Nicholas Ray (I) - News Poster


‘Honey Boy,’ ‘Motherless Brooklyn’ Topline Mill Valley Film Festival

  • Variety
When he founded the California Film Institute in 1977, Mark Fishkin didn’t know much about running a film festival. Not many people did — there were few major film festivals in the United States at the time, and it would be decades before there emerged anything like today’s bustling international festival circuit. Fishkin had recently moved to California from the small town of Ouray, Colo., about an hour’s drive to Telluride the long way around Mt. Sneffels. He’d visited once or twice while the festival was on, by chance, and had seen how they did things out there and it inspired him, when he founded a festival of his own, to do things a little differently.

The first Mill Valley Film Festival took place Aug. 11-13, 1978, and was intended, according to an article in the San Francisco Chronicle from that summer, to “honor successful filmmakers living or working out of Marin County,
See full article at Variety »

Interview: Local Band whitewolfsonicprincess to Appear at Evanston’s Space, Sept. 4, 2019

Chicago – The venue called Space is one of the finer rooms in Chicagoland – specifically Evanston, Illinois – and one of the finer local bands will be making an appearance on Wednesday, September 4th. whitewolfsonicprincess (wwsp) will be playing tunes off their third album, “The Alternate Boot,” released in February of this year, and selections from their entire catalog. For details and ticket information, click here.

The band began in 2006 out of a theater project anchored by lead singer Carla Hayden and guitarist/singer James Moeller, who have been together as partners and collaborators since meeting as teenagers in the 1970s. The band has evolved since it began, adding more instrumentation to their signature sound, but at the core are the songs written by Hayden and Moeller, and to travel with whitewolfsonicprincess in “The Alternate Boot” is to float in a dream and destiny of magical thinking, ethereal musicality and images of promise…
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Man Without a Star

Man Without a Star

Blu ray

Kino Lorber

1955/ 2.00:1 / 89 min.

Starring Kirk Douglas, William Campbell, Jeanne Crain, Claire Trevor

Cinematography by Russell Metty

Directed by King Vidor

King Vidor, the director behind the bucolic Kansas sequences in The Wizard of Oz and the histrionics of Duel in the Sun, has it both ways in 1955’s Man Without a Star starring Kirk Douglas.

Douglas follows his director’s lead – acting primarily with his teeth, the eager to please ham gives a performance almost as broad as his wayward sailor in 20,000 Leagues Under the Sea. But as screenwriter Borden Chase slowly pulls back the masks on his characters, Douglas settles into a more reasonable approximation of a human being.

Closing in on 40, the irrepressible show-off plays a wandering cowpoke named Dempsey Rae who follows constellations for clues to his destiny and so far he’s come up empty – the “man without a star.
See full article at Trailers from Hell »

Robbie Robertson to Return With Partially ‘Irishman’-Inspired ‘Sinematic’ Album

  • Variety
Robbie Robertson to Return With Partially ‘Irishman’-Inspired ‘Sinematic’ Album
Robbie Robertson, soon to be in the limelight again as the focus of a documentary about his life and career, plans to make good on all that attention by releasing “Sinematic,” his first album since 2011.

The album is being heralded with a duet with Van Morrison, “I Hear You Paint Houses,” released as a single Thursday — a teaming that will remind a lot of fans of their shared participation in “The Last Waltz” more than 40 years ago, although there’s no mistaking the groove for a ’70s-vintage one.

A press statement described the former songwriter for the Band as “drawing inspiration” for the new album from “Testimony,” his 2016 memoir; “Once Were Brothers: Robbie Robertson and The Band,” the documentary that will bow at the Toronto International Film Festival with an opening-night gala premiere Sept. 5; and from “The Irishman,” the Martin Scorsese epic feature for which he’s working on the score,
See full article at Variety »

‘It Feels Good to Shed That Skin’: Robbie Robertson Gets Personal on New Album

‘It Feels Good to Shed That Skin’: Robbie Robertson Gets Personal on New Album
From his work with the Band through the solo albums he’s done over the last three decades, Robbie Robertson is the first to admit he generally hasn’t written much about his own life. “I used to try to avoid that,” he says. “I would hear other people singing songs about, ‘I got up this morning and had some toast and went out and got the newspapers,’ and I’d think, ‘God, you’re boring. I don’t care what you had for breakfast.’ I was going in another direction.
See full article at Rolling Stone »

Streaming: inside the BBC’s box of treasures

The iPlayer is better for films and documentaries than you might think – just be prepared to rummage around

Amid the distractions of Netflix, and the ongoing search for new and unusual streaming services, I admit I’ve rather neglected a faithful standby. In addition to its obvious uses as a TV catch-up service, the BBC iPlayer rarely gets much credit or promotion for the breadth and intelligence of its film selection: too often I forget to check what’s on its menu for a couple of weeks, and am surprised by the accumulated treasures when I return.

At the moment, for example, you can catch gems as assorted as Ben Wheatley’s excellent family-feud tragicomedy Happy New Year, Colin Burstead, Nicholas Ray’s stony-hard 1952 noir On Dangerous Ground or Miloš Forman’s whirling Andy Kaufman biopic Man on the Moon – all streaming, of course, for free. Like an eccentric but generous auntie,
See full article at The Guardian - Film News »

The Forgotten: On the Lam

At Il Cinema Ritrovato, the festival of restored and rediscovered films in Bologna, one intriguing item was a short season of the films noir of Felix E. Feist, with Tomorrow Is Another Day (1951) advertised as the best of these. A couple-on-the-run movie in the melancholy vein of Nicholas Ray's They Live By Night, it benefits from strong performances from its unusual leads, and Feist, intermittently a striking stylist, seems fully engaged.From the start, when anti-hero Steve Cochran is paroled from the prison he's spent eighteen years in since killing his brutal father as a teenager, low angles make the hero hulking and threatening. But then, released into an uncaring and alien society, he wanders for silent minutes, observed by a crafty newsman, but not speaking, merely staring in bewilderment at the modern cars and fashions.Then he wanders into a diner and orders three different types of pie,
See full article at MUBI »

Rip Torn: Fearless Film, TV, and Stage Actor Dies at 88

Tony Sokol Jul 10, 2019

Rip Torn, who played characters from Judas Iscariot to the producer on The Larry Sanders Show, dies at 88.

Respected and versatile character actor Rip Torn died Tuesday in Lakeville, Conn., according to Variety. Publicist Rick Miramontez did not release a cause of death, but said Torn was with his wife, Amy Wright, and two daughters, Katie and Angelica. He was 88.

Torn believed actors should “play drama as comedy and comedy as drama,” according to the statement, and the actor was equally at home both. He starred in comedies like Albert Brooks' Defending Your Life and the Men in Black films, as well as TV comedies 30 Rock, playing General Electric CEO Don Geiss, mentor to Alec Baldwin’s Jack Donaghy, and Curb Your Enthusiasm.

Torn won an Emmy for his part in HBO's The Larry Sanders Show, and was nominated for a Tony award in
See full article at Den of Geek »

Rip Torn: a wild man of stage and screen and a titan of Us TV comedy

His fights with Dennis Hopper and Norman Mailer are the stuff of Hollywood legend, but he is best remembered as the cynical and cantankerous Artie, producer of The Larry Sanders Show

Rip Torn: a life in pictures

British hell-raisers have tended to be fruity-voiced, self-aware thesps. American ones are more serious, more macho, more scary. And the man whom many believe to be the scariest of all has left us. The brilliant comic actor Rip Torn has died: an indefatigable, long-lasting performer on film, stage and TV who continued working until almost the very end. But alongside Rip Torn’s screen credits are the tales told of him as the legendary drinker and wild man, a gonzo veteran of the brawling 1960s counterculture.

He found his breakthrough playing Judas Iscariot in Nicholas Ray’s movie King of Kings in 1961, but achieved his masterpiece on the small screen in the 90s,
See full article at The Guardian - Film News »

Rip Torn, ‘Men in Black,’ ‘Larry Sanders Show’ Star, Dies at 88

  • Variety
Rip Torn, ‘Men in Black,’ ‘Larry Sanders Show’ Star, Dies at 88
Actor Rip Torn, who earned Oscar and Tony nominations as well as an Emmy Award and two Obies, has died Tuesday in Lakeville Conn., his representative confirmed. He was 88.

Torn was equally at home in the comedy of the “Men in Black” film series or TV’s “The Larry Sanders Show” (for which he won his Emmy) and in the drama of “Sweet Bird of Youth” or “Anna Christie,” to name two of the numerous classic works of theater in which he appeared.

The actor was nominated for a supporting-actor Oscar in 1984 for his work as a father who confronts tragedy in Martin Ritt’s “Cross Creek,” one of many rural dramas in which he appeared during his career.

He drew a Tony nomination in 1960 for his first performance on Broadway, as the sadistic son of the town boss in Elia Kazan’s original production of Tennessee Williams’ “Sweet Bird of Youth.
See full article at Variety »

Abel Ferrara’s 10 Favorite Films

With the U.S. release of Pasolini, the premiere of his new documentary The Projectionist at Tribeca, his new narrative film Tommaso bowing at Cannes, production underway on his next narrative film Siberia (also led by Willem Dafoe), and a MoMA retrospective winding down for Abel Ferrara, it’s been a busy year for the director–but don’t call him prolific.

“I don’t know how prolific we’ve been,” he told Nick Newman in a recent wide-ranging conversation. “What’s happening now is the end result of five years, so it’s not like we kicked back for three, four years, now, all of a sudden—no. We finished Pasolini, we finished Welcome to New York. Two films back-to-back. I don’t know what prolific means. You know what I’m saying?”

To celebrate his don’t-call-it-prolific streak, today we’re highlighting his favorite films of all-time, as
See full article at The Film Stage »

Police Story & Police Story 2

All the world loves Jackie Chan, whose cinematic action pictures bridge the gap between silent-era virtuosity and slick modernity. As light comedy entertainment these first two Police Story smash ‘n’ bash epics of eye-popping jeopardy are suitable as ‘family entertainment’ as well. Jackie is a marvelous hero, while Maggie Cheung is an old fashioned girl who doesn’t mind being threatened, kidnapped and occasionally having her scalp split open. You will believe that men can tumble from high roosts onto concrete, and smash through acres of glass countertops without receiving a scratch necessarily going straight to emergency surgery. Criterion has created beautiful new masters, with original soundtracks and extras to make every foolish Jackie Chan fan try some ridiculously dangerous stunt for themselves!

Police Story / Police Story 2


The Criterion Collection 971, 972

1985 & 1988 / Color / 2:35 widescreen / 100 and 122 min. / Ging chat goo si / Ging chaat goo si juk jaap /available through The Criterion
See full article at Trailers from Hell »

Put It in Writing: Living Through the Films of Abel Ferrara, Part One

Evan Louison last wrote about Abel Ferrara for Filmmaker‘s 25th anniversary issue in his report, “Letter from Rome.” Given the assignment to interview Ferrara in conjunction with his month-long MoMA retrospective, Louison responded with a five-part personal memoir that tracks the impact of the director and his work on his own life. Check back each day this week for the next in the series. Nobody’s Clean New York became our only school and we made that trip by train or else in Nicky’s black house painted Vw a 1000 times… Seeing Kazan arguing with Nicholas Ray on a street corner… […]
See full article at Filmmaker Magazine »

Put It in Writing: Living Through the Films of Abel Ferrara, Part One

Evan Louison last wrote about Abel Ferrara for Filmmaker‘s 25th anniversary issue in his report, “Letter from Rome.” Given the assignment to interview Ferrara in conjunction with his month-long MoMA retrospective, Louison responded with a five-part personal memoir that tracks the impact of the director and his work on his own life. Check back each day this week for the next in the series. Nobody’s Clean New York became our only school and we made that trip by train or else in Nicky’s black house painted Vw a 1000 times… Seeing Kazan arguing with Nicholas Ray on a street corner… […]
See full article at Filmmaker Magazine_Director Interviews »

Allene Roberts Dead: Actress In Nicholas Ray’s ‘Knock On Any Door’ Was 90

Allene Roberts Dead: Actress In Nicholas Ray’s ‘Knock On Any Door’ Was 90
Allene Roberts, whose film career blossomed in the late 1940s and early 1950s opposite such stars as Humphrey Bogart, Edward G. Robinson, and William Holden, has died. She passed Thursday in Huntsville, Alabama at age 90.

Born on Sept. 1, 1928, in a suburb of Birmingham, Alabama, Roberts beat out 85,000 others in a competition to name “America’s Most Charming Child” run by the New York Daily Mirror. She won $1,000 and a screen test with Warner Bros.

The screen test amounted to nothing, but Roberts and her mother stayed in California, and she slowly edged her way into show business. Among her notable roles was the female lead in Bomba on Panther Island, opposite jungle boy Johnny Sheffield, as the love interest of Humphrey Bogart in Nicholas Ray’s Knock On Any Door; as a kidnapping victim rescued by William Holden in Union Station; and as a young girl who ventures into the
See full article at Deadline »

55 Days at Peking

Nicholas Ray’s final film was an honorable attempt to combine complex political and social issues while straining to satisfy mainstream audiences’ appetite for traditional epics. That strain got to Ray – he collapsed midway and was replaced by Andrew Marton and Guy Green. The 1963 film was a disappointment at the box office with contemporary screenings few and far between – leaving Jack Hildyard’s spectacular Technirama photography to the dust bin of history.

The post 55 Days at Peking appeared first on Trailers From Hell.
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Bruno Ganz dies by Anne-Katrin Titze - 2019-02-16 17:41:55

Bruno Ganz with Christopher Plummer in Atom Egoyan's Remember: "There was a beautiful stillness to his piercing intelligence ..."

Bruno Ganz died on February 15 at his home in Zurich at the age of 77. A star in three Wim Wenders films - Wings Of Desire; Faraway, So Close! and The American Friend' Ganz played the voice of death, Verge, in Lars von Trier's The House That Jack Built.

Atom Egoyan worked with Bruno Ganz, who played Rudy Kurlander #1 in Remember, which starred Martin Landau and Christopher Plummer. Atom sent the following tribute to me this morning.

"It was such an honour to work with this legendary actor. I will never forget the time we spent together, which I treasured. We talked a lot about theatre, and I always had the sense that the stage...
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My Name is Julia Ross

Is this any way to treat a lady? Lovely Nina Foch just wanted a job, but she instead becomes the fall-gal in a psychologically perverse plan to deny her very identity. Cult director Joseph H. Lewis makes deft use of cinematic suspense techniques to compel our involvement in a bizarre conspiracy: not just convincing a woman that she’s insane, but that she’s literally not herself.

My Name is Julia Ross


Arrow Academy

1945 / B&W / 1:37 Academy / 65 min. / Street Date February 19, 2019 / Available from Arrow Films (UK) / 39.95

Starring: Nina Foch, Dame May Whitty, George Macready, Roland Varno, Leonard Mudie, Anita Bolster, Doris Lloyd, Queenie Leonard.

Cinematography: Burnett Guffey

Film Editor: Henry Batista

Visual Effects: Lawrence Butler, Donald Glouner

Musical director: Mischa Bakaleinikoff

Written by Muriel Roy Bolton, from the novel by Anthony Gilbert (Lucy Malleson)

Produced by Wallace MacDonald

Directed by Joseph H. Lewis

2019 is shaping up just fine for Blu-ray releases of small-scale,
See full article at Trailers from Hell »

Television’s Lost Classics Vol One: John Cassavetes

John Cassavetes springs forth as a major 1950s talent in these two ‘Primetime Special’ dramatic plays broadcast live on ABC and CBS. Crime in the Streets is the Reginald Rose classic directed by Sidney Lumet; No Right to Kill is a ‘culture for the masses’ adaptation of Crime and Punishment. Cassavetes’ co-stars are Robert Preston, Glenda Farrell, Terry Moore and Robert H. Harris.

Television’s Lost Classics

Volume One John Cassavetes

Crime in the Streets; No Right to Kill



1955-’56 / B&W / 1:33 Kinescope / 2 x 60 min. / Street Date September 11, 2018 / 18.99 (Amazon)

Starring: John Cassavetes, Robert Preston, Glenda Farrell, Mark Rydell, Terry Moore, Robert H. Harris.

Directed by Sidney Lumet and Buzz Kulik

Remember the movie Network, when William Holden’s character says he’s going to write a glowing memoir about his ‘good old days’ in the Golden Era of Live TV in New York? That was in 1975, just
See full article at Trailers from Hell »

Wicked West: Close-Up on Neïl Beloufa’s "Occidental"

  • MUBI
Close-Up is a feature that spotlights films now playing on Mubi. Neïl Beloufa's Occidental (2017) is showing January 10 – February 8, 2019 exclusively on Mubi.In the age of globalization, French-Algerian visual artist Neïl Beloufa addresses the slippery slope of human interaction, empathy, and prejudice, cloaked in kitsch 1970s hotel environment. Shot entirely at his own studio south of Paris, Occidental is his second feature film, yet Beloufa’s career is prolific with mixed media installations and docu-fiction short films. By setting the time and tone of the film fifty years in the past, the artist makes a clear commentary on the contemporary state of exception, exemplified by protests, suspicions, homophobia, and racism—all of it glazed in vivid reds, greens, and pink, soaked in a moody score. Occidental is both a critical nod and a tribute to an imagined, capitalized, pseudo-tolerant, Wicked West. The film is centered around the Parisian hotel Occidental,
See full article at MUBI »
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