Skip Navigation

Frame by Frame

Archive for the ‘Digital Cinema’ Category

Patrick Morganelli’s New Opera – Hercules vs. Vampires

Friday, April 24th, 2015

The LA Opera Company – Patrick Morganelli’s new opera Hercules vs. Vampires, from the film by Mario Bava.

There are some times I wish I had a private jet I could simply go to the airport and use at will, and this is one of those times. Patrick Morganelli’s superb new opera,  Hercules vs. Vampires, is playing at the LA Opera House tomorrow and Sunday, and that’s it. By clicking on the image above, you can go to the LA Opera’s site for the production, which features a snippet of video, and a section of the work, which sounds, as Morganelli intended, very much like something influenced by Ravel and Debussy – brilliantly performed.

Bava’s film, featuring the haunting image of a young Christopher Lee (on the screen above) is a masterwork of Italian 60s atmospheric fantasy. Morganelli’s score lifts both the narrative and the images to an entirely new level, and the reviews thus far have been raves. My good friend Dennis Coleman, who lives in Los Angeles, saw the production, and gave it very high marks – and I believe him. This is an inspired “mash-up” of cinema and classical music, performed by some of the brightest talents in the world of opera working today.

As the LA Opera’s web site notes, “buckle your seat belts for our most offbeat presentation ever! Hercules vs. Vampires combines opera and midcentury pop culture, synchronizing live music with cult fantasy film Hercules in the Haunted World, a 1961 sword-and-sandal epic starring bodybuilder Reg Park. When the actors projected on the silver screen open their mouths to speak, the audience will hear their lines sung by our cast of singers from the Domingo-Colburn-Stein Young Artist Program, accompanied by a 26-piece orchestra.

Directed by the great Italian filmmaker Mario Bava, the film itself is fantastic in every sense of the term, swaddled in glorious early-1960s Technicolor. Action-packed and wildly operatic in scope, the film follows Hercules on a heroic journey to rescue his beloved from a fiendish mastermind of terror (played onscreen by horror legend Christopher Lee). Fresh and full of fun, an atmospheric new operatic score by L.A.-based composer Patrick Morganelli provides the perfect accompaniment to Bava’s gorgeously gaudy world.”

As composer Morganelli told Michelle Lanz in The Frame, “one of the amazing things about Mario Bava was that because he was originally a cinematographer, he had an amazing sense of how to light a scene, how to frame it…when he stepped up to become a director he was really able to bring this visual sense to it. Specifically what we see in this particular film is he shot it in anamorphic widescreen, which of course looks spectacular for a low-budget film like that. The color composition of it, and in particular roughly a third of the film takes place in Hades. The scenes in Hades are beyond belief.

I stuck as close as I could to the story of the film. I didn’t want to start doing things that were going to not really make sense with the picture. The difficulty there is that in taking film dialogue and creating an operatic libretto out of it, you have not only artistic issues of how do you condense everything into fewer words, but artistically they have to be words that are singable when you put all that together and then try and match that up with the actual mouth movements of the screen — it was technically quite difficult.” But the results, it seems, are spectacular.

I truly wish I could see this in person; it seems like a remarkable and daring achievement.

Patty Jenkins Is The New Wonder Woman Director

Saturday, April 18th, 2015

Warner Bros. made a real “tone switch” on this one – can’t say I agree.

As Justin Kroll reports in Variety, “While Warner Bros. made a swift decision this week to hire Patty Jenkins as its new Wonder Woman director, industry insiders are still chattering about why original helmer Michelle MacLaren suddenly vanished from the project. The studio is declining to elaborate on the clichéd ‘creative differences’ joint statement that was issued when the two parted ways. But, according to multiple sources close to the project, the director’s vision for the movie was vastly different from the studio’s view.

MacLaren envisioned the DC Comics-based Wonder Woman movie as an epic origin tale in the vein of Braveheart, whereas Warner wanted a more character-driven story that was less heavy on action. Warner executives, these insiders said, became increasingly concerned about MacLaren directing a large-scale, action-packed production when her experience was limited to the small screen, where she made her name directing episodes of Game of Thrones, Breaking Bad and The Walking Dead.”

While Jenkins has directed episodes of The Killing and the excellent feature film Monster, somehow, I think this is a mistake. Wonder Woman needs the epic sweep MacLaren was going for, and as strong as Jenkins’ resumé is, Game of Thrones, Breaking Bad and The Walking Dead seem like excellent calling cards to me — we’ll have to see what happens, but I think I would have preferred MacLaren’s version.

Read Kroll’s entire article by clicking here, or on the image above.

Web Changes Everything for Indie Films and TV Series

Monday, April 13th, 2015

This is a key moment – Netflix and other web providers are producing both “TV” series and theatrical films.

As Dina Gachman reports in Studio System News, “Netflix is buying feature films, Woody Allen is making an Amazon show, and A-list Oscar winners have no problem taking a role in a TV show or miniseries, even at the height of their career. In other words, it’s an exciting time for television. The landscape is changing so rapidly it’ll give you whiplash.

That’s all great news for actors, writers, and producers – and maybe not-so-great news for theater chains, whose owners were recently up in arms about Netflix buying Cary Fukunaga’s feature film Beasts of No Nation for a reported $12 million. Features and television are experiencing an indie revolution – just look at the Best Picture Oscar nominees this year. The vast majority of the nominees were made outside of the studio system, with Warner Bros. American Sniper being the oft-cited exception.

In television, the traditional process of getting a pilot made is still the norm, but there are more channels, more online platforms, and more opportunities for writers and producers to get their project made than ever before. Going the independent route and shooting the pilot yourself is one option, and the stigma of making a pilot DIY-style is quickly becoming a thing of the past [and] while it hasn’t become the norm, indie pilots are definitely becoming an increasingly common route for creators who want to get their passion project off the ground, by any means necessary.

Former House EP Katie Jacobs and veteran indie producer Nick Wechsler (Drugstore Cowboy, Reservation Road, Magic Mike) have recently teamed to produce an independent pilot called Dr. Del, with John Hawkes starring and John Sayles writing. They’ll shoot the pilot on their own, with total creative freedom, and then take it to cable and broadcast network.”

As she puts it, “there really is no excuse not to make your pilot anymore.”

Manoel de Oliveira – Greatest Living Filmmaker – Dies at 106

Thursday, April 2nd, 2015

Manoel de Oliveira shooting his film The Magic Mirror in 2005.

Since we’re all mortal, it had to happen, and now it has; Manoel de Oliveira, to my mind the greatest living filmmaker – without question – has finally died at age 106. His second to last feature film, Gebo and the Shadow, was an austere masterpiece, and he adapted readily to digital cinema, but remained a master of the quiet, patiently constructed image, creating films that always ended with an unexpected twist, but on a metaphorical level rather than being a mere plot shift.

Not that Oliveira was without humor – far from it – as evidenced in this great clip in which he does a Chaplin imitation for filmmaker Agnes Varda. And of course, the Tweets are piling in – as well they should. Since he picked up the pace of production in his late 80s, Oliveira has emerged as the most innovative, deeply moral, and absolutely humanist filmmaker of the late 20th and early 21st century. There’s really no one else like him – before, or now, after his death.

As Ali Jaafar perceptively writes in Deadline, “Manoel De Oliveira, the Portugese filmmaker who for so many years appeared to defy the laws of gravity and physics, has died at the age of 106. He was, by some measure, the world’s oldest active filmmaker, working up until last year when his latest — and last — film, The Old Man Of Belem premiered at the Venice Film Festival.

Born in 1908, De Oliveira’s productivity — he directed 29 films in all — is all the more remarkable given he had only made two films by the time he was 55. The latter half of his long, and critically acclaimed, career would see him earn a dozen career achievement prizes from major film festivals, including two career Venice Golden Lions (in 1985 and 2004) and a special jury prize for 1991’s The Divine Comedy. In 1999, he took home the Cannes jury prize for The Letter.

Unapologetically art house and cerebral in taste, De Oliveira confounded his peers with both his longevity as well as the consistency of his output in his latter years.  He got better with age, making a film a year once he turned 80 until his death. He might not even be finished just yet: He is reputed to have insisted that one of his films, Memories And Confessions, not be shown publicly while he was alive.

De Oliveira was born into privilege. His industrialist father, amongst other things, produced Portugal’s first electric light bulb. Finding himself out of favor under the iron rule of Portugul’s Prime Minister António de Oliveira Salazar from 1932-1968, De Oliveira found it similarly difficult under the socialist government in the early 1970’s as his upper class roots counted against him. Nevertheless, he persisted with his dream to become a filmmaker, even while he managed his family’s factory well into middle age.

In time De Oliveira moved from the neorealist verité style that categorized his early work — his debut feature was Aniki-Bobo in 1942 about the slums of his hometown Porto — eventually gave way to a more formal, literary approach often dealing with themes of unrequited and unfulfilled love. He often adapted literary works, including four books by Agustina Bessa-Luis.

He worked with many fine actors, including Catherine Deneuve, John Malkovich, Michel Piccoli, Jeanne Moreau, Claudia Cardinale and also Marcello Mastroianni in the iconic Italian actor’s final role in Voyage To The Beginning Of The World.” His other standout films include Acto de Primavera, The Strange Case of Angelica, The Convent, A Talking Picture, and numerous other works – Oliveira was one of a kind, and his films – as well as his life – serve as an inspiration to all who love and cherish the cinema.

As Cahiers du Cinema said of Oliveira’s work, “He is sovereign, free, unique, perched high on a tightrope no one else can reach, defying the laws of gravity and above all the rules of cinematic decorum and commerce.” I try to avoid obits in this blog, but this is just too major a passing to omit – our greatest living filmmaker is now gone.

All day long, I have had the feeling something was terribly wrong – now I know why.

Transformers Universe?

Sunday, March 29th, 2015

Paramount wants to make the Transformers films into a “Marvel Universe” style franchise.

Somebody out there must be watching these filmsthey make a fortune, even though my students routinely dismiss them as special-effects driven trash, without even the slightest narrative thread to hold anything together. But in Hollywood, especially in 2015, the bottom line rules, so here comes the “Transformers Universe.” As Germain Lussier reports in Slashfilm,

“Marvel is doing it, DC is doing it, Lucasfilm is doing it, the Ghostbusters are doing it and now it looks like Transformers will be doing it too. Deadline [arguably the top Hollywood inside business journal] reports that Akiva Goldsman, the Oscar-winning writer of a A Beautiful Mind (and the writer of Batman and Robin, among other films) is in negotiations with Paramount to lead a brain trust of writers with the aim of upping the output of Transformers movies for the studio. Goldsman will join executive producers Michael Bay, Steven Spielberg and Lorenzo di Bonaventura in the hiring of a collection of writers to create ‘a potential multi-part Transformers sequel, and come up with potential spinoff films.’

Deadline broke this news and say things are expected to come together quickly. Bay, who has directed the last four uber-successful Transformers films, is currently expected to come back for Transformers 5. (Which is tentatively set to come out in 2016, but 2017 seems more likely.) He’s about to start production on 13 Hours and the hope is, once he’s done with that, a plan and script will be in place for him to work on. They also report that while Goldsman might be the leader of this group, he isn’t likely to write the movies himself.

With Transformers being such a monster hit for Paramount, this really isn’t a big surprise. It’s how Hollywood is going. Plus, the last few movies have had a very cut and paste feel about them with very little cohesion or logic. If a group of people get hired to keep everything straight, that’s a good sign. In addition, the last film definitely left the franchise in a place where there was a pretty blank slate. All we do know is Mark Wahlberg will likely be back.”

Along with Michael Bay, and of course, the Transformers.

Summer 2015 Film Studies Courses – Just A Few Seats Left!

Saturday, March 14th, 2015

JUST A FEW SEATS LEFT!

ENROLL NOW FOR THESE SUMMER 2015 FILM STUDIES COURSES!!

IN PRE-SESSION:

FOURTEEN DAYS – FOURTEEN FILMS – THREE CREDITS

English 439/839: Film Directors: “Sixties Cool: Action, Comedy and Romance”

Pre-Session May 18 –June 5, 2015

Section 301

Call #s 2871 / 2878

CLASS MEETS Monday – Friday 9:30AM – 12:20PM in RVB 123.

IN FINAL FIVE WEEK:

SOME OF THE GREATEST SCI-FI AND ANIME FILMS EVER MADE!

English 413/813: Film: “Animé, Fantasy and Sci-fi Films”

Second Five Week Session July 13-August 13, 2015

Section 601

Call #s 3696 / 3697

CLASS MEETS Monday – Friday 9:15AM — 10:50AM in RVB 123

SEE  CLASSIC FILMS ON THE BIG SCREEN AT THE ROSS THEATER!

DON’T MISS OUT!!

Punch Drunk Love

Tuesday, March 3rd, 2015

I have a new essay on P.T. Anderson’s Punch Drunk Love in Senses of Cinema 74.

As I write, in part, “Adam Sandler has become such a reliable conveyor belt of cinematic schlock that people forget he once had aspirations beyond Dennis Dugan’s truly dreadful film Jack and Jill (2011), in which Sandler plays both Jack and Jill, the latter in drag, managing to rope Al Pacino and Katie Holmes into the film in the process.

As if to offer confirmation of this downward trend, Sandler recently signed a deal for four straight-to-VOD features with Netflix, commenting ‘when these fine people came to me with an offer to make four movies for them, I immediately said yes for one reason and one reason only. Netflix rhymes with Wet Chicks. Let the streaming begin!’

So it’s hard to remember that once upon a time, Sandler had plans for making more ambitious films, and that, indeed, he was ever involved with a director of Paul Thomas Anderson’s caliber, or that the resultant film, Punch-Drunk Love (2002), would win Anderson the Best Director prize at the Cannes Film festival that year, an honour Anderson shared with Kwon-taek Im for his film Painted Fire (2002).

But it’s true – Adam Sandler once sought to move beyond more obvious film fare and really stretch himself as an actor, and this rather remarkable film is the end result. Often referred to as ‘the Adam Sandler movie for people who don’t like Adam Sandler movies’ – count me in with that group – Punch-Drunk Love is a bizarre comedy with serious overtones that scored heavily with critics, but lost money at the box office, a factor that probably led to Sandler’s subsequent involvement with nothing more than a string of absolute lowest common denominator moneymakers.”

You can read the entire essay by clicking here, or on the image above.

Francisco Ferreira on Manoel de Oliveira’s Gebo and the Shadow

Wednesday, February 25th, 2015

Here’s Francisco Ferreira on Manoel de Oliveira’s Gebo and the Shadow in the journal Cinemascope.

As Ferreira notes, in part, “Gebo (Michael Lonsdale) is an aged, decent and broke family man subdued by routine and a sense of duty who has learned from life that ‘when money’s involved, no one ever forgives.’ He lives with his wife Doroteia (Claudia Cardinale), a woman who does not accept reality, pushing upon Gebo and their daughter-in-law Sofia (Leonor Silveira) an endless pack of lies about their missing son, João (Ricardo Trêpa, speaking in a disarming French accent that draws attention to his character’s dubious nature). Gebo often receives his faithful neighbors Chamiço and Candidinha (Luís Miguel Cintra and Jeanne Moreau): their favorite sport is complaining, which nicely complements Gebo’s perpetual sense of hopelessness. A man without ambition, Gebo often laments: ‘The question is whether we come to this world to be happy.’ In fact, happiness here is a temptation and a sordid object in the house: a bag full of money collected from the company where Gebo works.

The shadow of the title, on the other hand, seems to be a far more complex issue. Because first of all in the film, brilliantly shot by Renato Berta in HD on a studio set, faint oil lamps are always flickering, and there is no distinction between day and night. This is a perennially dark world where there is almost no light to reflect any shadows at all: we could dare to say that colors and image here have a pictorial sense and a distinctive purpose . . . the shadow [of the title] is a suffocating thought, commenting on the Portuguese soul and despair from the perspective of the myth of Sebastianism, a topic addressed by Oliveira in both No, or the Vainglory of Command (1990) and The Fifth Empire (2004). For a director who once said that the truth and the event are the two greatest vectors of his work, this historical approach is not an abuse of our imagination: ‘Today is a product of yesterday,’ as Oliveira once said.”

To which Gwendolyn Audrey Foster adds, “Oliveira is like a time traveler who takes us back to another century, illuminated by candles and philosophy . . . he’s the only truly significant classical artist left in the cinema,” a sentiment with which I heartily agree. Oliveira is now 106 years old – his birthday is December 11th, 1908 – and I keep hearing reports that his health is now, perhaps inevitably, precarious, though he has just completed two short films, and I sincerely hope that he will make more features.

After laboring in near-obscurity for decades, Oliveira really began to burst forth on the international scene in his eighties, and has in the last yen years developed a very late classical style which is at once restrained and deeply penetrating; as I’ve said before, he makes viewers work for their pleasures in his films, but in the end, the cumulative effect is staggering. Oliveira truly is the last great classical filmmaker, in the tradition of Renoir, Bresson, and others, and yet his works are still little known, and Gebo and the Shadow, to date, has only a European Region 2 DVD release – but with English subtitles, so there’s no excuse for not getting a copy now. Having recently suffered through the trivialities of the Academy Awards – and every year, though I’m asked to comment, this year vowing never to do so again – seeing something of this quality restores my faith in the cinema, and in art, though no one- absolutely no one – is now working in the cinema at the same level as Oliveira. I urge you to see this film at once.

You can read Ferreira’s excellent article by clicking here, or on the image above.

Filmmaking Tips from Mike Leigh

Tuesday, February 10th, 2015

Landon Palmer offers six filmmaking tips from master British realist Mike Leigh in Film School Rejects.

As Palmer writes, “Mike Leigh is one of few filmmakers who could say something like, ‘given the choice of Hollywood and poking steel pins in my eyes, I’d prefer steel pins’ without suggesting even a hint of hyperbole. Leigh is deeply principled in terms of the dramatics, process, and politics of filmmaking, and we’re all the better off for it. The filmmaker made a name for himself with acutely humanist works of British social realism that bore some inheritance to the ‘kitchen sink’ tradition, but imbue drama with a type of wit, spontaneity, and empathy that is simply inimitable. Leigh’s patient, improvisatory, and collaborative process appears seriously counterintuitive from the perspective of commercial filmmaking, and as a result produces human dramas that are deeply felt and strikingly insightful.

And in his early seventies – after making a dozen feature films and even more TV programs – Leigh is still finding new, seemingly unlikely means of representing life through the moving image. His most recent film, Mr. Turner, was his first to be shot digitally. It’s a surprising move for a period piece, but Leigh and longtime cinematographer Dick Pope use the relatively new technology of capturing 21st century images in order to depict how painter J.M.W. Turner found new ways of capturing 18th century images. So here is a bit of free film school (for fans and filmmakers alike) from the guy who has realized the best performances by your favorite British character actors.”

You can read the whole article by clicking here, or on the image above.

Charlie Brooker’s Black Mirror

Thursday, February 5th, 2015

Black Mirror is one of the most original and disturbing visions of Dystopia ever produced for television.

Juts like The Twilight Zone in the 1960s, Charlie Brooker’s British television series Black Mirror, of which there are now six episodes plus one 90 minute multi-part special, White Christmas, starring Jon Hamm of Mad Men, is disturbing and thought provoking television. Designed, like The Twilight Zone, so that every episode has a new premise, a new cast, and a new plot, but consistently offering visions of a totally wired-up future in which there is no freedom or hope, Black Mirror is available on Netflix streaming in the US – or, as I did, you can buy the Region 2 British DVDs of all six episodes. Regarding the structure of the series, Brooker has commented that “each episode has a different cast, a different setting, even a different reality. But they’re all about the way we live now – and the way we might be living in 10 minutes’ time if we’re clumsy.” Which, I’m afraid, we are.

The series kicked off in early December 2011 with the truly horrific episode The National Anthem, in which the Prime Minister of Britain is forced by terrorists to disgrace himself on worldwide live television to save the life of a kidnapped member of the Royal Family; followed by 15 Million Merits roughly a week later, in which the future is seen as a world of endless drudgery and nonstop video commercials which are forced upon workers who must ceaselessly toil at meaningless jobs simply to survive. The Entire History of You deals with the endless recording of human existence on cellphones, Twitter and other media, which has reached the point of total immersion, so that everyone knows everything about everyone else – there’s nowhere to hide.

The second season – starting in February of 2013 – picks up on this theme with Be Right Back, in which a young widow finds comfort in an artificially created “web” version of her late husband, which “comes back to life” through the aid of every video, Tweet, e-mail and photo scan, and later a synthetic body, but still brings her no real solace. White Bear, easily the most brutal episode of the entire series, came next, with its tale of a young woman who awakes in strange house, unable to remember her identity. Wandering outside, she discovers that no one will talk to her; rather, they incessantly record her every move with their cellphones. The last regular episode to date, The Waldo Moment, chronicles what happens when a CGI cartoon character is suddenly thrust into a race for a seat in Parliament.

The episodes vary in length, from 44 to 62 minutes, and they’re broadcast on Channel 4 in the UK, which has a history of innovative programming going back to the early 1980s. In this country, you’ll have to watch them online, on buy the DVDs, and there is, of course, an American version of the show in the works, for which I hold out little hope – some things just don’t travel well. London at the moment is a fearfully expensive, fairly Dystopian location itself, and the series makes full use of all the technology that comes with a society under constant surveillance – which is life in the UK today. Black Mirror is a paranoid vision of the near future which comes all too close to probability – if we let tech get out of hand (and I would argue we already have), this is just a sample of the world we can expect to live in.

That said, I don’t think the episodes from season two are as strong as those in season one. With completely uncharted territory to mine, and no real risk of failure – if the series clicked, fine, but if not, it would have been a noble experiment – Brooker and his associates could afford to take nearly any risk to create something really off the charts. Season two is slightly more formulaic, though I enjoyed Be Right Back the best of the lot, having just the right mixture of menace and melancholy in its construction. Still, the entire series is literally light years ahead of anything on American television, with the partial exception of PBS, and I suggest you check it out for yourself- whatever you might think of it, it’s an authentic and original vision of society in collapse, and all of us are the victims. It’s a mixture of satire, prognostication and social criticism that really hits home. But beware – it’s not for the faint of heart. Not at all.

You can get more information on Black Mirror by clicking here, or on the image above.

About the Author

Wheeler Winston Dixon

Wheeler Winston Dixon, Ryan Professor of Film Studies at the University of Nebraska-Lincoln, is an internationally recognized scholar and writer of film history, theory and criticism. He is the author of thirty books and more than 100 articles on film, and appears regularly in national media outlets discussing film and culture trends. Frame by Frame is a collection of his thoughts on a number of those topics. All comments by Dixon on this blog are his own opinions. To contact Prof. Dixon for an interview, reach him at wdixon1@unl.edu or wheelerwinstondixon.com

RSS Frame By Frame Videos

  • War Movies
    UNL Film Studies professor Wheeler Winston Dixon at one of the earliestand most enduring film genres, the war movie. […]
  • Frame By Frame - Hollywood Composers
    UNL Film Studies professor Wheeler Winston Dixon highlights the most prolific Hollywood film composers. […]

In The National News

National media outlets featured and cited Wheeler Winston Dixon on a number of topics in the past month. Find out more on the website http://newsroom.unl.edu/inthenews/