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Posts Tagged ‘Deadline Hollywood’

Alejandro Jodorowsky‘s Dune

Friday, February 14th, 2014

From Nancy Tartaglione of Deadline Hollywood comes this trailer for a film about a film that never got made.

Alejandro Jodorowsky famously made the metaphorical “western” El Topo, but his output has been minimal over the years, perhaps because he tries to mount such elaborate projects. Here’s the trailer for a film about his version of the classic science-fiction novel Dune, which never got made for various reasons. As Tartaglione reports, “Frank Pavich’s Jodorowsky’s Dune debuted in the Directors’ Fortnight sidebar in Cannes last year before being acquired by Sony Pictures Classics and playing the fall fest circuit. A trailer has dropped for the documentary about veteran Chilean filmmaker Alejandro Jodorowsky‘s ill-fated attempt to bring Frank Herbert’s seminal sci-fi novel, Dune, to the screen.

In the mid-1970s, Jodorowsky (El Topo, Holy Mountain, Santa Sangre) came up with an ambitious take on the tome and spent two years in pre-production. The film was to star Jodorowsky’s own 12-year-old son Brontis alongside Orson Welles, Mick Jagger, David Carradine and Salvador Dali, set to a musical score by Pink Floyd with art design by H.R. Giger and Jean ‘Moebius’ Giraud. But the project ultimately went unrealized and the rights lapsed.

David Lynch made his own version of Dune in 1984 with Kyle MacLachlan, Sting and Sean Young. Here’s a look at what might have been.” As you can see from the trailer, a lot of work went into the design of the film, and the casting was certainly ambitious. I’m sorry that this never saw the light of day, as I think it would have been a fascinating project — perhaps better than Lynch’s version, but we’ll never know.

Click here, or on the image above, to read Deadline’s coverage, and see the trailer for the film.

For more free articles and videos, visit my website at wheelerwinstondixon.com

Lost Peter Sellers Films Found — Amazing!!

Friday, December 13th, 2013

Nancy Tartaglione reports in Deadline Hollywood that two lost Peter Sellers films have been found.

As Tartaglione writes, “in a discovery that would make Inspector Clouseau proud, two long-lost short films starring Peter Sellers have been found in Southend, England and will be screened next year at a local film festival. Those will be the first public showings of Dearth Of A Salesman and Insomnia Is Good For You in over 50 years. The 30-minute movies were made in 1957, seven years before Sellers would make an Oscar-nominated turn in Stanley Kubrick’s Dr. Strangelove Or: How I Learned To Stop Worrying And Love The Bomb.

It’s thought that Sellers used the recovered pictures as show reels while segueing from radio to movies. According to the BBC, they were originally found in a London dumpster in 1996 by a building manager who took them home and stocked them away without realizing what the 21 film cans contained. During a recent clear-out of his house, Robert Farrow rediscovered them and learned of the Sellers movies.

Stephen Podgorney of Southend-based Dimwittie Films tells me he is now researching the films which are being digitally restored. ‘It’s a big task as so little is known.’ However, it is believed that Dearth Of A Salesman features Judith Wyler, the daughter of director William Wyler, and both films were co-written by Oscar-winner Mordecai Richler. The Southend Film Festival will host the screenings on May 1st.”

So you see — an early Christmas present! Thanks, Nancy!!

Hammer Studios Restores Its Classic Films

Thursday, January 19th, 2012

Bray Studios, for many years the home of Hammer Films.

Click on the image above to go to Hammer’s official website.

Hammer Films, arguably the most important studio in the history of Gothic horror films, and home to directors Terence Fisher, Freddie Francis, Val Guest and many others, has begun an ambitious plan to bring their many of the classic films in their archive into the Blu-ray era, working in conjunction with Studiocanal and others. As Nancy Tartaglione-Moore reports, “legendary horror studio Hammer has announced a global restoration project for its library of films. In partnership with Studiocanal, Pinewood and other international players, more than 30 films will be revamped in HD for Blu-ray and other new media supports. Hammer’s original U.S. production partners, 20th Century Fox, Warner Bros and Paramount, are also participating in the project. The first title to be released is Dracula Prince Of Darkness, which will go out in March in the UK. The studio was founded in 1934 and went on to make such titles as The Plague Of The Zombies, Frankenstein Created Woman, The Witches and The Mummy. Since 2008, it’s been a division of the Exclusive Media Group. After ceasing production in the 1980s, Hammer returned to features in 2010 with Matt Reeves’ adaptation of Swedish hit Let Me In. This year, it will release Daniel Radcliffe-starrer The Woman In Black.”

Excellent news! You can read the entire story by clicking right here.

Nicolas Winding Refn’s Drive (2011)

Thursday, September 15th, 2011

Ryan Gosling at the wheel in Nicolas Winding Refn’s Drive (2011)

Here’s a typically elegant and perceptive essay by J. Hoberman from The Village Voice on Drive (2011), the new action film by director Nicolas Winding Refn. As Hoberman usefully points out,

“As stripped-down and propulsive as its robotic title, Drive is the most “American” movie yet by Danish genre director Nicolas Winding Refn. The film, for which Refn was named best director last May in Cannes, is a sleek, tense piece of work that, as a vehicle for Ryan Gosling, has a kind of daredevil control [. . .] Refn is primarily a stylist, and this tale of a Hollywood stunt driver who moonlights as a hired wheelman (or is it vice versa?) and gets played for a patsy is a lovingly assembled, streamlined pastiche of ’80s movies and TV. The most obvious reference is Walter Hill’s schematic action flick The Driver: This 1978 paean to professional cool in the person of Ryan O’Neal more or less provides Drive’s title, premise, uninflected antihero, and minimalist existentialism, as well as its two-dimensional attitude.”

I’ve always thought that The Driver was one of Hill’s best films, and this is an inspired riff on the original, by a thoughtful and intelligent genre artist. Interestingly, the project was originally pitched to Gosling, and it was Gosling who chose Refn as the director for Drive; a first for Gosling’s career, and a very smart decision. Those who think that Cannes only honors more traditional “art” films should think again; this is a festival that continually surprises informed observers, in the most pleasingly possible fashion. Carey Mulligan, Ron Perlman, Bryan Cranston, Albert Brooks and Christina Hendricks are also in the film, so all in all, this is a very strong ensemble cast for any project. And you know what’s really refreshing? As Mike Fleming reports in Deadline Hollywood, the film was made for roughly $30 million, and in today’s economy, that’s bare bones filmmaking.

Read Hoberman’s entire essay here.

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. To contact Prof. Dixon for an interview, reach him at 402.472.6064 or wdixon1@unl.edu. Visit him at his website wheelerwinstondixon.com.

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