The Servant (1963)
The director, who moved to Britain after suffering fallout from the Hollywood witch hunt, became a leading figure in European independent film. His work includes The Servant, Accident and The Go-Between.
His work is divided into three periods: his early period in North American film until the early Fifties, the prestige he achieved in the UK of the Sixties and Seventies and a later, more itinerant stage when he worked for Italian, French and Spanish production.
He made his feature debut in 1948 with The Boy With Green Hair, a parable against war, totalitarianism and intransigence towards difference, produced by Rko. He went on to direct a series of film noirs – The Lawless (1950), The Prowler (1951) and The Big Night
Reviewed by Glenn Erickson
When I first reviewed a DVD of Modesty Blaise fourteen years ago,
Douglas Slocombe, who has died aged 103, was one of Britain’s greatest cameramen – an award-winning cinematographer noted for his high contrast shooting and a key figure in British and American film from the heyday of Ealing Studios in the 1940s and 50s onwards.
Slocombe, who was entirely self-taught, had a career spanning more than 40 years and 80 films. He was nominated for Oscars for Travels With My Aunt (1972), Julia (1977) and Raiders of the Lost Ark (1981). Bafta recognised him with awards for The Servant (1963), The Great Gatsby (1974) and Julia, nominations for Guns at Batasi (1964), The Lion in Winter (1968) and Jesus Christ Superstar (1973), and a lifetime achievement award in 1993.
Slocombe drew Oscar noms for “Travels With My Aunt” in 1973, “Julia” in 1978 and “Raiders of the Lost Ark” in 1982. He is famous within the industry for never having used a light meter on the set of “Raiders.”
He shot Ealing comedies including “Kind Hearts and Coronets,” “The Lavender Hill Mob” and “The Man in the White Suit.”
During the 1960s he was d.p. on films including “The Servant,” “The Blue Max,” “The Fearless Vampire Killers,” “The Lion in Winter” and “The Italian Job.”
In addition to the pics for which he was Oscar nominated, he shot “Jesus Christ Superstar,” “The Great Gatsby,” “The Maids” and “Rollerball” in the 1970s.
“Indiana Jones and the Last Crusade
Reviewed by Glenn Erickson
Joseph Losey is a gold mine for film criticism but a real problem for simple film reviewing.
He’s clearly observing the medium with a close eye, be it what’s on air or what his friends (specifically David Fincher and his stillborn projects) show him, and how that might relate to his apparent love of 48 Hours Mystery or approach to a comparatively light slate of cinematic assignments — specifically: it seems odd that the last time he watched Magic Mike Xxl, a
The perennially fascinating and tactless subject of 21st-century servitude is the theme of this well acted and absorbing film – to be compared with Sebastián Silva’s 2009 gem The Maid, and, from much further back, Joseph Losey’s 1960 classic The Servant.
What happens when the live-in help get above themselves? And how does the supposedly liberal and relaxed employer class find a way of expressing its fastidious distaste and unease? It is the story of a rich Brazilian family in São Paulo and their housekeeper Val, wonderfully played by Regina Casé. She has been a nanny to the son of the house, as well as all her other duties, earning enough to send money home to pay for the care of her own daughter Jéssica, whom she has not seen for 10 years.
The restored version of The Magnet is out now on DVD Continue reading...
Yet I do not, I love the English. How can I hate a country that gave us not only Monty Python but also Benny Hill and the Carry On Films? How can I bear any ill will to a country that gave us writers of the caliber of Ramsey Campbell, Brian Aldiss, Michael Moorcock and J. G Ballard? How can anyone hate a country that not only prizes eccentric behavior but encourages it? Take Mr. Kim Newman for instance, a brilliant writer whose work appears regularly in Video WatchDog and Videoscope Mr. Newman dresses himself, has his hair and mustache styled and speaks in the manner of someone from the 19th Century!
Editing, Jinx Godfrey
“We’ve worked together since we made a documentary for television in 1997. As with all collaborations, you improve and complete each other’s ideas, you push each other. We had worked on documentary films like ‘Wisconsin Death Trip,’ then we made several dramas together. The film we’re probably best known for is ‘Man on Wire,’ which has so many disparate elements: interviews, archive films, re-creations, 16mm and super-8 — you have to make the film sing and dance and flow. You take some of these ideas and bring them to a feature.
“Jinx is very unsentimental. We have a strong female character in the film,
Click on the image below to watch the 115-minute video in its entirety, then take a look at Steven Soderbergh's statement about why he made Raiders of the Lost Ark a silent film.
"(Note: This posting is for educational purposes only.)
I'm assuming the phrase "staging" came out of the theatre world,
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