Herewith is a new occasional announcement entry for various and sundry doings by Bright Lights writers and friends that may interest readers.
Saw a couple baghead movies over the weekend and am still sleeping with the lights on. What's so scary about a bag over a head? Who knows, but it works.
Having already submitted a list of ten to Movieman’s Movie Bookshelf meme, a “gathering of all the movie books that influenced, enlightened, and excited me, you, and everyone else,” I was delighted to read his master list of books submitted to him by all the bloggers who participated in the meme - not only delighted, but inspired to add two more books that no else mentioned and which I probably should have included in the first place as “runner-ups.
Not available on DVD because IFC is sometimes morons, buying the rights of independent films just to make sure no one ever gets to see them, Catherine Breillat's 2007 film, THE LAST MISTRESS, starring Asia Argento is playing on Sundance Channel tomorrow night at 1:30 AM.
In America, the 1960s were the Golden Age of the foreign film. Film directors like Michelangelo Antonioni, Jean-Luc Godard, Ingmar Bergman, and Alain Resnais were considered “superstars,” and would-be hipsters young and old (especially young) flocked to their movies.
It's a shame that Ed Wood's last non-skin film, NIGHT OF THE GHOULS (1959), had to go unseen all through the prime time of Wade Williams' TV horror package.
Thank you, Spirit of Ed Wood Blogathon, for giving me an excuse to write about José Mojica Marins, the Brazilian screenwriter, director, and star of films every bit as quirky and original as those of the incomparable Wood.
A Royal Scandal (1945) is an Ernst Lubitsch production directed through - rather than by - Otto Preminger.
According to the U.K. Guardian, President Barack Obama, upon leaving Great Britain, gave Prime Minister Gordon Brown a very special present, a box set of 25 classic American films (see above), which the Guardian snarkily describes as "a gift about as exciting as a pair of socks.
Public Enemies is the latest in an ongoing parade of "Procedural" bios-- this newfangled trend of directors and producers wanting to recreate all the scenes they've read about of people they admire.
The Los Angeles Times' Mark Swed takes a long look at some recent film and theater projects that have dealt with classical music - including The Soloist and Francis Coppola's Tetro - and concludes the most interesting of the lot is the Wooster Group's theatrical mash-up La Didone (bottom), which combines a 17th Century opera by Francesco Cavalli with the story and look of Mario Bava's 1965 pop design classic, Planet of the Vampires aka Terrore nello spazio (top):"Pop culture is not wrong in looking at classical art as outsider art.
Shot on video and doomed with drab titles, STATE PROPERTY 1 (2002) & STATE PROPERTY 2 (2005) are actually very interesting little works in the BATTLE OF ALGIERS vein of faux-verite.
Werner Herzog (above right) with favorite star Klaus Kinski during the shooting of Fitzcarraldo (1982).
In 1976, Claude Chabrol made a special appearance at the Los Angeles Film Exposition (FILMEX). A friend tipped me off that he was staying at the Century Plaza Hotel, and that if I hung out in the lobby I was likely to run into him there.
Why Ten Days’ Wonder? I certainly wouldn’t call it one of Chabrol’s masterpieces. That’s a description I’d reserve for Les Bonnes Femmes, Le Boucher, Á Double Tour, La Rupture, The Cry of the Owl, Story of Women, La Cérémonie, or any one of a half dozen others.
One of our writers, Prof. Stephane Dunn, sent in this personal tribute to dazzling, wounded, now dead Michael Jackson.
In case you're asleep at your desk (like me) I should tell you there's a whole Chabrolian hooplah going on over at the amazing Flickhead! I've always liked Chabrol's weird blend of class hostility and Hitchcock, lesbian inter-fighting, sexual conflict and bourgeoisie blasting, but never quite "loved" it; hence I have no valuable opinion to interject (aww), but I'm looking forward to digging into the pieces from those who do, and enhancing my appreciation of his subtleties.
The upcoming release of Alain Resnais's classic Last Year at Marienbad on Blu-ray DVD reminds us that Marienbad was one of the many formally ambitious films released in the 1960s that popular critic Pauline Kael simply didn't "get.
The post before last made me unearth these notes I once wrote after first seeing the film. Maybe they'll add a little something here.
I can't think of any others with a more sweeping sense of corruption. His perversity is simply authoritative.