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Posts Tagged ‘Films That Need a DVD Release’

Agnès Varda’s Cannes Winner – “Visages Villages”

Saturday, May 27th, 2017


Agnès Varda’s documentary Visages Villages Has Won The Golden Eye Prize at Cannes. 

As Rhonda Richford writes in The Hollywood Reporter, “Agnès Varda and JR’s documentary film Faces Places (Visages Villages) has taken the Golden Eye prize, which recognizes a documentary from across all sidebars.The film screened out of competition in the official selection.

The prize was awarded by a jury of French actress Sandrine Bonnaire, Oscar-nominated The Tsunami and the Cherry Blossom director Lucy Walker, Oscar-nominated The Gatekeepers director Dror Moreh, Toronto Film Festival programmer Thom Powers and film critic Lorenzo Codelli.

“Our jury has been deeply moved by Agnès and JR’s decision to meet local people, aimed by this movie-tale about consideration for Human throughout Art. This combined perspectives, are delicate and generous,” the jury said. The documentary follows the two directors as they travel through rural France in a van photographing and interviewing rural and working-class people. JR is best known as a graffiti artist and street photographer.

The Golden Eye, or L’Oeil d’Or, is awarded to the best documentary across all official selections with the French Writers Society. It was initiated in 2015 with the support of the festival and awards the winning director €5000 prize.”

In his review of the film for Variety, critic Owen Gleiberman was ecstatic and unstinting in his praise: “she’s 88, and makes films like she’s 28. Her movies are [. . .] a tonic — just watching them makes you feel younger. Her new one, Visages Villages (which does indeed take place in villages, though the idiomatic translation is Faces Places), is another roving personalized documentary made in the cinematic thrift-shop spirit of The Gleaners and I (2000) and The Beaches of Agnès (2008).

Both those films were enchanting, and this one is too, though here Varda raises the bar on what she’s doing, because her premise is so slender that she appears, at times, to be conjuring the film out of thin air. Agnès Varda, in the glory of her golden years, has become a humanist magician.

In Visages Villages she teams up with the renegade French graffiti-artist-turned-outsize-street-photographer known as JR, who could be characterized as a rough Gallic equivalent to Banksy. He and Varda met in 2015 and quickly recognized each other as kindred spirits, despite their rather dramatic differences: He’s a prankish and supremely laid-back 33-year-old millennial hipster who never takes off his pork-pie hat and sunglasses, and she’s a venerable New Wave legend whose face still expresses the beautiful gravity that always defined her. Yet both are outsider artists, committed to visualizing life by making up their own rules. ‘Chance has always been my best assistant,’ says Varda, and she’s not kidding. In this movie, she leaves nearly everything to chance.

Varda and JR, who share directing credit, begin to travel around, with a single liberating agenda: In each place they visit, they’ll meet the people there, and JR will produce his epic-size black-and-white portraits of them, which they will then plaster on houses, barns, storefronts: any available surface. In doing so, they will render the people large. Larger than life? No. As large as life.

Varda, who tends to blurt out whatever’s on her mind, says that JR’s refusal to remove his sunglasses reminds her of Godard in the ’60s, who also kept his gaze hidden. She flashes clips from her five-minute 1961 burlesque short Les Fiancés du pont Mac Donald ou (Méfiez-vous des lunettes noires), which starred Godard and Anna Karina, and in that movie Godard looked almost innocent, but by the end of Visages Villages he will come back to haunt her [ . . .]

There is no mention of politics, yet Visages Villages may be the most profound political movie to play at Cannes this year. Its ‘message’ is simplicity itself: Everyone is who they are. Yet in capturing anonymous workers as images of transcendent individuality, Visages Villages makes a powerful statement about the kind of society we’re becoming, in which the one percent don’t just own too much of everything; they get all the attention too. Our addiction to wealth and celebrity has begun to suck the air out of the appreciation for ordinary life, and this film offers a sublime rebuke to that.

Varda and JR are bumptious companions who tease each other into confessions and flights of fancy. Varda won’t stop bugging JR about his sunglasses, to the point that they become an active annoyance for her. She also uses shots she took decades ago to meditate on her friendship with the late fashion photographer Guy Bordin, and she muses upon her own death, summing up her feelings about it with the perfect cosmic retort: ‘I’m looking forward to it. Because that’ll be that.’

And then there’s Godard. He’s an old friend of Varda’s, a long-time comrade of her and her late husband, the director Jacques Demy (The Umbrellas of Cherbourg), and near the end of the movie she and JR take a train to visit him. When Godard fails to show up at a café at the appointed time, they wind up in front of his house, where he has scrawled a cryptic message in magic marker that leaves Varda in tears.

She’s wounded, and calls him a ‘dirty rat.’ Yet if Godard, in this movie, represents the weight of the past, Varda’s communion with JR suggests the promise of the future, never more so than when he proves his friendship by giving her what feels, for a moment, like the ultimate gift. He takes off his sunglasses.”

Can’t wait to see this; I wonder what kind of distribution it will get? Only at Cannes!

Luchino Visconti’s Adaptation of Camus’ “The Stranger”

Friday, May 26th, 2017

Luchino Visconti’s stunning adaptation of Camus’ The Stranger gets a rare screening.

As Jim Hoberman writes in The New York Times, ” the Marcello Mastroianni retrospective at the Film Society of Lincoln Center includes a work that is itself rare: Luchino Visconti’s adaptation of Albert Camus’s novel “The Stranger.”

The movie, in which an ordinary Pied-Noir (Algerian-born Frenchman) irrationally murders an Arab in broad daylight on a Mediterranean beach, was made in 1967 with Mastroianni in the lead. It has long been without an American distributor and, owing to complicated rights issues, was never released here on DVD. It’s showing on Saturday and Tuesday in an excellent 35-millimeter print from the Istituto Luce Cinecittà.

Shot in Technicolor entirely in Algeria, with Jean-Luc Godard’s favored actress, Anna Karina, as the protagonist’s lover, Visconti’s The Stranger makes the senseless sensuous — even sybaritic — in its blazing light and palpable heat [ . . . ]

Visconti originally planned to set it in independent Algeria, a transposition vetoed by Camus’s widow, Francine Camus. The time frame was pushed back to the late 1930s, intensifying the emphasis on French colonial rule. The novel necessarily focuses on its antihero’s internal world; the movie effortlessly calls attention to the situation of the Pied-Noir, living amid a sea of subjugated natives [ . . . ]

The first half of The Stranger depicts a shabby idyll. Visconti’s anticlerical, anti-bourgeois politics become overt only in the trial sequence, broadly staged in a real, seemingly stifling Algiers courtroom. The movie reaches its existential apotheosis in the confrontation between Mastroianni’s character and a priest in a dark prison cell.”

While bootleg pan and scan copies of the film proliferate on the web, all apparently ripped from the same VHS release, now resolutely out of print, dubbed into English, German, and in the original Italian and French without English subtitles, we can still use them to get some idea of the power of this work.

Whoever is holding this film hostage should think twice about the decision to do so, and turn it over to Kino Lorber, Criterion Eclipse or another solid distributor; more irritating is the fact that, in the film’s absence, a host of self – appointed Visconti “experts” have taken to the message boards of the web to denounce the film, which, without a decent proper aspect ratio release, has no chance of reaching a contemporary audience.

Yet another film that’s fallen between the cracks, and if you’re lucky enough to be in New York tomorrow, the 28th, and find yourself at the Walter Reade Theater in Lincoln Center, you should certainly go to see it; it runs again on the 30th of May. But for the rest of us, there are just these tantalizing fragments of the film – grainy, atrociously dubbed, uploaded in countless inferior copies – when what we need is the real thing in a quality DVD / Blu-ray release.

Such is always the way with film; now you see it, now you can’t. 

Jean-Luc Godard’s First Film – Une Femme Coquette (1955)

Friday, February 17th, 2017

See Godard’s first film, shot in 1955 – with English subtitles! Click here, or on the image above!!

As Ignatiy Vishnevetsky writes on The AV Club Website, “Une Femme Coquette may not sound like anything special—a 9-minute no-budget short film, shot on a borrowed 16mm camera by a 24-year-old amateur with no formal film school training. But the short . . .  has for decades been a sought-after item for art-house buffs and rare movie fiends.

Filmed in Geneva, Switzerland, in 1955, it was the first attempt at a narrative film by the iconic French New Wave director Jean-Luc Godard—a pivotal figure in the evolution of movie style, who would make his feature debut just five years later, with the hugely influential and perennially cool Breathless.

Never distributed, Une Femme Coquette has had less than half a dozen public screenings since the 1960s; we were able to track down the only known 16mm print to a national film archive in Europe, where it was being stored unlisted for a private owner, to be loaned out only with the personal permission of Jean-Luc Godard himself.

This makes it the holy grail of the game-changing New Wave era—a film so rare that it has often been listed as lost by biographies and film history books. And it might as well have been. No other surviving narrative film by a major, big-name director has been as difficult to see—until now.

Earlier this week, a copy of Une Femme Coquette surfaced on the digital back channels frequented by obscure movie enthusiasts. An enterprising user named David Heslin has uploaded this rarity of rarities to YouTube, complete with English subtitles.

Credited to ‘Hans Lucas,’ a German pseudonym that the Franco-Swiss Godard would sometimes employ during his brief career as a film critic, Une Femme Coquette was the budding director’s modern update of a Guy De Maupassant short story called ‘The Signal.’

Godard—who makes a cameo around the 2-minute mark, wearing his famous prescription sunglasses—would readapt the story as an Ingmar Bergman parody for the film-within-the-film portion of his 1966 feature Masculin Féminin.

While nothing is known about Une Femme Coquette’s lead actress, Maria Lysandre, the man on the park bench is played by Roland Tolmatchoff (credited as ‘Roland Tolma’), a cinephile and car dealer with whom Godard maintained a friendship for years, and who loaned many of the convertibles memorably featured in the director’s 1960s films.”

An amazing discovery – click here and see for yourself!

Quatermass II – in Color

Sunday, December 4th, 2016

Bryan Forbes and Brian Donlevy in the unreleased color version of Quatermass 2.

This is just an oddity; the Quatermass films are some of the most interesting early sci-fi projects on record, but now – and actually, this is not a new discovery, just new to me – comes word that Quatermass 2, directed by Val Guest, which has consistently been praised for its atmospheric black and white cinematography, was actually shot in Ansco color, but released in black and white for a variety of reasons – some economic, and others harder to determine.

For those unfamiliar with the series, the Quatermass series revolved around Professor Bernard Quatermass, who was continually investigating extra-terrestrial phenomena, often with disastrous results. The series went on for quite some time, and derived from a BBC TV serial by author Nigel Kneale, who took a very dim view of the film versions created by Hammer Films, principally because he objected to the casting of Brian Donlevy in the leading role.

But the frustrating thing here is that although the color negative of Quatermass 2 still exists, and has been apparently digitally transferred, to date, I can’t find a DVD release in color of the film. For those of us interested in this period, it certainly changes the whole trajectory of the Quatermass series, which supposedly switched to color with the 1967 production of Quatermass and the Pit. Now we know that isn’t true.

So, wouldn’t it be nice to see the film in its original version?

Nikolaus Geyrhalter’s “Homo Sapiens” (2016) Opens in New York

Saturday, July 30th, 2016

Nikolaus Geyrhalter’s haunting new film Homo Sapiens is a truly mesmerizing experience.

As the notes for the film make clear, “the images could be taken from a science fiction film set on planet Earth after it’s become uninhabitable. Abandoned buildings – housing estates, shops, cinemas, hospitals, offices, schools, a library, amusement parks and prisons. Places and areas being reclaimed by nature, such as a moss-covered bar with ferns growing between the stools, a still stocked soft drinks machine now covered with vegetation, an overgrown rubbish dump, or tanks in the forest.

Tall grass sprouts from cracks in the asphalt. Birds circle in the dome of a decommissioned reactor, a gust of wind makes window blinds clatter or scraps of paper float around, the noise of the rain: sounds entirely without words, plenty of room for contemplation.

All these locations carry the traces of erstwhile human existence and bear witness to a civilisation that brought forth architecture, art, the entertainment industry, technologies, ideologies, wars and environmental disasters. In precisely framed wide shots, Nikolaus Geyrhalter’s static camera shows us the present post-apocalypse. There are no people in his film, and yet – as the title pointedly suggests – he has his eye on nothing less than the future of humanity.”

As Glenn Kenny wrote in The New York Times, “the latest film from the meticulous, provocative Austrian director Nikolaus Geyrhalter could be described as an environmental documentary. Its form is as simple as death. A stationary camera takes in, one after the other, a single image of a space constructed (or simply scarred) by humankind, and subsequently abandoned. In the first minutes of Homo Sapiens we see railroad tracks, a bicycle rack and the rudiments of a train station.

No image repeats or magnifies; while a series of shots may be clustered in the same general area, each image is discrete and none are subject to further examination. Although the film’s credits include a foley artist and a rerecording technician, its soundtrack comes across as entirely vérité; the wind whispers, birds chirp and the people who built the settings we’re seeing are far, far away, if they’re even around at all.

The first section of the movie has vending machines with Japanese characters on them. While Mr. Geyrhalter did not, as it happens, bring cameras to the vicinity of Fukushima, where an earthquake and tsunami led to a nuclear disaster that precipitated mass evacuations in 2011, it’s probable he wishes the viewer to make a connection. Next stop is an abandoned shopping mall in Ohio.

In a way, the images are reminiscent of the empty, haunted spaces associated with the art cinema of Andrei Tarkovsky and Bela Tarr. But Mr. Geyrhalter’s method is more austere, and the effect produced is subtly different. Each individual shot creates a frisson of desolation that resonates far beyond the facile irony suggested by the movie’s title.” This is must see viewing – not that it will come to a theater near you, sad to say; nevertheless, this is the sort of film that should have at least one slot in a 24 screen multiplex, as some sort of respite from the mayhem in the 23 other theaters.

Click here, or on the image above, to see a brief trailer for this astonishing film.

Still Not On DVD – “They Won’t Believe Me” (1947)

Friday, May 13th, 2016

Irving Pichel’s They Won’t Believe Me is a noir masterpiece that still doesn’t have a US DVD release.

As Steve Eifert wrote in part in his blog Noir of the Week way back in 2012, “Let’s get the bad news out of the way first. TCM for all the good it does for classic films – airs a butchered version of the RKO noir They Won’t Believe Me! Instead of the 95 minutes watching a man behave badly we’re stuck with a neutered lead not really doing anything all that wrong. The cut 80-minute one turns a top-shelf film noir into a watered-down flim flam. Cutting 15 minutes from a film can do that . . . the 80-minute cut should be shown before the full version to film students as a lesson on how a bad edit can ruin a film.

[The film] fits nicely with “A” pictures like Double Indemnity and The Postman Always Rings Twice but retains that RKO look and feel (slightly cheap and gritty with familiar actors peppering the edges). That would include Out of the Past released 1/2 a year after They Won’t Believe Me! Robert Young plays Larry Ballentine — a young playboy who marries rich. He finds himself bored with is wife and begins an inappropriate relationship with one of his wife’s friends (Jane Greer). When we first are introduced to Larry and Janice it’s in a courtroom with Larry on trial for murder.

It quickly moves to a flashback showing the two on a Saturday afternoon meetup at a New York City bar. They drink crazy frozen drinks that you’d never think about ordering when you’re alone. They’re flirty and touchy – as they discuss their plans to build a boat together. Larry – after downing a few drinks – stumbles home to be confronted by his wife, her aunt, and some friends who think he’s a heel.

Things happen and the next week he tells her he’s leaving her for Janice. Greta (Rita Johnson) convinces him otherwise and Janice is out of the picture. Larry continues to work for his wife’s company. He’s only there because his wife owns a sizable share of it. He is lazy –as expected –and not liked by his partner Trenton (familiar face Tom Powers.)

Underling Verna Carlson (Susan Hayward) catches Larry’s eye one day. Before he can finish a voice over talking about how he’s been ‘too close to the flame and is now power shy when it comes to beautiful women’ he’s asking her what kind of perfume she likes.

I would guess you could credit camera man Harry J. Wild for most of the film’s look – he certainly shot his share of noir including Pitfall, Nocturne, Station West, The Threat, His Kind of Woman and many, many more. Director/actor Irving Pichel didn’t do anything remarkable in the film-noir world outside of this one (which is great), but turned out the enjoyable Quicksand in 1950.

The cast of They Won’t Believe Me! Is strong. Robert Young is remembered by those of a certain age as Marcus Welby, M.D. Here he’s quite good as the playboy with a wandering eye. Jane Greer is only months away before Out of the Past is released. She’s at the height of her beauty. Finally Susan Hayward is given some of the best lines. She’s quite something when she’s trying to reel in Larry by cutting down his rich wife and flashing a smile that is so suggestive it should be illegal – only Gilda‘s hair flip is more powerful.”

That was four years ago, and as I wrote in the comments section when Steve’s article appeared, “this is one of the greatest noirs of all time, and you’re absolutely right — the 80 minute cut is a disaster. Luckily for me, I was able to see it uncut at the Thalia Theater in NYC many years ago in 35mm, and it made an indelible impression.

Irving Pichel’s direction is immaculate, and Robert Young is very interestingly cast against type as the ne’er do well husband. It’s sad that this isn’t available on DVD; and you’re right about the Italian DVD – it’s still cut. This truly is, from first frame to last, an absolutely superb film — not just an excellent noir, but a brilliant, tough piece of filmmaking, easily in the same class as Jacques Tourneur’s Out of the Past.

I can only hope that the WB Archive follows through with putting this out, even with potentially damaged footage. It’s a missing gem in American film history. If anyone out there has a decent copy of the uncut version, I sure would like to hear from them.”

This was when the WB Archive was considering releasing the film, but that came to nought – and so we have only a VHS, and two foreign versions, one of which is out of sync, and another with Castilian subtitles that you can’t turn off during viewing. Neither DVD does the film any sort of justice, to say nothing of the 80 minute cut down job; this deserves a Criterion version all the way, but why on earth isn’t it getting one? I just watched the butchered Spanish version this evening, poorly transferred and with unwanted subtitles, and it still knocked me out.

Another classic “lost in the cosmos” as Jean-Luc Godard would put it – see it uncut if you possibly can.

The 4 Adventures of Reinette and Mirabelle

Saturday, September 12th, 2015

The 4 Adventures of Reinette and Mirabelle is a minor but enchanting Eric Rohmer film . . .

. . . and it’s too bad there won’t be any more, as even the slightest of Rohmer’s film is a tonic in the oversaturated, hyper-edited CGI world of the present, harking back to a time when humanistic concerns, were more important than the latest mobile gadget. As Aaron Goldberg wrote of the film when it first appeared in the web journal Senses of Cinema, “while not highly regarded (by some) in the expansive Rohmer canon, The 4 Adventures of Reinette and Mirabelle stands as one of Rohmer’s most playful, if not hilarious features.

Filmed quickly on 16mm while Rohmer was waiting to get decent sunset shots for his sublime Le Rayon vert (1986), The 4 Adventures of Reinette and Mirabelle features mainly non-professional actors who improvised most of the witty and frank dialogue . . .  Rohmer’s old-school (cinematic) ‘new wave’ chops are working in full effect here. From the shaky vérité camerawork, to long discussions about morality and art, his romantic heart is working in cruise control, delivering a film that ably stands it’s own ground.”

Added Caryn James in The New York Times, “as if making a joke about the famous talkiness of his films, Eric Rohmer’s latest work begins and ends with silence – or at least the idea of silence. In the first of the connected episodes in Four Adventures of Reinette and Mirabelle, the voluble Reinette treasures silence so much she wakes her friend Mirabelle before dawn to hear ‘the blue hour,’ which is not an hour but a second, not a sound but a brief silence between darkness and light, when the night birds stop singing and the day birds have not yet begun.

Four Adventures is more conspicuously comic, more overtly ethical, more pointed in its action than most of his recent works . . . Part of Rohmer’s genius, of course, is that he keeps creating such lives – ordinary and rarefied at once, almost but not quite beyond our grasp. No one actually lives in the world of a Rohmer film, where the name of a specific television show or rock star never mars a character’s timeless dialogue, where his characters’ heightened sense of everyday life seems absolutely adventurous.

But the deep lure of his work is the suggestion that it is possible to be as articulate or as witty or even as extravagantly morose as a Rohmer character, to stumble across those undramatic moments of perfect grace on some beach or in some meadow.”

Indeed, while the film may appear to be slight, it is in fact a resonant and uplifting work; it just seems effortless, but then again, when you’re a genius, you can knock films out like this in your sleep. But the saddest part about The 4 Adventures of Reinette and Mirabelle is that it isn’t available on DVD; there’s so much junk trolling about the web, but here’s a sublime and joyful film that really deserves a DVD release. But there is a VHS release, and since I still have a VHS player for such emergencies, I ordered one of the last copies available – used – on Amazon for about $10. You should do the same.

Every Eric Rohmer film is worth seeing, and this is one of his most playful, and joyful films.

Peter Collinson’s The Penthouse (1967)

Friday, August 28th, 2015

Martine Beswick, Tony Beckley and Norman Rodway- a deadly trio in Peter Collinson’s The Penthouse.

I have always had a weakness for Peter Collinson‘s film The Penthouse, based on C. Scott Forbes’ play The Meter Man, in which three miscreants, Tom (Tony Beckley), Dick (Norman Rodway) and Harry (Martine Beswick) invade the borrowed luxury flat of two lovers involved in an illicit tryst – Barbara (Suzy Kendall) and Bruce (Terence Morgan). It’s a bleak little film, superbly photographed by the gifted Arthur Lavis, offering an uncomfortable taste of what was to come in the 70s and beyond, as social proprieties crumbled, and people became more and more self-absorbed, selfish, and narcissistic.

There are strong echoes of Harold Pinter, Arnold Wesker and Heathcote Williams in the film’s script, which some viewers might consider a precursor of Michael Haneke’s Funny Games, which Haneke filmed twice in 1997 and 2007. Here are two people comfortably ensconced in what is supposedly a safe, domestic haven – even if it is an adulterous one – and by the simple act of answering the door, their lives are transformed forever – for the worse – by complete strangers.

However, Haneke’s film involved a great deal of physical cruelty and violence; Collinson’s film makes the entire ordeal psychological, and the film is much the better for it. In short, it’s more restrained, more cerebral, and an altogether superior film.

But all of this has a twist ending, worthy of the film itself – there has never been a legal DVD release of the film, though terrible bootlegs can easily be found on the web, along with the film’s trailer, but none of these materials give one any real sense of the film, or of Collinson and Lavis’s superb CinemaScope framing, color design, and the riveting performances of Beswick, Beckley, and Rodway.

At the time the film came out, Roger Ebert was a big fan, and sought the then-28-year-old Collinson out for an interview, during which he noted that “the headline on the press release describes Peter Collinson as ‘the man who came from nowhere and is on his way to somewhere.’ ‘Just precisely where, they don’t say,’ Collinson grinned. ‘I’m not one of these directors with his life-span all mapped out, and a deep ponderous philosophy to put into my films. All I want to do is make movies as well as they can be made. Period. No philosophy.’

Collinson, at 28, has made two movies: The Penthouse and Up the Junction. Neither has been commercially released yet, but Penthouse got a warm reception at the Cannes and Berlin film festivals. Although almost nobody outside the movie business has even heard of him, Collinson is probably the hottest young director in England right now. Stories of his working methods in The Penthouse are related by other directors with a touch of awe. He made it in 24 days for less than $100,000, and supplied his studio with a finished print two days after shooting ended.

‘That makes you popular at the front office,’ Collinson said, ‘but it doesn’t mean a thing if the movie’s no good. I don’t cut corners to save anybody money. But I don’t fool around. A lot of directors will shoot a scene from every conceivable angle, tying up actors, wasting time, spending a fortune on salaries and overhead. Then they get into the editing room and try to figure out which angle looks best. Not me. I figure the shot out in my head and shoot it just once or twice. I edit in the camera, you might say, so when the shooting’s over I have a movie . . .”

His story is unusual. The son of itinerant provincial actors, he was an orphan at 8 and a ‘street urchin,’ by his own admission, at 10. Through a series of improbable chances, including acting experience at an orphanage for the children of theater people, he gradually worked himself into the theater and then into television as a BBC director.

He got into movies rather casually, buying all option on Nell Dunn’s best-selling Up the Junction for $1,000 and then proposing himself as its director. He was given the low-budget Penthouse to do first, as a warm-up, and produced a shocking thriller with a bizarre surprise ending.

The story concerns a real estate agent and his mistress, held captive in a penthouse by two very peculiar men named Tom and Dick. Their cohort, Harry, lingers offstage until the final incredible scenes. It is a suspense movie, ‘a thriller’ Collinson says. The audiences at Cannes and Berlin found a psychological message in it, but Collinson doesn’t care.

‘I make movies to entertain,’ he said. ‘This may sound funny, but I don’t have any desire to communicate my own opinions to anybody. I think the director should be the medium by which the audience gets the story, and that’s all. A good director is a good storyteller.’

Collinson’s next film will be The Italian Job, starring Michael Caine. The budget is $2,800,000, and Collinson noted wryly: ‘My salary will be bigger than the total cost of ‘Penthouse.’ But my methods won’t change. I want my movies to be fun to watch because they challenge their audiences to keep up. Audiences aren’t as stupid as many people believe. Orson Welles knew that, and it damned him in Hollywood for years.’

He smiled. ‘That could happen to me, too,’ he said. ‘But I think times have changed, and there’s an audience for a thoughtful movie now. Still, if I bomb as a director I’ve still got some other things to do. I barnstormed the country as a teenager, playing in second-rate variety shows. I can still do a mean turn as the back legs of a calico horse.'” Paramount Pictures released the film,  and then it vanished. I’ve never seen it offered on television, even on TCM, which has a reference page for the film.

Of course, The Italian Job was a huge hit, and was subsequently remade by directed F. Gary Gray in 2003 into an even bigger hit, but after that, Collinson struggled to find his footing within the industry, and despite his protestations that he simply wanted to be an an entertainer, he clearly was interested in doing more social commentary, but soon found himself adrift in a series of mediocre films, during which his temper frayed, and his health failed.

Collinson died of cancer at the age of 44, leaving a career of largely unfulfilled promise. The Penthouse is his simplest, bleakest, most adventurous film. Don’t let anyone tell you anything more about the plot, which has one surprise after another nestled inside each turn of the narrative, but hopefully, someone will bring the film out in its proper aspect ratio, and you can see for yourself where the 1960s were headed – into a commercial wilderness of endless consumption and self-value, in which surfaces are more important than the depths they conceal.

The Penthouse (1967) – another forgotten film that deserves a proper DVD release.

Update on Too Late for Tears on DVD

Monday, March 30th, 2015

A few posts ago, I wrote on the recent 35mm restoration of Too Late for Tears, and wondered when it would be on DVD.

A few minutes ago, I received this e-mail from Alan K. Rode, director of the Film Noir Foundation: “Re: your blog post for TOO LATE FOR TEARS coming out on DVD. Please rest assured that TLFT will be coming out on DVD in the near future. A time-consuming aspect of bringing this and other restored titles out on DVD involves the clearing of various rights even with titles that are in the public domain. In the case of TLFT, a deal with the estate of the late Roy Huggins that owns the rights to the Huggins screenplay adapted from his novel had to be initiated and negotiated. These matters are wrapping up and we will be moving forward on this project.

It is also germane to note that the situation with each film is different. The FNF brought THE PROWLER out on DVD and produced the special features after cutting deals with the film’s rights holders and the DVD distributor. Paramount Pictures owns the rights to CRY DANGER and licensed the title to Olive. We allowed them to use our restoration for the transfer.

Paramount also owns TRY AND GET ME! which we have also restored, but-to my knowledge-has not relicensed the title to Olive to bring our restoration to DVD. Owing to a variety of circumstances including rights, the process of restoring these films and bringing them out on DVD, is simply not a speedy process. I hope this provides some illumination on the subject. We certainly understand that our charter to restore America’s Noir Heritage extends beyond the eight cities that currently host NOIR CITY film festivals. We are fully committed to making our restoration of TLFT available to everybody, as soon as possible”

Good news- and many thanks to Alan for being in touch!

Les Parents Terribles (1948)

Tuesday, February 24th, 2015

Jean Cocteau’s 1948 film – his best work as a director – isn’t available on DVD in the US.

It’s something of a mystery to me, since the film is so accomplished, and since the earlier adaptation of Les Enfants Terribles, directed by Jean-Pierre Melville, is so readily available in a superb transfer on DVD here, but Les Parents Terribles remains missing in action. It was released on VHS in the early 1990s with English subtitles, and there are still a few copies of that version kicking around on Amazon – and the quality is passable – but a fully restored DVD and Blu-ray of this exquisite film, based on Cocteau’s play of the same title, is long overdue – most critics agree it’s his finest moment as a filmmaker.

As an anonymous contributor to Wikipedia notes, the famed critic “André Bazin wrote a detailed review of the film in which he took up the idea of ‘pure cinema’ and tried to analyze how Cocteau had succeeded in creating it out of the most uncinematic material imaginable. Bazin highlights three features which assist this transition. Firstly the confidence and harmony of the actors, who have previously played their roles together many times on stage and are able to inhabit their characters as if by second nature, allow them to maintain an intensity of performance despite the fragmentation of the film-making process.

Secondly, Cocteau shows unusual freedom in his choice of camera positions and movements, seldom resorting to the conventional means of filming dialogue with reverse angle shots, and introducing close-ups and long shots with a sureness of touch that never disrupts the movement of the scene; the spectator is always placed in the position of a witness to the action (as in the theater), rather than a participant, and even that of a voyeur, given the intimacy of the camera’s gaze.

Thirdly, Bazin notes the psychological subtlety with which Cocteau chooses his camera positions to match the responses of his ‘ideal spectator.’ He cites an example of the shot in which Michel tells Yvonne about the girl he loves, his face placed above hers and both facing the audience, just as they had done in the theater; but in the film Cocteau uses a close-up which shows only the eyes of Yvonne below and the speaking mouth of Michel above, concentrating the image for the greatest emotional impact. In all of these aspects, the theatricality of the play is preserved but intensified through the medium of film.”

Get the VHS if you can; this is a film that should not be missed.

About the Author

Headshot of 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.

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