SUMMER 2020 EDITORIAL
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The New Adventures of Tarzan was released as a
weekly serial an astonishing 85 years ago, back in 1935.
In going through some of my film memorabilia not long
ago, I came across this stunning (and rare) original
pressbook for the serial. It's huge (over 20 inches
high!), the front and back covers printed on textured
thick paper, and, as you see, in full colour. The back
cover carries illustrations of the one sheet (available
for each individual episode of the serial!), a cloth
banner and a window card amongst other delights. Put me
down for one of each. Inside, there is mention of "the
stark realism of mysterious Guatemala" and merchandise
including not only "the new butter balanced Tarzan
bread" but "the 5c. Tarzan ice-cream cup". But, perhaps
the most notable feature of this very rare pressbook
that it is hand-signed on the front by the Tarzan in
question, Bruce Bennett (here going under the name
Herman Brix). I was pleased to note that he did
achieve his century by a clear nine months. Reading up
about him, I was reminded that I had seen (albeit many
years ago) the movie Tarzan and the Green Goddess
which was culled from the footage that made up the
serial The New Adventures of Tarzan . Such are
the distractions that hobbies give us. We need such
distractions at times such as these.
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AUTUMN/WINTER 2019 EDITORIAL
In one of those quirks of Fate that Life is oh so good at, I found
myself in London recently. Reading The Metro on the train
back, a review of the new film Monos caught my eye. "A
largely non-professional teen cast" are words that automatically
spark my interest. I love working with unprofessionals, and bright
young actors are just the best thing. I shall be looking out for
Monos with interest, and add it to the ever-growing list of
films that I wouldn't mind seeing.
SUMMER 2019 EDITORIAL
Well, The Here And Now is finally now finished- and will
have its premiere screening in the not-too-distant future. Needless
to say, I'm really grateful to my lovely cast and crew- all of whom
I'd work with again.
The whole film proved harder than I thought it would be to complete,
but we got there- and I can now start planning the next one! I hope
it will be a creative and enjoyable Summer, as I'm working again
with Jack Spence (he of Talk To Me fame- see my last
editorial!- on HIS second feature, and I feel priviliged to be doing
so. He's also been involved in my film and helping me stay
optimistic- so my thanks to him for that! Talking of The Here
And Now ....check out the official trailer for the film here
SPRING 2019 EDITORIAL
I feel honoured to have been a part of a new feature film which
finished shooting in the last week. Talk To Me tackles a
number of sensitive and emotionally-charged topics, so it's all
the more remarkable that its writer and director, Jack Spence (lower
left), is still only 18. He also ended up taking up one of
the central roles when one of the actors was forced to pull out at
the eleventh hour, making his achievement all the greater. Oh yes,
and he shot AND edited the film himself...in just four days.
Having seen a rough cut of the finished product, I feel extremely
proud to have been involved. Not only was it colossal fun to be on
set, the finished film has depth, style and beauty which are
exactly what the British film industry needs. Forget trying to
emulate Hollywood- original films like this are the real deal. So,
look out for the film Talk To Me in the press, and, if you
get the chance to see it, I'd recommend that you do so. As for the
multi-talented Jack Spence, he is definitely one to watch.
JANUARY 2019 EDITORIAL
2019 sees many music-related anniversaries, but one musical one
is that of Woodstock- which took place 50 years ago. Late last
year I found myself dipping into Michael Wadleigh's marvellous
film of the festival which made such an impact on me as a teenager
when it was screened on TV much later. It's one of those rare
films which is audacious yet hugely pleasing, emotional yet
fulfilling, and beautiful. The music is unbeatable- and I feel
fortunate indeed to have interviewed some of the performers. I
shall be thinking of the festival again this year, and at some
point re-watching Wadleigh's film in homage.
SUMMER 2018 EDITORIAL
I thought I'd share with you a poster for a film I saw recently
on what I call "my favourite channel"- Talking Pictures TV (Sky
channel 328, Freeview 81, Freesat 306 and Virgin 445). If you've
never come across the channel before, give it a try! They do
everything film-wise the BBC seem to have given up on, and show
films that enable you to discover little gems like this. Oh yes,
and I'd LOVE the poster on my wall!
JANUARY 2018 EDITORIAL
I had planned to write some concise comments about the first
film I saw in 2018. But, this became a mini essay of celebration-
and you can read it here
SUMMER/ AUTUMN 2017 EDITORIAL
I often write about directors, but I feel very lucky indeed to know
some terrific actors. One of the things they have in common is not
realising just how good they are- making a film is creative and
artistic, but it is also FUN- and the actors I know make the whole
process such a blast I can't wait for the next time around! Here's
one of the talented actors I know in a still from a short film I'm
currently editing...
SUMMER 2017 EDITORIAL
It's funny that, despite all the technological advances, the rising
stars and the appearance of new directors, I tend to return to the
old masters- the ones that inspired me in the first place. Visconti.
Rossellini, Antonioni. Hmmm...three Italian directors. It's always
been the Arthouse cinema for me - the independent over the
mainstream, Kenneth Anger, beauty over convention, aestheticism over
the mundane. I've increased my work so much in the last few years,
and have found that I love it more as a result. The still below is
from a short film I finished earlier this year which is now on the
film festival circuit. It is called To Whom It May Concern.
SPRING 2017 EDITORIAL
I know very few people for whom 2016 was a good year. But, it is
time to banish it to the past and move forward. Lots of exciting
things on the agenda for 2017- not least planning my first feature,
moving house and finally making some shorts that have been in my
mind (and actually ON my mind) for ages!
It is perhaps apt that this year marks 90 years since the release of
Abel Gance's epic Napoleon. I was lucky enough to see some
of this magnificent work when studying History at college, as our
teacher had recorded the film on its first (and to date last)
screening on British television. I was captivated, and look forward
to renewing my acquaintance with the film as soon as is possible.
(There's a particularly good trailer- the link is below).
Talking of anniversaries, warm birthday wishes to Olivia De
Havilland and Kirk Douglas- who both turned 100 last year. Back to
this year- and have a great one. Keep in touch via social media, and
there will be more films and news coming very soon. Whatever the
future holds, we hope that it is good. Napoleon
trailer
AUTUMN 2016 EDITORIAL
Sorting through some film memorabilia recently I came across this
fan-club letter from Monty Banks. Whether this was written by Monty
himself is doubtful (he was born in Italy, and at the time this
would have been written was still not fully au fait with
English), but its sentiments are nevertheless very worthy ones.
Banks came to the USA in 1918, and worked on a number of films
directed by and starring Roscoe "Fatty" Arbuckle. Sadly, the
survival rate of these films is so poor that Banks' skill cannot be
easily assessed, but he WAS successful enough to form his own
production company and direct himself in a few films.
When sound came to Hollywood in the late 1920s, Banks, along with
many other non-native English speaking actors, found himself cast
aside. He moved to England, and turned to directing. Monty Banks was
responsible for films starring George Formby, Gracie Fields (who was
to become Banks' second wife in 1940), and, in his last directorial
outing, Laurel and Hardy's Great Guns . Nine years later,
while on a train in Italy, he secumbed to a fatal heart attack. In
Cesena, his home town, a foundation ensures his name will live on-
for it promotes the creation of moving images from local boys.
SPRING 2016 EDITORIAL
( Gabriel Dell, Huntz Hall, Billy Halop, Bernard Punsly, Bobby
Jordan & Leo Gorcey)
The Dead End Kids were something else. They had that ability- not
even given to some Oscar Winners or celebrated "stars" throughout
cinema history- of being able to lift the films they appeared in, to
make the productions even better for their presence. Although
Dead End marked their debut as an ensemble, and Angels
With Dirty Faces is their best known film together, the other
five movies are less familiar. One of these, They Made Me A
Criminal was made in 1939- and involves the cream of Hollywood
talent, making its relative obscurity even more surprising. Not
content with being directed by the maestro of the musical Busby
Berkeley, the film was shot by ten time Oscar nominee James Wong
Howe (he did actually win twice). The music by Max Steiner sets a
suitable backdrop to the detailed yet comprehendable plot which also
stars John Garfield, Claude Rains, Ann Southern, May Robson- and
even features minor roles for character actors like Ward Bond and
Arthur Housman. In common with all but Dead End, the film was
made and distributed under the auspices of Warner Brothers , making
it all the remarkable (and lamentable) that DVD releases have been
limited to public domain ones. They Made Me A Criminal packs
more into its 92 minute running time than most movies twice its
length, and, though setting up the plot proper seems a little
rushed, the Dead End Kids' appearance settles things down. Like
their other more celebrated films, They Made Me A Criminal
contains almost every conceivable emotion from drama to pathos, and
(perhaps more importantly) the film is utterly unpredictable. It
also has important lessons to teach us all in how to be human, and
it is this, above all, which makes it worthy of remastering and
issuing on DVD as part of a proper box set of Dead End Kids titles
to acknowledge their unique place in Hollywood history.
OLD-FORMAT EDITORIALS. No words have been
changed- these are exactly as written at the time.
EDITORIAL FOR JANUARY 2008
BRAD RENFRO
25th July 1982- 15th January 2008.
Whatever else the month may hold, it should be remembered for the
passing of another young Hollywood actor, Brad Renfro, well before
his time. I happened to catch a glance of the ominous MSN news
headline 'US actor found dead' as I was about to log off in the
early hours of 17th January. Feeling sure it would be someone I'd
not have heard of, I clicked the article and was additionally
stunned when Renfro's name appeared. A River Phoenix for the
generation of 1990s film-goers, Renfro's most famous role was in the
thriller The Client but he also put in memorable
performances in The Cure and Apt Pupil among others.
A sad day indeed for cinema.
EDITORIAL FOR FEBRUARY 2008
There's a revolution happening in Canada. A cinematic revolution
anyway. The forthcoming release of Juno directed by talented
Canadian Jason Reitman is yet another example of the quirky, 'Indy'
film that the Canadians (and the Americans for that matter) do so
well. In fact, the Canadian 'coming-of-age' movie could almost be
considered a sub-genre in its own right: from the emotionally
draining Sugar(dir. John Palmer, 2004) to Jean-Marc Vallee's
C.R.A.Z.Y.(2005), such films are marked by soundtracks that
mix the offbeat with the mainstream, central characters who are
subject to the vagaries of Life, stunning locations and a reluctance
to outstay their welcome. Many, many words could be written about
these stunning films and others besides, but Juno is another
in a long line of charmingly idiosyncratic films to emanate from
Canada. Vive la Revolution!
EDITORIAL FOR MARCH 2008
In the 2007 film Into The Wild, there is a moment when Chris
McCandless (Emile Hirsch) tells a large red apple just how tasty it
is. Then, after two jump cuts, he stares at, then leans toward, the
camera. Little did Hirsch know that this particular moment would be
singled out for IMDB analysis and debate. A very minor moment in
what is a very long film, this sort of conjecture surrounding his
interaction with the camera marks the shift away from considered
critical reflection toward an almost immediate response on behalf
of- well- anyone. Now, no sooner than a movie's credits have
laboured their way up the screen, there are private analysts
trainspotting the flaws, moments of stretched credibility and
downright plot holes ready for their sixty seconds of fame when they
point it out to the whole world on IMDB. In this case, it is
interesting to note that director Sean Penn initially refused to let
Hirsch ad-lib the idea of talking to the apple (Penn's lack of good
judgement characterising most of the film)- that Hirsch persuaded
Penn to film the moment is a credit to the actor, and to those who
have the patience to trawl through IMDB looking for a discussion of
a moment such as this.
EDITORIAL FOR APRIL 2008
In this modern world where, it is said, young people don’t have
heroes anymore, the passing of Hollywood legend Charlton Heston
should evoke in many more than a touch of sadness. For many
cinema-going youngsters throughout the 1940s, 1950s and even the
1960s Heston was a true celluloid icon, for he made the legends of
history real, believable and almost tangible. Those who criticise
his involvement with the N.R.A. miss the point- Charlton Heston
should be revered for exactly what he was- a legend where there are
no legends, a giant where there are no giants, and a hero where
there are, it seems, no heroes. God Bless you “Chuck”.
EDITORIAL FOR MAY 2008
In one of my Film lectures a year or two ago, I described Gus Van
Sant as ‘the greatest living American director’ (possibly a result
of seeing My Own Private Idaho and Elephant in
consecutive weeks). Since then, I have reflected on this rather
spontaneous outburst with a certain amount of humour- he is
unquestionably a brilliant director, but that good? Van
Sant’s latest film Paranoid Park, stylishly shot yet
strikingly down-to-earth, is another remarkable experience from a
man who knows how to make films that are just, well, amazing.
As the film finished, I once more thought back to that day when the
students grinned at my sudden declaration of enthusiasm, and decided
that perhaps I hadn’t been that shy of the mark after all.
EDITORIAL FOR JUNE 2008
The actor Gerald Harper hasn't made many films. It wasn't until I
did some research that I found this out- it was a fact that rather
shocked me, as he really is an excellent actor. I had the good
fortune to meet Mr. Harper at the stage door during his recent
appearance in Agatha Christie's And Then There Were None,
and he is one of the nicest people I have ever met. I asked him if
he had any future projects planned, and was rewarded with a
wonderful amused chuckle... apart from another run of the play, he
hadn't. True, Mr. Harper has done much television work (most
famously in the brilliant Adam Adamant Lives!- a series
which should be the official definition of 'cult' in the dictionary)
but little film. If his appearance in the play is anything to go by
he can still turn on the style- and that is often what films in this
day and age are missing.
EDITORIAL FOR JULY 2008
You might recognise the image, but I’d be very surprised if you’ve
seen the full version of the film…until now maybe. Metropolis
is one of the most famous works of European cinema but exists in
many different length versions. Premiered at 210 minutes back in
1927, the film has been available in prints lasting anything from 80
minutes (the Moroder version) to the most recent 2 ½ hour
restoration. Now, with the aid of a battered film discovered in
Buenos Aires, the true Metropolis can hopefully be
reconstructed and be a lasting testimony to the genius of Fritz
Lang.
You can read more about this amazing "find" on my links page.
EDITORIAL FOR AUGUST 2008
With the Summer, and the invariably capricious weather that season
brings, my thoughts turned yet again to those 1960s ‘Beach’ movies
(which in turn invariably starred Frankie Avalon and Annette
Funicello). Often panned by the critics, these movies can hopefully
now be re-evaluated both in terms of their cultural significance (as
indelibly linked to the 1960s as Italian Neorealism is to the 1940s)
and for their use of icons of popular culture (from Buster Keaton to
Mickey Rooney). Ultimately, these movies did not aim at a profound
political statement- they cashed in on the surfing craze and, in
doing so, provided entertainment not only for those who rode the
California surf but those who would like to.
EDITORIAL FOR SEPTEMBER 2008
The passing of Anita Page at the age of 98 severs yet one more link
with cinema's silent past. Ironically for an actress who retired in
1936, Page's final film (Frankenstein Rising) is not yet
released, although it is one of just six she made since that
self-imposed exile from the silver screen. It is both enticing (and
now frustrating) to consider that Miss Page was part of that magic
world and knew the people who have become motion picture legends.
Despite her somewhat limited film career, Miss Page deserves to be
remembered as they all do- for theirs was the pioneering spirit that
established the form of cinematic production which is still largely
in use to this day.
EDITORIAL FOR OCTOBER 2008
Just when you thought it was safe to start saving up for Christmas
Alfred Hitchcock makes an appearance...or rather, some of his films
do, as part of the remastered two-disc Legacy Series. One such title
is Rear Window. I already have the film on DVD- and it has
extras. So, why should I buy this new release? Two reasons- the
further improved picture quality and the host of extras (including-
at last- a feature length commentary). I suppose you'd have to be a
keen Hitchcock fan to purchase this film again, but I am a keen
Hitchcock fan. Christmas will have to wait.
EDITORIAL FOR NOVEMBER 2008
Listening to The Film Programme on BBC Radio 4 on 17th
October this year I was shocked to hear that films are still
decaying in vaults all over the world through lack of money. Call me
old fashioned, but, with the absurd sums being thrown around left,
right and centre in today's celebrity culture, that's something very
wrong. There are also films which are preserved but not yet
released- one that has always held a fascination for me is Glorifying
The American Girl. Made in 1929, and therefore pre- Hays code,
it is notable for being an early musical, its last section being
shot in early technicolor and for its spectacular sets. That this
film survives in the vaults at the UCLA is commendable, that it
seems to languish there is less commendable. Film preservation needs
action- and fast, not only to preserve our rich cultural heritage
but to ensure that it lives and breathes again.
EDITORIAL FOR DECEMBER 2008
On the surface, Ingrid Bergman seems to have little to do with BBC
Radio. Actually, she may well feature in an edition of Radio 4’s
Archive Hour on 20th December at 8.00 p.m. The programme- entitled
‘Home-Recorded Voices’- takes as its premise the “domestic”
recordings made by people using the new technology of magnetic reel
to reel tape to record themselves for posterity. The majority of
recordings you will hear come from my own archive. One of the voices
(belonging to a Lorna Butler of Reading, Berks.) is represented
several times in my collection- once giving a superbly detailed
description of her meeting with Ingrid Bergman (above). Whether it
will make the final cut is uncertain- but what is certain is that
the exploration of my audio archive hits UK airwaves on the last
Saturday before Christmas.
EDITORIAL FOR JANUARY 2009
It's that time of year again- Oscar nomination time. For once, I
care about the Oscars. One film I think will be rewarded is the
charming WALL-E, but I also hope that Gus Van Sant is
recognised for his film Milk. Van Sant's films are always
interesting, and often simply mind-blowing. It's time this was
recognised in a more public arena than fan sites and forums, so I
send him good luck too. I may even stay up in the hopes that both my
prediction and my wish come true.
EDITORIAL FOR FEBRUARY 2009
Despite the sale of films on DVD reaching its early teens it is
astonishing to note those films that (for some strange reason) have
vanished from (or have never appeared on) the radar. If it was just
a case of Darwinian natural selection, and only the best/most
interesting were released for public consumption and adulation I
could perhaps understand it. But it isn't. Thus, one can buy any
mindless movie fairly readily (even in most high street stores!) but
other titles remain frustratingly elusive. A case in point is
'Zabriskie Point' (Antonioni, 1970), unavailable on DVD in both the
UK (unsurprisingly) and in America (amazingly). Without resorting to
some dubious imported version one's only option- it seems- is to
await the occasional screening of the film on TCM, avec logo and mit
adverts. I've wanted to see this film for years, and now have the
sensation of being aware that I soon won't be able to wait any
longer. It is this situation that the film companies should be aware
of, as if the release is delayed to the point of its audience
seeking out the movie elsewhere (such as a transfer from an old VHS
video or recording it from a channel like TCM), the very people who
may be responsible for sales will hold back- for the short term at
least. If I had to name three titles I'd like to see on DVD in the
near future they'd be the aforementioned Zabriskie Point,
Gance's 1927 classic Napoleon and the 1980 Brownlow/Gill TV
series Hollywood. Let's hope that whoever has to be
listening IS listening.
EDITORIAL FOR MARCH 2009
One of the indisputably great things about British cinema of a
certain era was its preponderance of character actors who would
suddenly turn up in a film of seemingly any genre. One such example
is Cecil Parker, who appeared in The Admirable Crichton (1957)
on television recently and popped up in a film I caught tonight,
1965's A Study In Terror. Usually reminiscant of a slightly
quavering but agreeable Uncle, Cecil Parker also appears in one of
my all-time favourite films The Court Jester(1955), but it
is worth noting that in his 36 year career he appeared in films
directed by some of cinema's greatest- including his memorable
appearance in The Lady Vanishes(1938). Cecil Parker is one
of those special actors whose presence can make even the worst film
bearable, but my delight is in seeing him whatever he is in. Truly,
we will never see his like again.
EDITORIAL FOR APRIL 2009
One very good thing about the school holidays is the replacement of
the usual run-of-the-mill dross (mindnumbing daytime television or
live golf coverage) with films. I hadn't intended to watch one
particular film- Tron by name- out of an odd sort of fear
that it wouldn't live up to my memories of seeing it as a small
child back in the early 1980s. I need not have worried. Despite a
slightly incoherent narrative, Tron still looks stunning,
its visual style unique in a world where many things billed as
"unique" aren't. I hear a remake of the film is on the cards. 'Nuff
said.
EDITORIAL FOR MAY 2009
Perhaps the biggest compliment one can have is to have a biopic made
about one's life. I suspect the closest I'll get to this exalted
position is a short film (made by some of my students) entitled R7HARRIS
which is based on me and my love of film. Continually interesting,
it is one of many superb shorts I have been proud to observe taking
shape over the last two months as studies move towards their close.
Despite using both my voice and some direct interview footage, R7HARRIS
demonstrates the typically inventive modern student mind- the host
of visionary ideas each year produces never ceases to amaze and
delight me.
EDITORIAL FOR JUNE 2009
It's nice to know that the future of Britain's film industry is in
safe hands. This particular image adorns the British Film Council's
short films page with the grace and dignity that a hare has in a
butchers shop window. I'd go so far as to say that I'm as sure as
eggs are bacon that these no doubt worthy individuals will offer as
much to the short film as to the feature film in this country.
Francois Truffaut once famously remarked that 'British' and 'cinema'
were slightly incompatible...I wonder what he might make of things
now.
EDITORIAL FOR JULY 2009
I was intrigued recently to read what on the surface looked like a
wholesale endorsement for my constant argument that your average
mainstream, run-of-the-mill movie need not outstay its welcome. The
author of the article, however, after namechecking some recent
Hollywood Blockbusters, comments thus: 'these sorts of movies would
have skirted close to the 90 minute mark a decade or so ago. Look at
the first 'Star Wars' and 'Indiana Jones' movies – they are lean,
fast paced and endlessly re-watchable. Now look at the new ones.'
What is happening here is a confusion between length and quality.
The first Star Wars film (1977) runs 121 minutes (125 if you
count the special edition), Raiders of the Lost Ark 119.
Therefore, they're not really that close to 90 minutes. I do get his
point though: of the three 'prequels' to George Lucas' saga, The
Phantom Menace runs for 133 minutes, Attack of the Clones
142, and Revenge of the Sith 140. What all this boils down
to is that if a movie is really good (as opposed to 'O.K.')
it can run a little longer. What I, he and no doubt most of the
public out there don't want is pretentiously long films whose
content does not merit their running time.
EDITORIAL FOR AUGUST 2009
I don't know what this month's editorial would have been had I not
heard of the lamentably early death of John Hughes a couple of days
ago. Although he directed a mere 8 films, two of those are classics
in their field- The Breakfast Club and Ferris Bueller's
Day Off. I saw the latter again about three years ago after a
gap of almost 20 years. To be honest, I'd avoided going back to it,
fearing that what I'd found so entrancing as a boy would now seem
puerile and childishly silly. I need not have worried. If anything,
I enjoyed it more the second time around- it was uplifting and
different in the way that so few films these days seem to be. Now I
work in education, I enjoyed watching the teachers almost as much as
I did Ferris himself. John Hughes was not a one-trick pony: he
wrote, produced and directed, and was still doing so until the end.
His death, at the early age of 59, is to be mourned- if you want to
pay tribute to him in the best way possible put on Ferris
Bueller's Day Off and enjoy.
EDITORIAL FOR SEPTEMBER 2009
It seems almost inconceivable that 28th September 2009 marks the
75th birthday of the legendary French actress Brigitte Bardot. Her
reclusive lifestyle (only disturbed by valiant outbursts against
animal cruelty) means her iconic status is assured- her image is
frozen in time as the sex kitten that took the world by storm in the
late 1950s.
EDITORIAL FOR OCTOBER 2009
It's surprising what prompts research to take place. Looking through
a beautiful Columbia Pictures Exhibition Book from 1930-31 in my
collection I was particularly impressed by a striking full page
advert for The Flood, a film now barely remembered.
Interestingly, the advert attempts to sell the film through its
spectacle rather than its stars (Eleanor Boardman and Monte Blue-
both big names in the silent era) or its director (James Tinling,
not, with the greatest respect, a notable name), although it does
hype them up in the written blurb that accompanies the main image.
Given its hype, it's a shame that The Flood probably exists
in a dusty vault somewhere, waiting, like "the mad surging torrents
of Hell", to break loose...
EDITORIAL FOR NOVEMBER 2009
It doesn’t seem that much has happened in the film world in recent
months. There are lots of people who’d probably disagree. My (rather
reactionary) response to this is to turn back to the acknowledged
masters of the past. Thus, as the Winter evenings begin to make
venturing out a decidedly unappetising occupation, I return to
Truffaut, Godard, Antonioni- those people who guarantee to uplift
the spirits. Speaking of Godard, I was reminded only yesterday just
how quotable he was (and probably still is). ‘Cinema is truth’, the
great man once remarked, ‘twenty-four frames a second’.
EDITORIAL FOR DECEMBER 2009
Well, it's that time of year again. I marked the occasion by a
special screening of It's A Wonderful Life where the film
worked its magic once more. As I watched, I wondered if it really was
my favourite film- it's been my pat answer to the 'favourite movie?'
question for years. The evidence- Donna Reed's finest hour, an
incredible performance from James Stewart that soars through the
range of emotions, a complex narrative web which sees itself
resolved, and what is for me a final sequence of utterly unbearable
intensity. Mere words cannot do the affective power of this justice,
but what I do know is that it tipped the balance in favour
of Capra's film on this occasion. A Happy Christmas to you all...
EDITORIAL FOR JANUARY 2010
The mark of a true star, an actor or actress who will be remembered
in years to come and define their generation, is that they can still
be great even if the movie they are in isn't. Few stars have made
universally great films, but having the knack to still be a class
act in a film that most definitely isn't is the touch of genius.
Watching 17 Again recently my assertion seemed truer than
ever. It is not, by any stretch of the imagination, a great film.
That said, its main star is great in it. It is his performance alone
that makes the film watchable, and, consequently, Zac Efron is one
of the true stars of his generation- one of the finest talents
Hollywood currently has to offer.
EDITORIAL FOR FEBRUARY 2010
2010 has, so far, not been kind to the great and the good. In
January Jean Simmons passed away, as did Eric Rohmer. This month has
already seen the loss of Ian Carmichael, one of the mainstays of
1950s and 1960s British cinema. What was refreshing about Carmichael
was his quintessential Britishness, his often bewildered
fresh-face being seen in a plethora of films (often comedies). One
of my favourite Carmichael performances is Left Right and Centre
(1959) where he plays a Tory candidate who erroneously reveals his
tactics and biography to his political rival. Carmichael's death
severs yet another link with 1950s British cinema, and we must
honour the surviving stars while there is yet time.
EDITORIAL FOR MARCH 2010
I clasped my hands to my face and repeated ‘no, no, no…’ in a
monotonous chant, almost hypnotised by the bad news I had just read.
I then got up and unsteadily crossed the room, barely keeping my
emotions in check. If the telephone hadn’t rung at that moment I
think I would have fallen apart. It must have looked like a scene
from a movie…but it wasn’t. It was real. I had just read of the
death of Corey Haim. Intense sadness, guilt, anger- all these
emotions passed through me soon after. I was angry for the way the
Hollywood machine will grind on regardless, guilty that I hadn’t
written to him to say I appreciated his work, but above all I was
(and still am) sad. Corey Haim was one of THE symbols of the 1980s
teen movie. With his passing, in an odd way, a little of me died
too.
Corey Haim 23/10/1971-10/3/2010
EDITORIAL FOR APRIL 2010
Life is not quite as sunny in Hollywood as it once was. The reason?
The financial cost involved in preserving the sign proclaiming a
name now synonymous with the movies themselves. Erected in 1923, the
sign’s chequered history (Peg Entwistle jumping to her death from
its first letter for example) and gradual weathering led to the
removal of the original suffix ‘land’ from the sign. Now, another
problem rears its ugly head- several ugly heads to be precise- those
of “investors” (= cultural highwaymen) whose future actions will be
a result of their palms being crossed (or not) by £2 Million
(approx. $3.5 Million). Moral bickering aside, it’s time to get
real. Avatar cost $500 Million. The sign needs $3.5
Million. With movie salaries and budgets rising higher than a
skyrocket on acid it’s time to act. Should today’s multi-million
dollar celebrities give up some small change to save this landmark
sign? I’d say yes- for it was probably the very magic the sign
inspired that helped motivate them to get where they are today.
EDITORIAL FOR MAY 2010
James Stewart and Margaret Sullivan stand amazed. This is not the
result of a straw poll to discover who thought the recent version of
Clash of the Titans was the original (check out the
1981 Desmond Davis classic if you, dear reader, would also raise
your hand). Instead, it is a show of support for the Nazis who have
suddenly come to power- and upset the status quo as a
result. The film is The Mortal Storm and I have only
recently been reunited with this 1940 Frank Borzage classic after
seeing it getting on for 15 years ago at a cinema in the South of
England. It made a profound impression on me then, and (I was
pleased to discover) weaved its magic again recently when I acquired
it on DVD as part of the ‘Warner Archive’ series. For those not
acquainted with this particular strand, the studio has decided to
produce “no frills” versions of some niche market interest titles
and burns them to order as orders come in. Thus, it really is a
personalised service, and, apart from the many joys of the film
itself, there is something deeply satisfying in this.
EDITORIAL FOR JUNE 2010
I have to confess that I don’t have a vast experience of Australian
films. Those I have seen include The Piano (which bored me
so much at the time I’ve not been back to it), but I’m very keen to
see Wake In Fright (1971) whose remarkable story I came
across on one of my random web surfs. In short, the director of the
film, whilst on a quest for a watchable copy of the film, followed
up lead after lead which took him to Pittsburgh- where he came
across the original reels about to be destroyed! Luckily, this story
does have a happy ending- and the film is now out on DVD.
EDITORIAL FOR JULY 2010
The 15th San Francisco Silent Film Festival takes place between 15th
and 18th July, and a mouthwatering programme is in prospect. If it
were not enough to be showcasing the magnificent John Ford epic The
Iron Horse the Festival is screening the recovered (and
reconstituted) version of Metropolis, which, at 148 minutes,
is as close to Lang's original cut as we're likely to get...for now!
Looking across the other films that are showing, my biggest
complaint is that, due to pressure of work, I am unable to be there.
Maybe next year.
EDITORIAL FOR AUGUST 2010
As a passionate cineaste, I would have suspected that the recent
demise of the UK Film Council would have filled me with greater
horror/ shock/ outrage than it actually did. True, it funded many
successful films (even if some were a million lightyears away from
past glories- Bend It Like Beckham is one film that
springs readily to mind as endorsing Truffaut’s famous statement
about the British and cinema). On the negative side, I’m not sure it
did much for films at a grass roots level- preferring to farm out
such niceties as funding to regional agencies (who seem to have the
same dubious politics as their parent). My biggest question is not
‘why was it abolished?’ but, to weave in a line from Spike
Milligan’s feted Q programmes, ‘what are we going to do
now?’
EDITORIAL FOR SEPTEMBER 2010
It is inevitable, one supposes, that with the passing of time the
old masters, the legends of the Arts, will pass away. The world of
cinema that tonight mourns the French auteur Claude Chabrol
has suffered the loss of four such major figures in the last few
years- namely Fellini, Antonioni, Rohmer and now Chabrol. The last
two are significant in that they leave only Rivette (now 82) and
Godard (80) as survivers of the Cahiers critics who
initiated the Nouvelle Vague. What else is there to say? For
once, I am not quite sure.
EDITORIAL FOR OCTOBER 2010
The latter part of 2010 has not been kind to cinema greats. Hard on
the heels of the passing of Claude Chabrol (the subject of last
month's editorial), we mourn Tony Curtis and now the British comedy
legend Norman Wisdom. Curtis' legacy is relatively assured, thanks
to his more famous movies, but it will be interesting to see how the
films of Norman Wisdom are now viewed. I have always argued that his
films are unpretentious, gentle and actually often very clever-
blending in sentimentality with a very British wit. Newspaper
reviews have, though, felt otherwise. Given the hypocrisy of certain
so-called film critics, I shall watch with curiosity whether his
passing signifies a timely re-evaluation of his cinematic output.
EDITORIAL FOR NOVEMBER 2010
One of the aspects of my lectures is getting over to students the
necessity of research, and the foolishness of making
unsubstantiated, vacuous statements. Unfortunately, their success in
avoiding these is not shared with the Radio Times, whose
standard of film reviewing has plummeted in quality (ironically, in
step with the decline in the screenings of interesting films-
perhaps there’s a link there?). In a recent issue, criticism of the
1950 Treasure Island was confined to Bobby Driscoll ‘the
worst sort of precocious American child star’, making me wonder
whether the so-called critic had actually watched the film- for
Driscoll is undeniably excellent throughout in his open-eyed
wonderment. It would be cruel to single out this one (presumably
inexperienced) hack writer (but step forward Adrian Turner- for This
Is Your Moment) for his puzzling statement. Even if Driscoll were
“precocious” (the evidence is, obviously, not forthcoming in
Turner’s piece), this epithet could be applied to virtually every
child star (American or not!) at some point. I have three pieces of
advice for Mr. Turner- that he read even one of several child star
books (as well as my own research), that he think carefully what he
says before saying it in future, and that he avoids the films of
Shirley Temple- another who might fit his dubiously named clock of
‘the worst sort of precocious American child star’.
EDITORIAL FOR DECEMBER 2010
The end of the year is here- and with it a bizarrely large amount of
self-publicity. To begin with, the letter in Radio Times
(which created interest among my fellow lecturers!). Then, my
longest film (God Given Right) was completed. Finally, more
projects are reaching some sort of tangible form- 2011 promises to
be a hectic, but hopefully satisfying, year. In the meantime, may
you and your loved ones remain safe and happy this Christmas.
EDITORIAL FOR JANUARY/FEBRUARY 2011
I can't remember a busier start to a year. Bizarrely, given the
general state of chaos, I've found time to look forward to the
latest offering from Gus Van Sant, Restless, due for release
later this year. In the meantime, everything else is continuing-
and, with luck, other matters will calm down in order for me to get
round to seeing Restless before too long.
EDITORIAL FOR MARCH 2011
The one and only compensation for the passing of Jane Russell- a
legendary name of the fast-dwindling surviving stars of the
so-called 'Classical Hollywood Cinema'- was that the BBC might
screen The Outlaw. Although probably Russell's most iconic
role, the film has previously only been available in poor quality
transfers and "dupes" of 16mm. prints. In the tribute to the actress
on BBC News, several clips were shown from the film, suggesting it
had been remastered. Unfortunately, when it was screened I was out
on a film shoot. Fortunately, the DVD recorder seems to have done
its job- and I shall be able to comment further on the visual
quality when I find time to watch The Outlaw.
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