknown”), starred Betty Compson as Genelle, a member of the Parisian underworld who, along with her partner Gaspard, runs a travelling theatre as a ruse to pickpocket their patrons and burgle their homes while they’re watching the show. When the First World War starts, Genelle joins the Red Cross as a nurse to evade the police and after the War emigrates to America to start a new life. But her attempt to turn over a new leaf is foiled by the reappearance of Gaspard who forces her to...
- 3/30/2012
- MUBI
Gloria Grahame, The Big Heat Forrest Gump, Bambi, The Silence Of The Lambs: National Film Registry 2011 Movies Besides the aforementioned Hester Street and Norma Rae, women are also at the forefront of Julia Reichert and Jim Klein's Growing Up Female (1971); Chick Strand’s Fake Fruit Factory (1986), a documentary about Mexican women who create ornamental papier-mâché fruits and vegetables; and the recently deceased George Kuchar’s experimental short I, an Actress (1977), which is available on YouTube. I couldn't find any titles focusing on gay, lesbian, bisexual, multisexual, etc., or transgender characters. As so often happens, political correctness will go only so far. Anyhow, more interesting than p.c. choices was the inclusion of A Cure for Pokeritis (1912), an early comedy starring then-popular (and quite odd) couple John Bunny and Flora Finch; and what may well be my favorite noirish crime drama, Fritz Lang's The Big Heat (1953), starring Glenn Ford and Gloria Grahame.
- 12/28/2011
- by Andre Soares
- Alt Film Guide
Today's generation is surrounded by technology. Rapidly-advancing tools of all sorts are so prevalent in every aspect of our lives that we depend on them, nay, expect them to make our lives easier, more enjoyable, and more interesting. Multi-billion dollar industries such as cinema are in no way immune from the public's desire for bigger and better things. Moviegoers have the options of watching films in a variety of locales, in IMAX or 3D, via regular projection screens or the latest in digital picture. For those who prefer to stay close to home, the options multiply. Satellite TV, cable TV, Redbox, a widespread availability of DVDs, and even the disappearing neighborhood rental store all combine to contain every movie that the discerning film aficionado could ever hope to watch, available at the push of a button or a short drive up the street.
Well... almost every movie. It may seem...
Well... almost every movie. It may seem...
- 1/21/2011
- Shadowlocked
The Pony Express (1925) Direction: James Cruze Screenplay: Walter Woods; from Woods and Henry James Forman’s story Cast: Betty Compson, Ricardo Cortez, George Bancroft, Ernest Torrence, Wallace Beery, Al Hart The Pony Express is a rousing James Cruze Western depicting the founding of the Pony Express with a backdrop of political ambitions concerning a senator’s plans to get California to secede from the United States so he can build his own empire. A great cast and Cruze’s direction keep this one interesting — even though Ricardo Cortez in a period film seems woefully out of place and pretty Betty Compson’s role is more or less that of an ingenue, merely requiring her to look good while reacting to the things going [...]...
- 11/2/2009
- by Andre Soares
- Alt Film Guide
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