'Europa '51'

Today is the one year anniversary for this my first blog.

I’m pleased with the way it has developed, considering I had no idea with what the possibilities were when I started.
I have taken advice from others and tried to add some structure to it and post more frequently on film related ‘stuff’, for want of a better word. A few other sites are now linking to mine which is good and I have figured out how to link to them too.

The best feedback I have received seems to be on the weekend ‘Dream double bill’ series and going forward I hope to develop more themes.

Thanks to my regular visitors for encouragement and ideas. My very first post was, when I was dipping my toe into the so called ‘Blogosphere’ on ‘Europa ‘51’. So I thought I’d revisit that theme and although the DVD is not available in US or UK it is however available in Europe, this copy I picked up in Spain back in April.

'Europa '51' directed by Roberto Rossellini (1952)

'The Servant'

'The Servant' directed by Joseph Losey (1963). Read Tom Sutpen's article published in Bright Light's Film Journal on this film here.

The Servant (1963)

The American Friend (Der Amerikanische Freund) from National Film Theatre programme June 1981.

Dream double bill # 5 ‘Fahrenheit 451’ and ‘Alphaville’

This weekend’s double bill shows us science fiction nouvelle vague style. First up Francios Truffaut gives us Ray Bradbury’s ‘Fahrenheit 451’ followed by Jean Luc Godard’s ‘Alphaville’. What’s great about these films is that they use virtually no special effects and sets prefering current locations to create greatly atmospheric and futuristic looking films that still look great today.

Fahrenheit 451 directed by Francois Truffaut (1966).

Oskar Werner as Montag and Julie Christie as Clarisse.

Alphaville (Alphaville, une etrange aventure de Lemmy Caution) directed by Jean Luc-Godard (1965).

Eddie Constantine as Lemmy Caution.

Anna Karina as Natacha Von Braun.

Billy Wilder at National Film Theatre 4th November to 30th December 2005.

The Passenger

In last week’s Time Out (London) Dave Calhoun wrote in defence of The London Film Festival. Interesting to note and something I completely missed in the programme was a screening of ‘The Passenger’ (aka ‘Profession: Reporter). The National Film Theatre earlier this year had a complete Antonioni retrospective, the only film they didn’t show was this one. Apparently as I had noted on this blog at the time was because Antonioni had to be present at any screening and frail as he is he’d already come to London for the opening of the festival and could not come back for ‘The Passenger’.

I’ve also noted on the ‘Dispatches from Zembla’ some excellent thoughts on the film as well as a link to Sony Picture Classics microsite for this film. So I guess it is being re-released but the site doesn’t say when. It does however have a trailer and lots of on set pictures which are worth checking out.

Film page, Time Out magazine, November 9th issue.

8th Festival of German Films

8th Festival of German Films will run from 25th November to 1st December 2005 at Curzon Soho. Includes the latest new German films as well as a special focus on Michael Ballhaus.

8th Festival of German Films.

Julie Christie

The December issue of Sight and Sound magazine features a great article in their 'Actors' series.

Julie Christie.

Dream double bill # 4 'The Passenger' and 'Plein Soleil'

This weekend’s double bill focuses on changing identities. Firstly from 1975 we have Michelangelo Antonioni’s ‘The Passenger’ (Profession: Reporter) followed by Rene Clement’s 1960 ‘Plein Soleil’ (Purple Noon).

Whereas Jack Nicholson’s character David Locke adopts the identity of Robertson through his death early on in ‘The Passenger’ Alain Delon’s Tom Ripley murders Maurice Ronet’s Philip Greenleaf on board his yacht.

‘The Passenger’ tells the story of Locke running from all elements of his former life including his wife; ‘Plein Soleil’ gives us on screen for the first time the psychopath Ripley taking on the love, wealth and trappings of his victim.

The Passenger (Profession: Reporter) by Michelangelo Antonioni (1975).

David Locke (Jack Nicholson) considers a change of identity.

'Plein Soleil', a great opening sequence and the first time we see Patricia Highsmith's Tom Ripley on screen.

Ripley doctors Philip Greenleaf's passport.

Tom, expecting that she will embrace him offers to leave Marge (played by Marie Laforet).

Films and Filming, July 1975.

Dream double bill # 3 'Harold and Maude' and 'Rushmore'

It occurred to me that there were some similarities between 'Harold and Maude' and 'Rushmore' ; Max and Harold both have relationships with older women and both have over active imaginations.
Oh, and both films have Cat Stevens on their respective soundtracks.

I think this would make an excellent double bill, forget putting 2 Wes Anderson films together, this is his best film. I personally believe that both 'The Royal Tenenbaums' and 'The Life Acquatic with Steve Zissou' have been no where near as good as 'Rushmore'.

'Harold and Maude' directed by Hal Ashby (1971)

'Harold and Maude'

'Harold and Maude'

'Rushmore' directed by Wes Anderson (1998)

'Rushmore'

'Rushmore'

'Victim'

2005 Latin American Film Festival brochure

The cover shows 'El Partido Ambrazo' (Lost Embrace) as part of 2005 Latin American Film Festival at High Museum of Art, Atlanta, GA. The film is from 2004, although the image looks older which is why I am posting it.