Accident (1967) - News Poster



Career-Damaging Taylor-Burton Bomb Revisited and (Surprisingly) Appreciated

'Boom!' movie with Elizabeth Taylor: Critically panned box office disaster featuring memorable headwear. 'Boom!' movie: Elizabeth Taylor & Richard Burton critical & box office bomb reappraised as 'cult classic' fare If you've never seen Elizabeth Taylor and Richard Burton's 1968 vanity production Boom!, don't feel singled out. Boom! bombed at the box office almost as soon as it blasted on the screen. Since then, however, it has been rediscovered. Directed by Joseph Losey from a screenplay by Tennessee Williams (based on his play The Milk Train Doesn't Stop Here Anymore), Boom! is a good example of a movie depicting art imitating life imitating art; one that deserves to be described in detail. Sexually repressed temper tantrums and bronchial attacks By then a two-time Academy Award winner, Elizabeth Taylor (Butterfield 8, 1960; Who's Afraid of Virginia Woolf?, 1966) plays Flora “Sissy” Goforth, a middle-aged, sexually repressed American (inspired by and written
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San Sebastian to pay tribute to Joseph Losey by Amber Wilkinson - 2017-02-08 12:02:18

San Sebastian will pay tribute to the filmmaker Photo: Courtesy of San Sebastian Film Festival San Sebastian Film Festival has announced it will pay tribute to Us filmmaker Joseph Losey during its 2017 edition.

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
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Modesty Blaise

Joseph Losey doesn't normally make trendy, lighthearted genre films, and in this SuperSpy epic we find out why -- an impressive production and great music don't compensate for a lack of pace and dynamism, not to mention a narrow sense of humor. Yet it's a lounge classic, and a perverse favorite of spy movie fans. Modesty Blaise Blu-ray Kl Studio Classics 1966 / Color / 1:66 widescreen / 119 min. / Street Date August 23, 2016 / available through Kino Lorber / 29.95 Starring Monica Vitti, Terence Stamp, Dirk Bogarde, Harry Andrews, Michael Craig, Clive Revill, Alexander Knox, Rossella Falk, Scilla Gabel, Tina Marquand Cinematography Jack Hildyard Production Designer Richard MacDonald, Jack Shampan Film Editor Reginald Beck Original Music John Dankworth Written by Evan Jones from a novel by Peter O'Donnell and a comic strip by Jim Holdaway Produced by Joseph Janni Directed by Joseph Losey

Reviewed by Glenn Erickson

When I first reviewed a DVD of Modesty Blaise fourteen years ago,
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In the French Style

It's a genuine forgotten gem: American student Jean Seberg's five-year adventure in Paris is mostly a period of romantic frustration. Irwin Shaw and Robert Parrish's look at the problems of an independent woman is remarkably insightful; the chronically miscast and underused Ms. Seberg is luminous. In the French Style Blu-ray Twilight Time Limited Edition 1963 / B&W / 1:66 widescreen / 105 min. / Ship Date April 12, 2016 / available through Twilight Time Movies / 29.95 Starring Jean Seberg, Stanley Baker, Phillippe Forquet, Addison Powell, Jack Hedley, Maurice Teynac, Claudine Auger, James Leo Herlihy, Ann Lewis, Barbara Sommers. Cinematography Michel Kelber Original Music Joseph Kosma Written by Irwin Shaw from his short stories Produced by Irwin Shaw, Robert Parrish Directed by Robert Parrish

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
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Figures in a Landscape

Where was Leonard Pinth Garnell when we needed him?  Joseph Losey is often accused of pretension but in this case he may be guilty. Robert Shaw and Malcolm McDowell are escapees scrambling across a rocky terrain, pursued by a helicopter that seems satisfied to just harass them. Keeping the audience in the dark doesn't reap any dramatic or thematic benefit that I can see. Figures in a Landscape Blu-ray Kl Studio Classics 1970 / Color / 2:35 widescreen / 110 min. / Street Date January 12, 2016 / available through Kino Lorber / 29.95 Starring Robert Shaw, Malcolm McDowell, Roger Lloyd Pack, Pamela Brown. Cinematography Henri Alekan, Peter Suschitzky, Guy Tabary Film Editor Reginald Beck Art Direction Ted Tester Original Music Richard Rodney Bennett Written by Robert Shaw from the novel by Barry England Produced by John Kohn Directed by Joseph Losey

Reviewed by Glenn Erickson

Joseph Losey is a gold mine for film criticism but a real problem for simple film reviewing.
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Cummings Pt.3: Gender-Bending from Joan of Arc to Comic Farce, Liberal Supporter of Political Refugees

'Saint Joan': Constance Cummings as the George Bernard Shaw heroine. Constance Cummings on stage: From sex-change farce and Emma Bovary to Juliet and 'Saint Joan' (See previous post: “Constance Cummings: Frank Capra, Mae West and Columbia Lawsuit.”) In the mid-1930s, Constance Cummings landed the title roles in two of husband Benn W. Levy's stage adaptations: Levy and Hubert Griffith's Young Madame Conti (1936), starring Cummings as a demimondaine who falls in love with a villainous character. She ends up killing him – or does she? Adapted from Bruno Frank's German-language original, Young Madame Conti was presented on both sides of the Atlantic; on Broadway, it had a brief run in spring 1937 at the Music Box Theatre. Based on the Gustave Flaubert novel, the Theatre Guild-produced Madame Bovary (1937) was staged in late fall at Broadway's Broadhurst Theatre. Referring to the London production of Young Madame Conti, The
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Special Sir Christopher Lee Tribute Screening & 40th Anniversary Screening of The Four Musketeers (1975) in Los Angeles

  • CinemaRetro
By Todd Garbarini

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
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Criterion Collection: The French Lieutenant’s Woman | Blu-ray Review

In the decades since its premiere, The French Lieutenant’s Woman is now most commonly discussed for its placement in the extensive awards resume of its star Meryl Streep, since it was her follow-up to her Best Supporting Actress win for 1979’s Kramer vs. Kramer and would serve as netting her first nomination in a leading category (it’s also interesting to note Streep won the Golden Globe but ultimately, perhaps ironically, lost to Katharine Hepburn, the iconic performer who previously held the most nominations record). But at the time of its release, the final product was the result of a decade long ordeal, seeing many auteurs, actors, and screenwriters attempting to adapt the notoriously ‘unfilmable’ 1969 novel by John Fowles, an experiment in form termed “post-modern historical fiction.” Directed by Karel Reisz, the Czech-born British auteur a British New Wave progenitor of the realist strain of filmmaking, it remains one of his most prolific works.
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Daily | Gerry Fisher, 1926 – 2014

Just now catching up with the news at cinematographer Gerry Fisher passed away on December 2. He was 88 and, as the Telegraph notes, he "worked with some of the most renowned film directors of the second half of the 20th century, including Carol Reed, John Huston and Billy Wilder. However, he will be best remembered for his long collaboration with the cinematic auteur Joseph Losey, for whom he shot eight films, including Accident (1967) and The Go-Between (1971)." We've gathered remembrances from two cameramen he worked with, Richard Andry and Pierre-William Glenn as well as an assessment of his work by Verina Glaessner in Film Reference. » - David Hudson
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Film Recco: François Ozon’s In the House

Film Recco: François Ozon’s In the House
François Ozon seems to be fascinated by what makes writers tick. And he loves to prod the viewer to reconsider his/her mental evaluation of fiction and reality as they watch his later films.

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?
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Movie Poster of the Week: Joseph Losey’s “Accident”

  • MUBI
Above: Japanese B1 poster for Accident (Joseph Losey, UK, 1967).

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
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Revisit the Tension and Longing of British Cult-Classic Accident (1967)

Revisit the Tension and Longing of British Cult-Classic Accident (1967)
Broadly speaking, the importance of 1967 to the history of cinema has less to do with the caliber of films released that year than the sense of reinvention they together heralded. Blowup had obviated the Hays Production Code the year before, setting a precedent for transgression that would soon be seized upon throughout the mainstream.

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...
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Victim Star Wrote Caustic, Opinionated Letters Re: Redgrave, Attenborough, Gielgud and More

Dirk Bogarde: ‘Victim’ star took no prisoners in his letters to Dilys Powell Letters exchanged between film critic Dilys Powell and actor Dirk Bogarde — one of the most popular and respected British performers of the twentieth century, and the star of seminal movies such as Victim, The Servant, Darling, and Death in Venice — reveals that Bogarde was considerably more caustic and opinionated in his letters than in his (quite bland) autobiographies. (Photo: Dirk Bogarde ca. 1970.) As found in Dirk Bogarde’s letters acquired a few years ago by the British Library, among the victims of the Victim star (sorry) were Academy Award winner Vanessa Redgrave (Julia), a "ninny" who was “so utterly beastly to [Steaming director Joseph Losey] that he finally threw his script at her face”; and veteran stage and screen actor — and Academy Award winner — John Gielgud (Arthur), who couldn’t "understand half of Shakespeare" despite being renowned for his stage roles in Macbeth,
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The Servant and Accident: Internal and External Threats to the Home

Paul Risker looks at the threats to the home in The Servant and Accident...

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
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DVD Review: 'Accident' (rerelease)

  • CineVue
★★★★★ The second of the renowned collaborations between director Joseph Losey and playwright turned screenwriter Harold Pinter is an intense psychological drama that arrives with one hell of a bang. Accident (1967) centres on Stephen (Dirk Bogarde), an Oxford don who from the outside, appears happily married to Rosalind (Vivien Merchant). Beneath his cool exterior Stephen feels his emotions and academic intelligence are deteriorating when pitted against students of a higher social order. His colleague Charley (Stanley Baker) causes Stephen great resentment due to his youthful appeal and sexual gallantry.

Read more »
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DVD Review: 'The Servant' (rerelease)

  • CineVue
★★★★★ The first in a trilogy of Harold Pinter and Joseph Losey collaborations that also includes Accident (1967) and The Go-Between (1970), The Servant (1963) is a tense psychological drama that studies the theme of servitude, whilst also offering a brutal indictment of the British class system. James Fox stars as Tony, a wealthy young Londoner who hires valet Hugo Barrett (Dirk Bogarde). Initially, Barrett takes to his role and subtly suggests that the house could do with some alterations. Gradually, Barrett begins calling the shots, yet he and Tony form a seemingly friendly bond, whilst dually retaining their conflicting social positions.

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The Servant

(Joseph Losey, 1963, StudioCanal, 15)

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.

Exquisitely made
See full article at The Guardian - Film News »

James Fox, Wendy Craig and Sarah Miles: Reunion at the Curzon

The Curzon Mayfair is set to play host to a reunion this coming Sunday afternoon. The cast of Joseph Losey’s The Servant are to be reunited as part of a special public-ticketed event organised by StudioCanal UK, marking the 50th Anniversary theatrical re-release of The Servant, which is out in cinemas today.

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
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Letter: Andrew Sarris's lost magazine

I was sad to learn of the death of Andrew Sarris from Ronald Bergan's admirable obituary. Andrew's kind and thoughtful reception was much appreciated when I arrived in New York for the first time, in September 1966. Andrew was editing a magazine which he had founded, but which now seems totally forgotten in England: Cahiers du Cinéma in English. A dozen issues came out between January 1966 and December 1967. Andrew's policy was to use original pieces he had commissioned to leaven the translations of articles from the original Cahiers. These were a mix of the seminal articles of the past and more recent engagements with contemporary films, which were its staple. I had recently watched the exiled American director Joseph Losey shooting Accident, and interviewed him. The zest with which Andrew signed me up to write an account for his magazine was a boost to my confidence. Sadly, we lost contact and
See full article at The Guardian - Film News »

"Kiss Me Deadly" and More DVDs

Criterion releases Kiss Me Deadly on DVD and Blu-ray today and, for the occasion, they're running an essay by J Hoberman adapted from his book, An Army of Phantoms: American Movies and the Making of the Cold War: "Genres collide in the great Hollywood movies of the mid fifties cold-war thaw. With the truce in Korea and the red scare on the wane, ambitious directors seemed freer to mix and match and even ponder the new situation. The western goes south in The Searchers; the cartoon merges with the musical in The Girl Can't Help It. Science fiction becomes pop sociology in Invasion of the Body Snatchers. And noir veers into apocalyptic sci-fi in Robert Aldrich's 1955 masterpiece Kiss Me Deadly, which, briefly described, tracks one of the sleaziest, stupidest, most bru tal detectives in American movies through a nocturnal, inexplicably violent labyrinth to a white-hot vision of cosmic annihilation.
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