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,
Reviewed by Glenn Erickson
Talk about elusive movies: on must keep an eye on the TCM logs to catch many of the films of director Robert Parrish. I had to wait for the advent of
Reviewed by Glenn Erickson
Joseph Losey is a gold mine for film criticism but a real problem for simple film reviewing.
Update: Producer Ilya Salkind now also slated to appear.
Richard Lester’s film The Four Musketeers is celebrating its 40th anniversary this year. With an all-star cast that includes Oliver Reed, Faye Dunaway, Raquel Welch, Richard Chamberlain, Michael York, and Sir Christopher Lee, the film will be shown on Tuesday, September 29th, 2015 at 7:00 pm as a special tribute to Sir Christopher as well as part of the theatre's Anniversary Classics series. Actors Richard Chamberlain and Michael York are scheduled to appear at the screening and take part in a Q & A and discussion on the making of the film.
From the press release:
Last year the Anniversary Classics series presented a successful 40th anniversary screening of The Three Musketeers, director Richard Lester's stylish and entertaining retelling of Alexandre Dumas' classic novel. Join us this year to see Lester's stirring conclusion of the tale, The Four Musketeers
Many viewers are likely to initially consider the superb tale of In the House to be solely Ozon’s creative work; it is not. In the House appears to be almost totally leaning on the product of a contemporary Spanish playwright Juan Mayorga titled The Boy in the Last Row, if one goes by the reviews of the play. It is, thus, not a coincidence that the French film went on to win the well-deserved Golden Shell (the grand prize) and the Jury prize for Best Screenplay at the San Sebastian film Festival in Spain. Then why is the film important, if almost all the credit rests with the play on which the film is built?
With the 67th Cannes Film Festival on the eve of its award ceremony, Film Forum is reviving the winner of Grand Prix du Jury from the festival’s 20th edition, Joseph Losey’s Accident. The top prize (then the Grand Prix du Festival, now the Palme d’Or) of that year, 1967, went to Antonioni’s Blow-Up, but Accident, written by Harold Pinter, was equally as daring and confounding. Starring Dirk Bogarde (who had worked his magic with Losey and Pinter four years earlier in The Servant), Stanley Baker and Jacqueline Sassard, Accident is a Resnaisian time-shifting mind-boggler set among the dreaming spires of Oxford rather than Antonioni’s Swinging Sixties London.
A film that has been almost impossible see for many years, Accident has been digitally restored by Rialto Pictures and will be traveling around the country. I’ve collected as
But while the American cinema was notoriously revolutionized by The Graduate and Bonnie and Clyde, British film quietly yielded a counter-culture classic of its own, helmed by a Yankee maverick living in exile abroad. Accident, directed by Wisconsin–born Joseph Losey and scripted by playwright Harold Pinter, does for the midlife crisis what The Graduate did for coming of age, taking a traditional drama about...
Considered to be two of the finest examples of British art house cinema, director Joseph Losey and writer Harold Pinter’s first two collaborations, The Servant (1963) and Accident (1967), were re-released this week on DVD courtesy of StudioCanal.
These two films explored the waning English class system previously vacated by British filmmakers. Though this was a subject explored by Evelyn Waugh in his novel Brideshead Revisited, first published in 1945 and is one of the motifs of the current running television drama Downton Abbey.
The Servant and Accident came at a crucial time in film history, an important spell in the history of art house cinema. By 1963 the Nouvelle Vague (French New Wave) was in full force. Francois Truffaut had directed The 400 Blows, Shoot the Pianist and Jules et Jim by 1963, and Jean-Luc Godard Breathless, A woman is a Woman
Read more »
Read more »
Half a century ago, British cinema had a great year. John Schlesinger's Billy Liar, Tony Richardson's Tom Jones and Lindsay Anderson's This Sporting Life took local film-makers into radically different directions. Two resident Americans – the self-exiled Stanley Kubrick and the McCarthy refugee Joseph Losey – established themselves as world figures. Kubrick made Dr Strangelove (though its release was postponed to 1964 due to the Kennedy assassination). Losey, after a difficult period, often working under pseudonyms, had three films released: the dazzling Hammer thriller The Damned, the Franco-Italian psycho-drama Eve (both shown in versions re-edited by their producers) and the complex, fully achieved The Servant.
Influenced by Marx and Brecht, The Servant was the first part of a trilogy scripted by Harold Pinter about class warfare, sexual conflict and struggles for power in 20th-century Britain, involving a whole society from the working class to the aristocracy.
The screening will be introduced by director and actor Richard Ayoade (Submarine, The It Crowd). Directly after the screening cast members Fox, Craig and Miles will take to the stage to participate in a post screening question and answer session moderated by The Guardian’s Peter Bradshaw.
Arguably one of the finest films of 1960s British cinema, The Servant was the first collaboration between Losey and Harold Pinter. It is a dark psychological tale built on social-tension and the changing dynamic of the relationship between young playboy Tony (James Fox) and his manservant Hugo (Dirk Bogarde). Losey
IMDb.com, Inc. takes no responsibility for the content or accuracy of the above news articles, Tweets, or blog posts. This content is published for the entertainment of our users only. The news articles, Tweets, and blog posts do not represent IMDb's opinions nor can we guarantee that the reporting therein is completely factual. Please visit the source responsible for the item in question to report any concerns you may have regarding content or accuracy.