Dancing with the Stars Season 33 is about to take a hard left turn.
The season premiere aired earlier this week, and everyone stayed in the competition for the Len Goodman Mirrorball Trophy for another week.
However, the second episode of the season will feature a double elimination, shifting the ballroom dynamics quite a bit.
With the cast able to perform their first performances of the season without the threat of going home the same night, the heat will be turned up, and we’ll have to watch to see whether there will be any mistakes with the increased pressure.
Losing two competitors this early in the season is a big swing, but it will be a great way to eliminate the worst performers, assuming viewers vote based on their performances alone.
Despite scoring a decent 18 out of 30 during the premiere, Anna Delvey is probably on borrowed time.
Anna Delvey will...
The season premiere aired earlier this week, and everyone stayed in the competition for the Len Goodman Mirrorball Trophy for another week.
However, the second episode of the season will feature a double elimination, shifting the ballroom dynamics quite a bit.
With the cast able to perform their first performances of the season without the threat of going home the same night, the heat will be turned up, and we’ll have to watch to see whether there will be any mistakes with the increased pressure.
Losing two competitors this early in the season is a big swing, but it will be a great way to eliminate the worst performers, assuming viewers vote based on their performances alone.
Despite scoring a decent 18 out of 30 during the premiere, Anna Delvey is probably on borrowed time.
Anna Delvey will...
- 9/20/2024
- by Paul Dailly
- Monsters and Critics
Get in touch to send in cinephile news and discoveries. To keep up with our latest features, sign up for the Weekly Edit newsletter and follow us @mubinotebook on Twitter and Instagram.NEWSThe Souvenir Part II.Equity, the British entertainment industry trade union, has greeted the incoming Labour government—the first in fourteen years, having won in a landslide—with demands for reforms to the government’s arts funding.Meanwhile, across the Channel, snap French parliamentary elections resulted in an upset victory for the leftist coalition Nouveau Front Populaire over Marine Le Pen’s far-right National Rally, which had promised to privatize, at least partially, the national television and radio broadcaster, amid other cutbacks.IATSE has released more details regarding its tentative contract with AMPTP, including allowances and limitations around the use of artificial intelligence.Teamsters Local 399 is still bargaining with AMPTP and may still be far from resolving issues...
- 7/10/2024
- MUBI
If would be hard to name an artist in any medium who illustrated Flaubert’s famous maxim of creativity better than Ennio Morricone. Morricone, who died in 2020 (at 91), was certainly one of the greatest composers of movie soundtracks who ever lived. But even if you consider him next to his fellow giants, Morricone scaled his own wild peak, inventing his own kind of beauty, his own transcendent cacophony. Yet you would never have guessed it to look at him.
“Ennio,” directed by Guiseppe Tornatore (“Cinema Paradiso”), is a 156-minute portrait of Morricone built around an extensive interview with the composer. (It also includes comments from a murderers’ row of filmmakers and artists.) The movie opens on a beating metronome, which seems to set the orderly, clockwork rhythm of Morricone’s life. Strolling into his ornately furnished living room, he walks quickly, not like a man of 90, and his voice is light and direct.
“Ennio,” directed by Guiseppe Tornatore (“Cinema Paradiso”), is a 156-minute portrait of Morricone built around an extensive interview with the composer. (It also includes comments from a murderers’ row of filmmakers and artists.) The movie opens on a beating metronome, which seems to set the orderly, clockwork rhythm of Morricone’s life. Strolling into his ornately furnished living room, he walks quickly, not like a man of 90, and his voice is light and direct.
- 2/9/2024
- by Owen Gleiberman
- Variety Film + TV
On Dec. 20, 1990, Francis Ford Coppola unveiled The Godfather: Part III at its premiere at the Academy Theater in Beverly Hills. The film went on to gross $136 million globally and nab seven Oscar nominations at the 63rd Academy Awards. The Hollywood Reporter’s original review is below:
It’s business, and personal. A complex depiction of Michael Corleone’s dying-days attempt to cement the family in the “legitimate” business world and attain spiritual redemption, this third installment of the Corleone Family chronicle is a full-bodied, albeit somber dramatic orchestration.
However, legitimacy has its price — respectability exacts a grayness and a tempering of one’s style and substance — and this splendidly conceived, although often confusing saga, is itself vulnerable to the dramatic doldrums of Michael’s venture into “respectable” dominions.
The Godfather, Part III does not go to the mattresses, it goes to the boardroom, and mainstream viewers after being served up...
It’s business, and personal. A complex depiction of Michael Corleone’s dying-days attempt to cement the family in the “legitimate” business world and attain spiritual redemption, this third installment of the Corleone Family chronicle is a full-bodied, albeit somber dramatic orchestration.
However, legitimacy has its price — respectability exacts a grayness and a tempering of one’s style and substance — and this splendidly conceived, although often confusing saga, is itself vulnerable to the dramatic doldrums of Michael’s venture into “respectable” dominions.
The Godfather, Part III does not go to the mattresses, it goes to the boardroom, and mainstream viewers after being served up...
- 12/20/2023
- by Duane Byrge
- The Hollywood Reporter - Movie News
Before his passing in late March, the late Japanese composer and electronic music pioneer Ryuichi Sakamoto had been putting together a playlist of music to be played at his own funeral. Now, Sakamoto’s management has shared that “last playlist,” simply titled “funeral.”
“We would like to share the playlist that Ryuichi had been privately compiling to be played at his own funeral to accompany his own passing,” Sakamoto’s team wrote in an accompanying message. “He truly was with music until the very end.”
Opening with an 11-minute track by Sakamoto’s frequent collaborator Alva Noto, the 33-song playlist features classical music from Johann Sebastian Bach, Claude Debussy, and Maurice Ravel. It also includes the work of renowned film composers Ennio Morricone and Nino Rota, jazz music from Bill Evans Trio, and David Sylvian’s “Orpheus” — the latter of which features Sakamoto himself on piano and synths. Closing out...
“We would like to share the playlist that Ryuichi had been privately compiling to be played at his own funeral to accompany his own passing,” Sakamoto’s team wrote in an accompanying message. “He truly was with music until the very end.”
Opening with an 11-minute track by Sakamoto’s frequent collaborator Alva Noto, the 33-song playlist features classical music from Johann Sebastian Bach, Claude Debussy, and Maurice Ravel. It also includes the work of renowned film composers Ennio Morricone and Nino Rota, jazz music from Bill Evans Trio, and David Sylvian’s “Orpheus” — the latter of which features Sakamoto himself on piano and synths. Closing out...
- 5/15/2023
- by Eddie Fu
- Consequence - Music
Over the weekend, the management team of Ryuichi Sakamoto shared a final parting gift from the towering musician, who died in March — a playlist he compiled for his funeral.
The 33-song set runs for about two-and-a-half hours and primarily features compositions by prominent Western composers like Erik Satie, Bach, Ravel, and Debussy. Additionally, there’s a piece from famed Japanese composer Tōru Takemitsu, and the playlist opens with a work from Sakamoto collaborator Alva Noto. Sakamoto also included music by the Bill Evans Trio, Ennio Morricone, Nino Rota, David Sylvain,...
The 33-song set runs for about two-and-a-half hours and primarily features compositions by prominent Western composers like Erik Satie, Bach, Ravel, and Debussy. Additionally, there’s a piece from famed Japanese composer Tōru Takemitsu, and the playlist opens with a work from Sakamoto collaborator Alva Noto. Sakamoto also included music by the Bill Evans Trio, Ennio Morricone, Nino Rota, David Sylvain,...
- 5/15/2023
- by Jon Blistein
- Rollingstone.com
There are a great many people out there who like to say that “The Godfather Part II” is superior to “The Godfather.” Al Pacino is not one of them. The 82-year-old actor went uptown to the 92nd St. Y on Wednesday to sit for an hour-long schmooze as part of their “People Who Inspire Us” series. During the conversation, he dished on a number of subjects, including the movie that sent his career into orbit.
“You see, ‘The Godfather’ is more entertaining,” he said. “‘Godfather II’ is this study, this personal thing for Francis [Ford Coppola]. ‘Godfather I,’ I saw it recently, it’s always got two or three things going on in a scene. You’re always in the story, you’re going. You don’t know what’s going to happen next, it’s storytelling, it’s really storytelling at its best. ‘Godfather II’ sort of linearizes, and [it’s] kind of different,...
“You see, ‘The Godfather’ is more entertaining,” he said. “‘Godfather II’ is this study, this personal thing for Francis [Ford Coppola]. ‘Godfather I,’ I saw it recently, it’s always got two or three things going on in a scene. You’re always in the story, you’re going. You don’t know what’s going to happen next, it’s storytelling, it’s really storytelling at its best. ‘Godfather II’ sort of linearizes, and [it’s] kind of different,...
- 4/20/2023
- by Jordan Hoffman
- Gold Derby
Showtime’s Personality Crisis: One Night Only may showcase a multi-hyphenated personality – David Johansen is a band member, solo artist, and a songwriter who composed the show’s tunes for his own alter ego, Buster Poindexter – but there is no crisis. Co-directors Martin Scorsese and David Tedeschi are documenting a party, Johansen’s 70th birthday in January 2020, which he spent at the Café Carlyle.
Martin Scorsese knows how to set a table, serving up Thanksgiving dinner along with The Band for their farewell performance in The Last Waltz at San Francisco’s Winterland Ballroom. But the fancy venue on Manhattan’s Upper East Side is an intimate space with just enough room for Johansen’s special friends, and he only has to take an elevator to put in an appearance. But what an appearance! Performing as Buster Poindexter, Johansen’s got the best pompadour in the business, an attentive band...
Martin Scorsese knows how to set a table, serving up Thanksgiving dinner along with The Band for their farewell performance in The Last Waltz at San Francisco’s Winterland Ballroom. But the fancy venue on Manhattan’s Upper East Side is an intimate space with just enough room for Johansen’s special friends, and he only has to take an elevator to put in an appearance. But what an appearance! Performing as Buster Poindexter, Johansen’s got the best pompadour in the business, an attentive band...
- 4/18/2023
- by Mike Cecchini
- Den of Geek
Franco Zeffirelli apprenticed to Luchino Visconti, stage directed operas and directed several movie hits, the biggest of which was this exuberant, attractive Shakespeare adaptation, filmed like an opera with sumptuous sets and sunswept Italian locations. The novelty for 1968 was casting the Bard’s star-crossed young lovers with actual teenagers. Olivia Hussey and Leonard Whiting are attractive kids directed to give spirited performances; the critics may have had mixed reactions but the public received the film well. If memory serves, Criterion’s new remaster looks better than Paramount’s original release prints.
Romeo and Juliet
Blu-ray
The Criterion Collection 1171
1968 / Color / 1:85 widescreen / 138 min. / available through The Criterion Collection / Street Date February 14, 2023 / 39.95
Starring: Leonard Whiting, Olivia Hussey, John McEnery, Milo O’Shea, Pat Heywood, Robert Stephens, Michael York, Bruce Robinson, Paul Hardwick, Natasha Parry, Antonio Pierfederici, Esmeralda Ruspoli, Roberto Bisacco, Roy Holder, Keith Skinner, Dyson Lovell, Richard Warwick, Laurence Olivier.
Cinematography: Pasquelino De...
Romeo and Juliet
Blu-ray
The Criterion Collection 1171
1968 / Color / 1:85 widescreen / 138 min. / available through The Criterion Collection / Street Date February 14, 2023 / 39.95
Starring: Leonard Whiting, Olivia Hussey, John McEnery, Milo O’Shea, Pat Heywood, Robert Stephens, Michael York, Bruce Robinson, Paul Hardwick, Natasha Parry, Antonio Pierfederici, Esmeralda Ruspoli, Roberto Bisacco, Roy Holder, Keith Skinner, Dyson Lovell, Richard Warwick, Laurence Olivier.
Cinematography: Pasquelino De...
- 2/21/2023
- by Glenn Erickson
- Trailers from Hell
Nino Rota’s soundtrack for Federico Fellini’s 1976 film “Il Casanova,” which is getting a re-release via Italian record label Cam Sugar, has been a favorite of Alexandre Desplat’s ever since the Oscar-winning French composer first listened to it at 15 years old.
The magnificently staged film stars Donald Sutherland as the legendary 18th-century Venetian adventurer Giacomo Casanova, who sought wealthy patrons and sexual encounters as he traveled from Venice to Paris, London, Germany, Rome and Austria, where he makes love to a mechanical doll.
The 27 remastered tracks on Rota’s “Casanova” score are being re-released by Cam Sugar in collaboration with Decca Records on Feb. 10, both digitally and on vinyl. They feature compositions on the edge of classical and electronic music, making use of a wide range of instruments including harpsichord, vibraphone and electric piano.
Rota, who scored most of Fellini’s films, including “La Dolce Vita” and “8 1/2,...
The magnificently staged film stars Donald Sutherland as the legendary 18th-century Venetian adventurer Giacomo Casanova, who sought wealthy patrons and sexual encounters as he traveled from Venice to Paris, London, Germany, Rome and Austria, where he makes love to a mechanical doll.
The 27 remastered tracks on Rota’s “Casanova” score are being re-released by Cam Sugar in collaboration with Decca Records on Feb. 10, both digitally and on vinyl. They feature compositions on the edge of classical and electronic music, making use of a wide range of instruments including harpsichord, vibraphone and electric piano.
Rota, who scored most of Fellini’s films, including “La Dolce Vita” and “8 1/2,...
- 2/3/2023
- by Nick Vivarelli
- Variety Film + TV
If you've ever watched the red carpet at the Academy Awards there's a phrase you've probably heard over and over again, and for quite a few decades: "It's an honor just to be nominated."
And to be fair, it most certainly is. Although the Oscars were invented to bust unions, not reward artistic quality, at their best it's a gesture of support for a filmmaker from their peers. To be singled out by the other hard-working artisans in your branch as worthy of awards consideration as an actor, director, writer, cinematographer, sound designer et al is a great big feather in one's cap.
But it's a feather that can, and has been, plucked out. It's uncommon but the Academy Awards have vetoed quite a few nominations in the past — three times in the 2010s alone — in situations that stirred up controversy or, in some of the more technical or niche categories,...
And to be fair, it most certainly is. Although the Oscars were invented to bust unions, not reward artistic quality, at their best it's a gesture of support for a filmmaker from their peers. To be singled out by the other hard-working artisans in your branch as worthy of awards consideration as an actor, director, writer, cinematographer, sound designer et al is a great big feather in one's cap.
But it's a feather that can, and has been, plucked out. It's uncommon but the Academy Awards have vetoed quite a few nominations in the past — three times in the 2010s alone — in situations that stirred up controversy or, in some of the more technical or niche categories,...
- 2/1/2023
- by William Bibbiani
- Slash Film
If you grew up wanting to be a filmmaker, you are inescapably indebted to the directors of your youth. While your work will likely be infused with the going style (e.g. any kid hopping into what is now an old-fashioned artform won't be able to expunge countless hours of TikTok videos from their brain), you'll probably be standing on the shoulders of Barry Jenkins, Chloe Zhao and Ryan Coogler -- which means you'll be drawing from their reservoir of inspiration. Whether you know it or not, Robert Bresson, Agnes Varda, and Jean-Luc Godard are speaking through you. Every artist is always looking backward.
Steven Spielberg might've been the youngest of the 1970s New Hollywood film brats, but aesthetically, he was more deeply in touch with the just-ended era of studio filmmaking than any of his peers. He wanted to harness the groundbreaking technology at his blockbuster disposal to make classical,...
Steven Spielberg might've been the youngest of the 1970s New Hollywood film brats, but aesthetically, he was more deeply in touch with the just-ended era of studio filmmaking than any of his peers. He wanted to harness the groundbreaking technology at his blockbuster disposal to make classical,...
- 1/14/2023
- by Jeremy Smith
- Slash Film
Like its film, Glass Onion’s score understands the power of characters.
Inspired by Italian composers like Nino Rota and the work of famed author Agatha Christie — with easter eggs to the fugue technique tucked in for eagled-eared listeners — Nathan Johnson’s score represents a type of composing he says has gone out of style, but that helped him unfold the film’s mystery and, more significantly, its equally mysterious characters.
Themes for Andi (Janelle Monáe), Birdie (Kate Hudson) and Miles (Edward Norton) lay bare what’s underneath the duplicity among a tech billionaire’s group of barely friends, as pieces like “Dinner Is Served,” “Snoop,” and “The Puzzle Box” engage in a careful tip-toe as musical embodiments of curiousity and intrigue. Meanwhile, tracks like “Ransacking,” “The Center of the Onion” and “Lights Out!” capture the increasing tension, stakes and danger of Rian Johnson’s latest Knives Out mystery.
It...
Inspired by Italian composers like Nino Rota and the work of famed author Agatha Christie — with easter eggs to the fugue technique tucked in for eagled-eared listeners — Nathan Johnson’s score represents a type of composing he says has gone out of style, but that helped him unfold the film’s mystery and, more significantly, its equally mysterious characters.
Themes for Andi (Janelle Monáe), Birdie (Kate Hudson) and Miles (Edward Norton) lay bare what’s underneath the duplicity among a tech billionaire’s group of barely friends, as pieces like “Dinner Is Served,” “Snoop,” and “The Puzzle Box” engage in a careful tip-toe as musical embodiments of curiousity and intrigue. Meanwhile, tracks like “Ransacking,” “The Center of the Onion” and “Lights Out!” capture the increasing tension, stakes and danger of Rian Johnson’s latest Knives Out mystery.
It...
- 1/13/2023
- by Abbey White
- The Hollywood Reporter - Movie News
Having worked together for literal decades (they are cousins after all), composer Nathan Johnson and filmmaker Rian Johnson have forged a fruitful working relationship, and Nathan says the “Glass Onion” director’s secret is in his methodical approach to storytelling.
“Honestly, the secret to Rian’s movies is that he’s never asking the music to fix something,” Nathan Johnson told TheWrap during a recent interview. “Rian scripts are so tight that thankfully he’s never coming to me and saying, ‘We didn’t quite get it in the scene, can you help us across the line with the music?’”
When it came to tackling the score for the “Knives Out” sequel “Glass Onion,” Nathan (who has scored all of Rian’s films aside from “The Last Jedi”) says his early conversations with Rian were about leaning into the “fun, romantic nature” of the follow-up film, pointing to Nino Rota...
“Honestly, the secret to Rian’s movies is that he’s never asking the music to fix something,” Nathan Johnson told TheWrap during a recent interview. “Rian scripts are so tight that thankfully he’s never coming to me and saying, ‘We didn’t quite get it in the scene, can you help us across the line with the music?’”
When it came to tackling the score for the “Knives Out” sequel “Glass Onion,” Nathan (who has scored all of Rian’s films aside from “The Last Jedi”) says his early conversations with Rian were about leaning into the “fun, romantic nature” of the follow-up film, pointing to Nino Rota...
- 12/13/2022
- by Adam Chitwood
- The Wrap
While original adult films haven’t been faring well at the box office of late in the shadow of tentpoles, the one week Thanksgiving sneak preview of Netflix’s Glass Onion: A Knives Out Mystery looks to change the tide in its short run before hitting the service on Dec. 23.
On Crew Call today, we talk with filmmaker Rian Johnson’s cousin, Nathan Johnson, who has composed on the former’s entire big screen canon sans Star Wars: The Last Jedi.
Related Story ‘Glass Onion’: Rian Johnson, Daniel Craig, Janelle Monáe & Edward Norton Reveal The Secrets Of The ‘Knives Out’ Franchise & Tease Part 3 Related Story Disregard The Corporate Noise: Disney Will Dominate Thanksgiving Box Office With 'Wakanda Forever' & 'Strange World' Related Story 'Glass Onion' Director Rian Johnson, Stars Janelle Monáe, Kate Hudson & Kathryn Hahn...
On Crew Call today, we talk with filmmaker Rian Johnson’s cousin, Nathan Johnson, who has composed on the former’s entire big screen canon sans Star Wars: The Last Jedi.
Related Story ‘Glass Onion’: Rian Johnson, Daniel Craig, Janelle Monáe & Edward Norton Reveal The Secrets Of The ‘Knives Out’ Franchise & Tease Part 3 Related Story Disregard The Corporate Noise: Disney Will Dominate Thanksgiving Box Office With 'Wakanda Forever' & 'Strange World' Related Story 'Glass Onion' Director Rian Johnson, Stars Janelle Monáe, Kate Hudson & Kathryn Hahn...
- 11/23/2022
- by Anthony D'Alessandro
- Deadline Film + TV
For the score of “Glass Onion,” Rian Johnson’s hotly anticipated follow-up to his 2019 whodunnit “Knives Out,” composer Nathan Johnson took inspiration from “Death on the Nile” — not this year’s Kenneth Branagh remake, but the original 1978 version with a score from “The Godfather” composer Nino Rota.
“I love Nino Rota so much, and me and Rian grew up loving all his work,” Johnson told IndieWire Crafts and Animation Editor Bill Desowitz at IndieWire’s Consider This FYC Brunch. “Rian really wanted to lean into the fun, and lean into that romantic lyricism which I am such a fan of and Rota was so amazing at. So obviously there’s the suspense and the character moments, but right up front for the main titles, we kind of wanted to say, ‘We’re going to Europe, come along with us on this grand adventure.'”
At the brunch, Desowitz spoke with...
“I love Nino Rota so much, and me and Rian grew up loving all his work,” Johnson told IndieWire Crafts and Animation Editor Bill Desowitz at IndieWire’s Consider This FYC Brunch. “Rian really wanted to lean into the fun, and lean into that romantic lyricism which I am such a fan of and Rota was so amazing at. So obviously there’s the suspense and the character moments, but right up front for the main titles, we kind of wanted to say, ‘We’re going to Europe, come along with us on this grand adventure.'”
At the brunch, Desowitz spoke with...
- 11/23/2022
- by Bill Desowitz and Wilson Chapman
- Indiewire
In “Glass Onion,” the sequel to the 2019 murder mystery “Knives Out,” Rian Johnson has once again assembled an ensemble cast packed with talent and star wattage. This time out, Dave Bautista, Kathryn Hahn, Kate Hudson, Janelle Monáe, Edward Norton, and Leslie Odom Jr. are just some of the potential murder victims and suspects whose actions fall under the scrutiny of Daniel Craig’s ace detective Benoit Blanc. While the performances are exceptional and the writer-director’s dialogue is as fast and funny as it’s ever been, the ace up the film’s sleeve is composer Nathan Johnson’s lush, expressive score, which consistently expresses the emotions the secretive characters are trying to keep hidden.
Johnson has worked with his cousin Rian on several features, including “Brick,” “Looper,” and “Knives Out,” and the close relationship affords the composer opportunities that not many in his field get. “Usually composers are brought in at the last minute,...
Johnson has worked with his cousin Rian on several features, including “Brick,” “Looper,” and “Knives Out,” and the close relationship affords the composer opportunities that not many in his field get. “Usually composers are brought in at the last minute,...
- 11/21/2022
- by Jim Hemphill
- Indiewire
“La Dolce Vita” inspired a sweet flash mob performance of the iconic film score in Rome.
Composer Nino Rota crafted the soundtrack to Federico Fellini’s Oscar-winning 1960 classic about a tabloid journalist (Marcello Mastroianni) who searches for the beauty of Rome over the course of a week. The soundtrack is getting a re-release via record label Cam Sugar, and led to an impromptu performance of select “Dolce Vita” songs in front of the iconic Trevi Fountain in Rome.
The 10-piece Orchestra Roma Sinfonietta performed in the flash mob, organized by automaker Fiat along with the Rome Film Festival to promote the “La Dolce Vita” newly remastered re-release soundtrack, out October 21. The 14 tracks will be available on digital and vinyl.
“We were delighted to collaborate with Orchestra Roma Sinfonietta to put on this special event to celebrate the release of ‘La Dolce Vita,'” Cam Sugar CEO Filippo Sugar said in...
Composer Nino Rota crafted the soundtrack to Federico Fellini’s Oscar-winning 1960 classic about a tabloid journalist (Marcello Mastroianni) who searches for the beauty of Rome over the course of a week. The soundtrack is getting a re-release via record label Cam Sugar, and led to an impromptu performance of select “Dolce Vita” songs in front of the iconic Trevi Fountain in Rome.
The 10-piece Orchestra Roma Sinfonietta performed in the flash mob, organized by automaker Fiat along with the Rome Film Festival to promote the “La Dolce Vita” newly remastered re-release soundtrack, out October 21. The 14 tracks will be available on digital and vinyl.
“We were delighted to collaborate with Orchestra Roma Sinfonietta to put on this special event to celebrate the release of ‘La Dolce Vita,'” Cam Sugar CEO Filippo Sugar said in...
- 10/21/2022
- by Samantha Bergeson
- Indiewire
The soundtrack of Federico Fellini’s Oscar-winning “La Dolce Vita” is getting a re-release via record label Cam Sugar, which staged an impromptu performance of Nino Rota’s iconic score in front of Rome’s Trevi Fountain for the milestone movie.
The flash mob performance by the 10-piece Orchestra Roma Sinfonietta orchestra of several “Dolce Vita” tracks surprised tourists and Rome residents on Tuesday. It was also organized by automaker Fiat, with the Rome Film Festival’s patronage, to promote Cam’s re-release on Oct. 21 of its newly remastered version of the original soundtrack album, with 14 tracks on vinyl and digital.
“We were delighted to collaborate with Orchestra Roma Sinfonietta to put on this special event to celebrate the release of ‘La Dolce Vita.’ It is such a pleasure to bring the iconic soundtrack to this iconic location,” said Cam Sugar CEO Filippo Sugar in a statement.
The “La Dolce Vita” score,...
The flash mob performance by the 10-piece Orchestra Roma Sinfonietta orchestra of several “Dolce Vita” tracks surprised tourists and Rome residents on Tuesday. It was also organized by automaker Fiat, with the Rome Film Festival’s patronage, to promote Cam’s re-release on Oct. 21 of its newly remastered version of the original soundtrack album, with 14 tracks on vinyl and digital.
“We were delighted to collaborate with Orchestra Roma Sinfonietta to put on this special event to celebrate the release of ‘La Dolce Vita.’ It is such a pleasure to bring the iconic soundtrack to this iconic location,” said Cam Sugar CEO Filippo Sugar in a statement.
The “La Dolce Vita” score,...
- 10/20/2022
- by Nick Vivarelli
- Variety Film + TV
No matter how zoomed-out the view, you can only fit so many mountain ranges, so many massive armies, and so many dirty hobbit fingernails into a single frame. In Middle Earth, it’s the musical score that can always go further, capturing emotion, character turmoil, and the awe and wonder of J.R.R. Tolkien’s world in a way that (sometimes literally) echoes far beyond what we can see. The way music works with the image often makes the best scenes out of Tolkien’s stories feel as rousingly epic as they do and why, in both the Peter Jackson film trilogy and Prime Video’s new television series, “The Lord of the Rings: The Rings of Power,” scenes that are just bits of landscape catching on fire (or flooding and catching on fire) pack such a punch.
The Amazon show posed the same challenge to showrunners Patrick McKay and J.D. Payne...
The Amazon show posed the same challenge to showrunners Patrick McKay and J.D. Payne...
- 10/2/2022
- by Sarah Shachat
- Indiewire
“The Godfather,” wrote the late Roger Ebert in 2010, “comes closest to being a film everyone agrees about.” Who can disagree? By all known markers of Hollywood and, more impressively, world cinema success, Francis Ford Coppola’s beloved gangster chronicle is an enduring cultural object. Audiences loved it, then and now; same to critics the world over, who’ve canonized this movie, its 1974 sequel, and Coppola’s Apocalypse Now — all of them made in the Seventies, a 10-year span that has publicly defined Coppola’s career ever since — as among the greatest films of all time.
- 3/27/2022
- by K. Austin Collins
- Rollingstone.com
Classic movie lovers have been lucky of late, as some new, terrific interviews with Francis Ford Coppola, Al Pacino, and James Caan have hit various outlets, as well as reflections on the 50th anniversary of “The Godfather.” The winner of three Academy Awards was also just re-released in 4K for home viewing.
If that weren’t enough, now soon Paramount + will offer a chance to go behind-the-scenes with a limited miniseries, chasing the dragon, it seems, of recent Ryan Murphy hits. “The Offer,” written by Michael Tolkin (who made his movies-about-The-Movies bones with “The Player”) with episodes directed by Dexter Fletcher, has as its lead not Coppola or the Paramount’s charismatic head of production Robert Evans, or Brando, or even Mario Puzo, but the man who picked up the Best Picture trophy on Oscar night, Albert S. Ruddy.
Ruddy, who turns 92 in just a few days, is played by Miles Teller in “The Offer,...
If that weren’t enough, now soon Paramount + will offer a chance to go behind-the-scenes with a limited miniseries, chasing the dragon, it seems, of recent Ryan Murphy hits. “The Offer,” written by Michael Tolkin (who made his movies-about-The-Movies bones with “The Player”) with episodes directed by Dexter Fletcher, has as its lead not Coppola or the Paramount’s charismatic head of production Robert Evans, or Brando, or even Mario Puzo, but the man who picked up the Best Picture trophy on Oscar night, Albert S. Ruddy.
Ruddy, who turns 92 in just a few days, is played by Miles Teller in “The Offer,...
- 3/24/2022
- by Jordan Hoffman
- Gold Derby
The 24th Thessaloniki Documentary Festival will be held from Thursday 10 to Sunday 20 March, abiding by all health and safety protocols in force, in both physical spaces and online. Within the framework of the 24th Tdf, 233 full-length and short film documentaries will be screened, at the time-honored home ground of the Festival, Olympion and Pavlos Zannas theaters, as well as in the movie theaters Frida Liappa, Tonia Marketaki, John Cassavetes and Stavros Tornes, at the Port of Thessaloniki. In addition, the audience will have the opportunity to watch films online through the Festival’s digital platform.
Let’s have a look at all the Asian titles of the Festival:
A Marble Travelogue, Sean Wang
A piece of white marble stone mined in Greece takes us on its Odyssey along the global consumption driven by the Chinese domestic market, to investigate the role of China as the “world’s buyer.” This film...
Let’s have a look at all the Asian titles of the Festival:
A Marble Travelogue, Sean Wang
A piece of white marble stone mined in Greece takes us on its Odyssey along the global consumption driven by the Chinese domestic market, to investigate the role of China as the “world’s buyer.” This film...
- 3/7/2022
- by Adriana Rosati
- AsianMoviePulse
Director Sidney J. Furie discusses his favorite films he’s watched and re-watched during quarantine with hosts Josh Olson and Joe Dante.
Show Notes: Movies Referenced In This Episode
Dr. Blood’s Coffin (1961)
The Ipcress File (1965) – Howard Rodman’s trailer commentary, Glenn Erickson’s Blu-ray review
The Appaloosa (1966)
The Naked Runner (1967)
Lady Sings The Blues (1972)
The Entity (1982) – Luca Gaudagnino’s trailer commentary
The Boys in Company C (1978)
2001: A Space Odyssey (1968) – John Landis’s trailer commentary, Dennis Cozzalio’s review
Full Metal Jacket (1987)
The Apartment (1960) – Dan Ireland’s trailer commentary, Glenn Erickson’s Blu-ray review, Randy Fuller’s wine pairing
The Best Years Of Our Lives (1946)
Twelve O’Clock High (1949)
A Place In The Sun (1951) – Glenn Erickson’s Blu-ray review
Out Of Africa (1985)
The Last Picture Show (1971) – Mark Pellington’s trailer commentary, Randy Fuller’s wine pairing
Annie Hall (1977)
The Bad And The Beautiful (1952)
Once Upon A Time In Hollywood (2019)
The Tender Bar...
Show Notes: Movies Referenced In This Episode
Dr. Blood’s Coffin (1961)
The Ipcress File (1965) – Howard Rodman’s trailer commentary, Glenn Erickson’s Blu-ray review
The Appaloosa (1966)
The Naked Runner (1967)
Lady Sings The Blues (1972)
The Entity (1982) – Luca Gaudagnino’s trailer commentary
The Boys in Company C (1978)
2001: A Space Odyssey (1968) – John Landis’s trailer commentary, Dennis Cozzalio’s review
Full Metal Jacket (1987)
The Apartment (1960) – Dan Ireland’s trailer commentary, Glenn Erickson’s Blu-ray review, Randy Fuller’s wine pairing
The Best Years Of Our Lives (1946)
Twelve O’Clock High (1949)
A Place In The Sun (1951) – Glenn Erickson’s Blu-ray review
Out Of Africa (1985)
The Last Picture Show (1971) – Mark Pellington’s trailer commentary, Randy Fuller’s wine pairing
Annie Hall (1977)
The Bad And The Beautiful (1952)
Once Upon A Time In Hollywood (2019)
The Tender Bar...
- 2/15/2022
- by Kris Millsap
- Trailers from Hell
Editors note: Deadline’s Read the Screenplay series debuts and celebrates the scripts of films that will be factors in this year’s movie awards race.
His name is Luca. He lives on the ocean floor. If you subscribe to Disney+ you may have seen him before.
Pixar’s latest movie takes a different perspective on the ocean from Finding Nemo. Where Nemo anthropomorphized real marine life, Luca creates a world of sea monsters, though they are also a family just like humans. Luca (voice of Jacob Tremblay) wants to go exploring, but his mother Daniela (Maya Rudolph) wants to keep him close and safe.
Fellow sea monster Alberto (Jack Dylan Grazer) shows Luca they can turn human when they emerge from the water. So, Luca spends the summer palling around with Alberto in the seaside town of Portorosso, where they make friends with Giulia (Emma Berman). But, any water...
His name is Luca. He lives on the ocean floor. If you subscribe to Disney+ you may have seen him before.
Pixar’s latest movie takes a different perspective on the ocean from Finding Nemo. Where Nemo anthropomorphized real marine life, Luca creates a world of sea monsters, though they are also a family just like humans. Luca (voice of Jacob Tremblay) wants to go exploring, but his mother Daniela (Maya Rudolph) wants to keep him close and safe.
Fellow sea monster Alberto (Jack Dylan Grazer) shows Luca they can turn human when they emerge from the water. So, Luca spends the summer palling around with Alberto in the seaside town of Portorosso, where they make friends with Giulia (Emma Berman). But, any water...
- 1/22/2022
- by Fred Topel
- Deadline Film + TV
It’s a pleasant thing to revisit an old favorite and discover that it’s better than you remember. The tale of Zampanò and Gelsomina is Italo neo-realism 2.0: it’s got poverty, misfortune and misery but also a bankable American star or two. The visually revamped presentation of Federico Fellini’s international breakthrough picture is a wonder — no more distorted audio and images that look as if they were filmed yesterday. Several of the extras are new, but the main charm is still provided by Giulietta Masina, Anthony Quinn and the Nino Rota music.
La Strada
Blu-ray
The Criterion Collection 219
1954 / B&w / 1:37 Academy / 98 min. / available through The Criterion Collection / Street Date November 2, 2021 / 39.95
Starring: Anthony Quinn, Giulietta Masina, Richard Basehart, Aldo Silvani, Marcella Rovena, Livia Venturini.
Cinematography: Otello Martelli, Anna Primula.
Production Designer: Mario Ravasco
Art Direction: E. Cervelli, Brunello Rondi
Film Editor: Leo Cattozzo
Original Music: Nino Rota
Written by ederico Fellini,...
La Strada
Blu-ray
The Criterion Collection 219
1954 / B&w / 1:37 Academy / 98 min. / available through The Criterion Collection / Street Date November 2, 2021 / 39.95
Starring: Anthony Quinn, Giulietta Masina, Richard Basehart, Aldo Silvani, Marcella Rovena, Livia Venturini.
Cinematography: Otello Martelli, Anna Primula.
Production Designer: Mario Ravasco
Art Direction: E. Cervelli, Brunello Rondi
Film Editor: Leo Cattozzo
Original Music: Nino Rota
Written by ederico Fellini,...
- 11/6/2021
- by Glenn Erickson
- Trailers from Hell
Get in touch to send in cinephile news and discoveries. For daily updates follow us @NotebookMUBI.NEWSWe're thrilled to announce Notebook magazine, a new biannual print-only publication dedicated to the art and culture of cinema, with original contributions by film artists, writers, curators, and archivists about a unique and eclectic array of cinematic subjects. Inside our pilot Issue 0 you'll find Apichatpong Weerasethakul reflecting on his personal journey and Wes Anderson on The French Dispatch and The New Yorker; explorations of moviegoing and odes to movie magazines; conversations between the cinema exhibitors of Milan's Cinema Beltrade and Dubai's Cinema Akil, as well as between directors Emma Seligman and Mike Leigh; movie posters from a milestone MoMA exhibition; sheet music handwritten by Nino Rota; new translations of writings by Yasujiro Ozu; and much more. This issue is printed in a limited edition and available for pre-order to Mubi subscribers only—get yours now,...
- 10/27/2021
- MUBI
All products and services featured by IndieWire are independently selected by IndieWire editors. However, IndieWire may receive a commission on orders placed through its retail links, and the retailer may receive certain auditable data for accounting purposes.
Even the most iconic films wouldn’t be the same without music. A good film score knows how to hit the right notes in accurately conveying everything from mood and theme, to emotions and tone. Similar to a soundtrack, which is a collection of music that wasn’t written specifically for the film but fits the overall theme, musical scores are meant to enrich the viewing experience. And if you’ve watched a movie that gave you goosebumps, the music could have something to do with it.
If you’re a cinephile or movie buff who enjoys musical scores, we rounded up a list of some of the best scores to buy on...
Even the most iconic films wouldn’t be the same without music. A good film score knows how to hit the right notes in accurately conveying everything from mood and theme, to emotions and tone. Similar to a soundtrack, which is a collection of music that wasn’t written specifically for the film but fits the overall theme, musical scores are meant to enrich the viewing experience. And if you’ve watched a movie that gave you goosebumps, the music could have something to do with it.
If you’re a cinephile or movie buff who enjoys musical scores, we rounded up a list of some of the best scores to buy on...
- 7/29/2021
- by Latifah Muhammad
- Indiewire
It took composer Dan Romer a while to find the right Italian touch for the music of “Luca,” Disney-Pixar’s animated fantasy (opening June 18) about young sea monsters masquerading as humans on the Italian Riviera.
“Not quite Italian enough” was director Enrico Casarosa’s response to his first try. “Too Italian!” was the response to his second. Eventually Romer discovered the correct instrumental seasoning: a bit of accordion, a little mandolin, a lot of acoustic guitar and pizzicato strings — just enough to hint at the locale and the period.
“I was looking for something off the beaten path, a little bit independent,” Casarosa tells Variety about his choice for composer. The director had been a fan of Romer’s music for the Benh Zeitlin films “Beasts of the Southern Wild” and “Wendy,” and says “there was something about his scores that said ‘kids on an adventure ride,’” which nicely describes “Luca.
“Not quite Italian enough” was director Enrico Casarosa’s response to his first try. “Too Italian!” was the response to his second. Eventually Romer discovered the correct instrumental seasoning: a bit of accordion, a little mandolin, a lot of acoustic guitar and pizzicato strings — just enough to hint at the locale and the period.
“I was looking for something off the beaten path, a little bit independent,” Casarosa tells Variety about his choice for composer. The director had been a fan of Romer’s music for the Benh Zeitlin films “Beasts of the Southern Wild” and “Wendy,” and says “there was something about his scores that said ‘kids on an adventure ride,’” which nicely describes “Luca.
- 6/18/2021
- by Jon Burlingame
- Variety Film + TV
With today’s release of Ludovico Einaudi’s “Cinema,” Universal Music Group confirms its status as one of the world’s most soundtrack-friendly music companies.
Music by Einaudi, the Italian composer and pianist, was featured in recent Oscar winners “Nomadland” and”The Father.” “Cinema” collects 28 pieces featured in those films and such earlier projects as “The Water Diviner,” “The Intouchables” and the miniseries “Doctor Zhivago.”
Each of the last seven Academy Award winners for original score was released or distributed by a Umg label or composed by a Umg artist, according to a spokesperson. Umg artists Jon Batiste and Hildur Guðnadóttir were the composers of “Soul” and “Joker,” respectively. “Grand Budapest Hotel” was on Abkco, “The Hateful Eight” and “The Shape of Water” on Decca, and “La La Land” and the “Black Panther” song album on Interscope.
Similarly, the last seven Grammy-winning scores, and the last seven BAFTA winners, were also Umg-affiliated.
Music by Einaudi, the Italian composer and pianist, was featured in recent Oscar winners “Nomadland” and”The Father.” “Cinema” collects 28 pieces featured in those films and such earlier projects as “The Water Diviner,” “The Intouchables” and the miniseries “Doctor Zhivago.”
Each of the last seven Academy Award winners for original score was released or distributed by a Umg label or composed by a Umg artist, according to a spokesperson. Umg artists Jon Batiste and Hildur Guðnadóttir were the composers of “Soul” and “Joker,” respectively. “Grand Budapest Hotel” was on Abkco, “The Hateful Eight” and “The Shape of Water” on Decca, and “La La Land” and the “Black Panther” song album on Interscope.
Similarly, the last seven Grammy-winning scores, and the last seven BAFTA winners, were also Umg-affiliated.
- 6/4/2021
- by Jon Burlingame
- Variety Film + TV
“The Beauty Of Decadence”
By Raymond Benson
The year 2020 is the 100th anniversary of Federico Fellini’s birth, and the home video world is seeing many restored and re-released titles from the maestro’s catalog. The Criterion Collection has just released a 14-movie box set, for example, but that exquisite package does not contain many of Fellini’s post-1973 titles because of rights issues.
Enter Kino Lorber. Their Kino Classics imprint has released on Blu-ray a gorgeously restored edition of Fellini’s Casanova (1976; released in the U.S. in early 1977). It was a big budget extravaganza capitalizing on the success of Fellini’s masterpiece, Amarcord (1973; released in the U.S. in 1974), which won the Oscar for Foreign Film of 1974 and was nominated for Best Director for ’75—yes, those eligibility rules are complicated.
Casanova was immediately a curiosity because Fellini cast none other than Donald Sutherland in the role of the notorious womanizer,...
By Raymond Benson
The year 2020 is the 100th anniversary of Federico Fellini’s birth, and the home video world is seeing many restored and re-released titles from the maestro’s catalog. The Criterion Collection has just released a 14-movie box set, for example, but that exquisite package does not contain many of Fellini’s post-1973 titles because of rights issues.
Enter Kino Lorber. Their Kino Classics imprint has released on Blu-ray a gorgeously restored edition of Fellini’s Casanova (1976; released in the U.S. in early 1977). It was a big budget extravaganza capitalizing on the success of Fellini’s masterpiece, Amarcord (1973; released in the U.S. in 1974), which won the Oscar for Foreign Film of 1974 and was nominated for Best Director for ’75—yes, those eligibility rules are complicated.
Casanova was immediately a curiosity because Fellini cast none other than Donald Sutherland in the role of the notorious womanizer,...
- 12/3/2020
- by nospam@example.com (Cinema Retro)
- Cinemaretro.com
“Music is an experience, not a science.” — Ennio Morricone
Hollywood is reeling at the death of composer Ennio Morricone, who died unexpectedly on July 6 at age 91. In the global film community, he’s as revered as any screen composer from Nino Rota and Bernard Herrmann to John Williams and Hans Zimmer, who credits “Once Upon a Time in the West” for inspiring him to become a film composer. “Ennio taught me that the simplest, purest and honest melody is the hardest,” tweeted Zimmer.
Rip. Morricone. An artist who changed everything. Yes, appropriating elements of jazz & rock & electronica in film scores but at the same time, asserting a level of romantic expression & assertiveness that had almost entirely vanished from soundtracks when he burst on scene. https://t.co/ybdKKuT34R
— Mangold (@mang0ld) July 6, 2020
Arguably Morricone’s greatest scores were for director Sergio Leone, with whom he went to elementary school.
Hollywood is reeling at the death of composer Ennio Morricone, who died unexpectedly on July 6 at age 91. In the global film community, he’s as revered as any screen composer from Nino Rota and Bernard Herrmann to John Williams and Hans Zimmer, who credits “Once Upon a Time in the West” for inspiring him to become a film composer. “Ennio taught me that the simplest, purest and honest melody is the hardest,” tweeted Zimmer.
Rip. Morricone. An artist who changed everything. Yes, appropriating elements of jazz & rock & electronica in film scores but at the same time, asserting a level of romantic expression & assertiveness that had almost entirely vanished from soundtracks when he burst on scene. https://t.co/ybdKKuT34R
— Mangold (@mang0ld) July 6, 2020
Arguably Morricone’s greatest scores were for director Sergio Leone, with whom he went to elementary school.
- 7/7/2020
- by Anne Thompson
- Thompson on Hollywood
“Music is an experience, not a science.” — Ennio Morricone
Hollywood is reeling at the death of composer Ennio Morricone, who died unexpectedly on July 6 at age 91. In the global film community, he’s as revered as any screen composer from Nino Rota and Bernard Herrmann to John Williams and Hans Zimmer, who credits “Once Upon a Time in the West” for inspiring him to become a film composer. “Ennio taught me that the simplest, purest and honest melody is the hardest,” tweeted Zimmer.
Rip. Morricone. An artist who changed everything. Yes, appropriating elements of jazz & rock & electronica in film scores but at the same time, asserting a level of romantic expression & assertiveness that had almost entirely vanished from soundtracks when he burst on scene. https://t.co/ybdKKuT34R
— Mangold (@mang0ld) July 6, 2020
Arguably Morricone’s greatest scores were for director Sergio Leone, with whom he went to elementary school.
Hollywood is reeling at the death of composer Ennio Morricone, who died unexpectedly on July 6 at age 91. In the global film community, he’s as revered as any screen composer from Nino Rota and Bernard Herrmann to John Williams and Hans Zimmer, who credits “Once Upon a Time in the West” for inspiring him to become a film composer. “Ennio taught me that the simplest, purest and honest melody is the hardest,” tweeted Zimmer.
Rip. Morricone. An artist who changed everything. Yes, appropriating elements of jazz & rock & electronica in film scores but at the same time, asserting a level of romantic expression & assertiveness that had almost entirely vanished from soundtracks when he burst on scene. https://t.co/ybdKKuT34R
— Mangold (@mang0ld) July 6, 2020
Arguably Morricone’s greatest scores were for director Sergio Leone, with whom he went to elementary school.
- 7/7/2020
- by Anne Thompson
- Indiewire
To close out its first, albeit unorthodox episode since the coronavirus pandemic put everyone in lockdown mode, Saturday Night Live enlisted cast members past and present for a moving tribute to Hal Willner, an acclaimed music producer who had been with the show since 1980.
Willner, who in his work for SNL selected the music used in sketches, died on April 7 at age 64, after being diagnosed with symptoms consistent with those caused by Covid-19.
More from TVLine'snl at Home' Video: Tom Hanks, Recovering From Coronavirus, Serves as Surprise Host'snl at Home' Video: Michael Che Remembers Grandmother Who Died From Covid-19, Says...
Willner, who in his work for SNL selected the music used in sketches, died on April 7 at age 64, after being diagnosed with symptoms consistent with those caused by Covid-19.
More from TVLine'snl at Home' Video: Tom Hanks, Recovering From Coronavirus, Serves as Surprise Host'snl at Home' Video: Michael Che Remembers Grandmother Who Died From Covid-19, Says...
- 4/12/2020
- TVLine.com
Hal Willner, a longtime sketch music producer for Saturday Night Live and a music producer and compiler of tribute albums and concerts, died Monday of complications related to Covid-19, according to multiple reports. He was 64.
Willner, who joined SNL in 1981, also produced albums for such artists as Lou Reed, Laurie Anderson, Marianne Faithfull and Lucinda Williams. He was a score producer for films including Finding Forrester (2000) and Gangs of New York (2002) and served as a music consultant or supervisor on Anchorman: The Legend of Ron Burgundy (2004), Bewitched (2005) and Talladega Nights: The Ballad of Ricky Bobby (2006), among many other credits.
More from DeadlineNotable Hollywood & Entertainment Industry Deaths In 2020: Photo GalleryAllen Garfield Dies: Veteran Film Actor Had Covid-19 Complications, Was 80'snl's Michael Che Says He Lost His Grandmother To Coronavirus: "I'm Obviously Hurt And Angry"
“As unique a person I ever had the fortune to cross paths with,” tweeted Seth Meyers,...
Willner, who joined SNL in 1981, also produced albums for such artists as Lou Reed, Laurie Anderson, Marianne Faithfull and Lucinda Williams. He was a score producer for films including Finding Forrester (2000) and Gangs of New York (2002) and served as a music consultant or supervisor on Anchorman: The Legend of Ron Burgundy (2004), Bewitched (2005) and Talladega Nights: The Ballad of Ricky Bobby (2006), among many other credits.
More from DeadlineNotable Hollywood & Entertainment Industry Deaths In 2020: Photo GalleryAllen Garfield Dies: Veteran Film Actor Had Covid-19 Complications, Was 80'snl's Michael Che Says He Lost His Grandmother To Coronavirus: "I'm Obviously Hurt And Angry"
“As unique a person I ever had the fortune to cross paths with,” tweeted Seth Meyers,...
- 4/7/2020
- by Greg Evans
- Deadline Film + TV
Next year will mark the centennial of Federico Fellini, born on January 20, 1920 in Rimini, Italy. While we imagine there will be no shortage of retrospectives and screenings celebrating the Italian master, New York City’s Film Forum is getting ahead of the pack with a presentation of a new 4K restoration of the director’s first solo directorial effort The White Sheik. We’re pleased to present the exclusive trailer debut ahead of an opening on Christmas Day.
Coming after Fellini’s 1950 debut Variety Lights, co-directed with Alberto Lattuada, this 1952 slapstick rom-com follows a honeymoon gone off the rails when the bride (Brunella Bovo) goes off in search of her titular idol. Based on an original treatment by Michelangelo Antonioni, the film also marks a number of early collaborations with future Fellini stalwarts, notably a memorable cameo by Giulietta Masina as Cabiria (five years before Nights of Cabiria) and a score by composer Nino Rota.
Coming after Fellini’s 1950 debut Variety Lights, co-directed with Alberto Lattuada, this 1952 slapstick rom-com follows a honeymoon gone off the rails when the bride (Brunella Bovo) goes off in search of her titular idol. Based on an original treatment by Michelangelo Antonioni, the film also marks a number of early collaborations with future Fellini stalwarts, notably a memorable cameo by Giulietta Masina as Cabiria (five years before Nights of Cabiria) and a score by composer Nino Rota.
- 12/9/2019
- by Jordan Raup
- The Film Stage
The slate of awards hopefuls is new each year, but there is always a sense of continuity, of new contenders’ connections to the past.
For example, Alexandre Desplat, a strong Golden Globes and Oscar possibility this year for his score to Sony’s “Little Women,” can trace the influence of his predecessors on his work. Growing up in Paris, Desplat knew he wanted to be a film composer. “When I was very young, I was collecting soundtracks and it was an education. I learned to listen to music outside the film. When home video arrived, I would watch a movie over and over, to figure out when the music started and when it stopped and why.
“I listened to Nino Rota, Ennio Morricone, John Barry, Maurice Jarre. And my parents had earlier scores, by George Duning, Bernard Herrmann and many others. I was also very much into the earlier Hollywood composers: Max Steiner,...
For example, Alexandre Desplat, a strong Golden Globes and Oscar possibility this year for his score to Sony’s “Little Women,” can trace the influence of his predecessors on his work. Growing up in Paris, Desplat knew he wanted to be a film composer. “When I was very young, I was collecting soundtracks and it was an education. I learned to listen to music outside the film. When home video arrived, I would watch a movie over and over, to figure out when the music started and when it stopped and why.
“I listened to Nino Rota, Ennio Morricone, John Barry, Maurice Jarre. And my parents had earlier scores, by George Duning, Bernard Herrmann and many others. I was also very much into the earlier Hollywood composers: Max Steiner,...
- 11/20/2019
- by Tim Gray
- Variety Film + TV
Ask Lina Wertmüller if she’s pleased to be honored by Hollywood, and here’s the typical response you get from the groundbreaking director, who at 91 is still out to shock: “I certainly am. It beats a kick in the balls!”
Wertmüller, in 1976, became the first female director to receive an Academy Award nomination for helming grotesque Holocaust drama “Seven Beauties,” which received four nominations, including original screenplay for her, foreign-language film and lead actor Giancarlo Giannini. She will be celebrated on Oct. 27 with an honorary Oscar at the Governors Awards ceremony, followed the next day by a star on the Hollywood Walk of Fame.
Genoma Films, which funded the restoration of her Oscar winning “Seven Beauties,” and Sardinia Film Commission are spearheading a retrospective of her films at the American Cinematheque on Oct. 20 and 25.
Wertmüller has always been a free spirit. After being kicked out of 11 convent schools, by her count,...
Wertmüller, in 1976, became the first female director to receive an Academy Award nomination for helming grotesque Holocaust drama “Seven Beauties,” which received four nominations, including original screenplay for her, foreign-language film and lead actor Giancarlo Giannini. She will be celebrated on Oct. 27 with an honorary Oscar at the Governors Awards ceremony, followed the next day by a star on the Hollywood Walk of Fame.
Genoma Films, which funded the restoration of her Oscar winning “Seven Beauties,” and Sardinia Film Commission are spearheading a retrospective of her films at the American Cinematheque on Oct. 20 and 25.
Wertmüller has always been a free spirit. After being kicked out of 11 convent schools, by her count,...
- 10/28/2019
- by Nick Vivarelli
- Variety Film + TV
When I think about the American New Wave, I’m always traveling through the vast open roads of North America, its forever-changing landscapes and mythical American dreams, with all its bittersweet promise. Sonically speaking, I’m in that space, too. So much of the New Hollywood cinema is vast Americana; Death Valley and desert-hot gas stations, the ultimate nihilistic road movie. But so much of it is everywhere else too; sleek Manhattan apartment blocks, the old Wild West, and the outer regions of space. In my head it’s a mixtape of philosophical and artistic ideas, one of cinema’s counter-culture melting pots where more questions are raised than answered and the plot is not driven by a desire for resolution.This mix was dreamed up as a mixtape: driving across state lines, re-adjusting the radio station on the dashboard as the trip moves further towards a destination that is unknown.
- 10/13/2019
- MUBI
Moviegoing Memories is a series of short interviews with filmmakers about going to the movies. Yann Gonzalez's Knife + Heart is Mubi Go's Film of the Week of July 5, 2019.Yann Gonzalez and Vanessa Paradis. Photo by Elle HermeNOTEBOOK: How would you describe your movie in the least amount of words?Yann Gonzalez: As a ghost train in a queer fun fair.Notebook: Where and what is your favorite movie theatre?Gonzalez: It would be a tie between the Castro Theatre in San Francisco and the New Beverly in Los Angeles.Notebook: Why are they your favorites?Gonzalez: I fell in love with the first one ten years ago when I saw the old organ coming down on stage with a musician playing some Nino Rota’s themes before a wonderful 35mm screening of Fellini’s Amarcord. And I cherish the second one for being so faithful to film and screening only 35mm prints.
- 7/15/2019
- MUBI
His take on Shakespeare’s tragedy tapped the zeitgeist, but Zeffirelli’s whole body of work pulsated with an irresistible camp and romanticism
Franco Zeffirelli was the mainstream maestro of high culture on screens big and small who dashingly made his international movie reputation with an exuberant and accessible adaptation of Romeo and Juliet in 1968; this had some pretty trad doublet-and-hose stuff and featured the syrupy “Love” theme composed for the film by Nino Rota which was to become notorious as the music for Simon Bates’s regular tearjerking Our Tune feature on Radio One.
But there were also muscular and athletic performances from a bright-eyed young cast, vigorous and enjoyable playing all round and bold location work. The year before, Zeffirelli had directed Richard Burton and Liz Taylor in another Shakespeare adaptation: The Taming of the Shrew: clever casting of course, but it was the honeyglow-sunlit romanticism of...
Franco Zeffirelli was the mainstream maestro of high culture on screens big and small who dashingly made his international movie reputation with an exuberant and accessible adaptation of Romeo and Juliet in 1968; this had some pretty trad doublet-and-hose stuff and featured the syrupy “Love” theme composed for the film by Nino Rota which was to become notorious as the music for Simon Bates’s regular tearjerking Our Tune feature on Radio One.
But there were also muscular and athletic performances from a bright-eyed young cast, vigorous and enjoyable playing all round and bold location work. The year before, Zeffirelli had directed Richard Burton and Liz Taylor in another Shakespeare adaptation: The Taming of the Shrew: clever casting of course, but it was the honeyglow-sunlit romanticism of...
- 6/15/2019
- by Peter Bradshaw
- The Guardian - Film News
In an effervescent and expansive conversation with Alec Baldwin on Thursday at the Tribeca Film Festival, Guillermo Del Toro shared a Criterion Collection’s worth of filmmaking wisdom and appreciation.
The director’s debut appearance at Tribeca, according to festival co-founder Jane Rosenthal’s brief onstage introduction, was five years in the making. The pairing with Baldwin proved surprisingly fertile, and the two traded stories about their lifelong connection to cinema and travels through the industry. Fans of Del Toro’s work, from the Spanish-language Pan’s Labyrinth to studio fare like Pacific Rim and Crimson Peak and the Oscar-winning The Shape of Water, gave him several Comic-Con-like ovations. They seemed ready to listen to another hour had the 75-minute chat kept going, which it seemed poised to do.
Baldwin asked whether Del Toro would ever step behind the camera for a remake of a monster movie given he has...
The director’s debut appearance at Tribeca, according to festival co-founder Jane Rosenthal’s brief onstage introduction, was five years in the making. The pairing with Baldwin proved surprisingly fertile, and the two traded stories about their lifelong connection to cinema and travels through the industry. Fans of Del Toro’s work, from the Spanish-language Pan’s Labyrinth to studio fare like Pacific Rim and Crimson Peak and the Oscar-winning The Shape of Water, gave him several Comic-Con-like ovations. They seemed ready to listen to another hour had the 75-minute chat kept going, which it seemed poised to do.
Baldwin asked whether Del Toro would ever step behind the camera for a remake of a monster movie given he has...
- 4/26/2019
- by Dade Hayes
- Deadline Film + TV
Mario Puzo’s “The Godfather” is celebrating its 50th anniversary this year, and writer-director Francis Ford Coppola has marked the occasion by writing the foreword to the novel’s special new edition. Coppola worked closely with Puzo to turn the “The Godfather” into the landmark 1972 movie of the same name. The two remained close collaborators on “The Godfather Part II” and “The Godfather Part III.” Adapting Puzo’s novel with Puzo himself presented some minor challenges for Coppola, who writes in the forward about reservations the author had about scenes that would end up being some of the franchise’s most iconic.
“Not all of my ideas went over so well,” Coppola writes (via Entertainment Weekly). “Mario was dubious about the idea that it was Fredo who betrayed Michael; he didn’t think it was plausible. But he was absolutely against Michael ordering his own brother to be killed. It...
“Not all of my ideas went over so well,” Coppola writes (via Entertainment Weekly). “Mario was dubious about the idea that it was Fredo who betrayed Michael; he didn’t think it was plausible. But he was absolutely against Michael ordering his own brother to be killed. It...
- 3/6/2019
- by Zack Sharf
- Indiewire
By Todd Garbarini
The great Italian filmmaker Luchino Visconti’s film The Leopard (Il Gattopardo) will be the subject of a 55th anniversary screening at three Los Angeles theatres. The 187-minute film, which stars Burt Lancaster, Alain Delon, Claudia Cardinale, Terrence Hill, and Paola Stoppa, will be screened on Wednesday, December 5th, 2018 at 7:00 pm. This is the Italian language version with English subtitles.
From the press release:
Part of our Anniversary Classics series. For details, visit: laemmle.com/ac.
The Leopard (1963)
55th Anniversary Screenings at Three Laemmle Locations
Wednesday, December 5 at 7:00 Pm
Laemmle Theatres and the Anniversary Classics Series present 55th anniversary screenings of acclaimed director Luchino Visconti’s sumptuous masterpiece, The Leopard ('Il Gattopardo'). The film will close out the year for the popular Anniversary Classics Abroad program of showcasing vintage foreign-language cinema.
The Leopard is based on the historical novel by Giuseppe Tomasi de Lampedusa, an...
The great Italian filmmaker Luchino Visconti’s film The Leopard (Il Gattopardo) will be the subject of a 55th anniversary screening at three Los Angeles theatres. The 187-minute film, which stars Burt Lancaster, Alain Delon, Claudia Cardinale, Terrence Hill, and Paola Stoppa, will be screened on Wednesday, December 5th, 2018 at 7:00 pm. This is the Italian language version with English subtitles.
From the press release:
Part of our Anniversary Classics series. For details, visit: laemmle.com/ac.
The Leopard (1963)
55th Anniversary Screenings at Three Laemmle Locations
Wednesday, December 5 at 7:00 Pm
Laemmle Theatres and the Anniversary Classics Series present 55th anniversary screenings of acclaimed director Luchino Visconti’s sumptuous masterpiece, The Leopard ('Il Gattopardo'). The film will close out the year for the popular Anniversary Classics Abroad program of showcasing vintage foreign-language cinema.
The Leopard is based on the historical novel by Giuseppe Tomasi de Lampedusa, an...
- 12/1/2018
- by nospam@example.com (Cinema Retro)
- Cinemaretro.com
Did they, or didn’t they?
Any baby boomer who saw Franco Zeffirelli’s sumptuous “Romeo & Juliet,” which opened in U.S. theaters Oct. 8, 1968, has wondered if stars Olivia Hussey and Leonard Whiting actually fell in love during the production.
Their performances as Shakespeare’s star-crossed ill-fated lovers were so passionate, audiences naturally thought they were acting out their own feelings.
“I had never been with anyone before we shot the film,” noted Hussey, author with her son Alexander Martin of the new memoir, “The Girl on the Balcony: Olivia Hussey Finds Life After ‘Romeo & Juliet.”’
“But Leonard and I held hands, kissed,” Hussey, 67, explained during a recent interview at a Studio City bistro. “I guess we sort of saw each other as boyfriend and girlfriend — but young. It wasn’t the way it might be today. A 15-year-old girl today is a lot more promiscuous than we were.
Any baby boomer who saw Franco Zeffirelli’s sumptuous “Romeo & Juliet,” which opened in U.S. theaters Oct. 8, 1968, has wondered if stars Olivia Hussey and Leonard Whiting actually fell in love during the production.
Their performances as Shakespeare’s star-crossed ill-fated lovers were so passionate, audiences naturally thought they were acting out their own feelings.
“I had never been with anyone before we shot the film,” noted Hussey, author with her son Alexander Martin of the new memoir, “The Girl on the Balcony: Olivia Hussey Finds Life After ‘Romeo & Juliet.”’
“But Leonard and I held hands, kissed,” Hussey, 67, explained during a recent interview at a Studio City bistro. “I guess we sort of saw each other as boyfriend and girlfriend — but young. It wasn’t the way it might be today. A 15-year-old girl today is a lot more promiscuous than we were.
- 10/7/2018
- by Susan King
- Variety Film + TV
A blend of soaring orchestra strings and ominous electric guitar, Fabio Frizzi's "Carnage Hotel" is one of many chilling and thrilling songs featured on Puppet Master: The Littlest Reich—Original Motion Picture Soundtrack. With the soundtrack coming out digitally on August 10th from Lakeshore Records (followed by a vinyl release at a later date), we've been provided with the exclusive premiere of "Carnage Hotel" to get you ready for the attack of the deadly Toulon dolls when Puppet Master: The Littlest Reich hits theaters on August 17th:
You can listen to our exclusive premiere of the "Carnage Hotel" track below, and read on for additional details on the new Puppet Master soundtrack from the legendary Frizzi:
Press Release: Los Angeles, CA: Lakeshore Records and Fangoria Presents have teamed up to release Puppet Master: The Littlest Reich—Original Motion Picture Soundtrack which features an original score by legendary film composer Fabio Frizzi,...
You can listen to our exclusive premiere of the "Carnage Hotel" track below, and read on for additional details on the new Puppet Master soundtrack from the legendary Frizzi:
Press Release: Los Angeles, CA: Lakeshore Records and Fangoria Presents have teamed up to release Puppet Master: The Littlest Reich—Original Motion Picture Soundtrack which features an original score by legendary film composer Fabio Frizzi,...
- 8/8/2018
- by Derek Anderson
- DailyDead
Luchino Visconti’s national epic looks and plays better than ever. A Southern family relocates to Milan, and each of the sons reacts differently to life in the big city. It’s one of Italy’s most emotional film experiences.
Rocco and His Brothers
Blu-ray
Milestone Cinematheque
1960 / Color / 1:66 widescreen / 177 m. / Rocco e i suoi fratelli / Street Date July 10, 2018 / 39.95
Starring: Alain Delon, Renato Salvatori, Annie Girardot, Katina Paxinou, Alessandra Panaro, Spiros Focás, Max Cartier, Claudia Cardinale, Nino Castelnuovo, Enzo Fiermonte, Suzy Delair, Paolo Stoppa.
Cinematography: Giuseppe Rotunno
Film Editor: Mario Serandrei
Production Designer: Mario Garbuglia
Original Music: Nino Rota
Written by Luchino Visconti, Suso Cecchi d’Amico, Pasquale Festa Campanile, Massimo Franciosa and Enrico Medioli
Produced by Giuseppe Bordogni, Goffredo Lombardo
Directed by Luchino Visconti
By 1960 Roberto Rossellini was almost finished with big screen feature work, but Italy’s other neorealist pioneer Luchino Visconti was just getting started on a series of masterpieces.
Rocco and His Brothers
Blu-ray
Milestone Cinematheque
1960 / Color / 1:66 widescreen / 177 m. / Rocco e i suoi fratelli / Street Date July 10, 2018 / 39.95
Starring: Alain Delon, Renato Salvatori, Annie Girardot, Katina Paxinou, Alessandra Panaro, Spiros Focás, Max Cartier, Claudia Cardinale, Nino Castelnuovo, Enzo Fiermonte, Suzy Delair, Paolo Stoppa.
Cinematography: Giuseppe Rotunno
Film Editor: Mario Serandrei
Production Designer: Mario Garbuglia
Original Music: Nino Rota
Written by Luchino Visconti, Suso Cecchi d’Amico, Pasquale Festa Campanile, Massimo Franciosa and Enrico Medioli
Produced by Giuseppe Bordogni, Goffredo Lombardo
Directed by Luchino Visconti
By 1960 Roberto Rossellini was almost finished with big screen feature work, but Italy’s other neorealist pioneer Luchino Visconti was just getting started on a series of masterpieces.
- 6/26/2018
- by Glenn Erickson
- Trailers from Hell
There are many absurdities to a six-month awards season, but the attempts at tagging Guillermo del Toro with plagiarism charges takes this year’s Harvey Weinstein Prize for most intellectually dishonest campaigning. Del Toro’s “The Shape of Water” has 13 Oscar nominations and plenty of momentum going into Oscar Sunday, which clearly places a target on the director’s back. Yet the reason these charges are so ridiculous is that, from Day One, the director’s ode to movies – She. Lives. Above. An. Old. Movie. Theater. – is something he has proudly worn on his sleeve.
Case in point: Many weeks before the “controversy” broke out, del Toro recorded an interview on IndieWire’s Filmmaker Toolkit podcast in which he mentioned no fewer than twenty different directors and their influence on the film.
“Frank Borzage is another phenomenal filmmaker I do love and I think I started quoting him in ‘Cronos,...
Case in point: Many weeks before the “controversy” broke out, del Toro recorded an interview on IndieWire’s Filmmaker Toolkit podcast in which he mentioned no fewer than twenty different directors and their influence on the film.
“Frank Borzage is another phenomenal filmmaker I do love and I think I started quoting him in ‘Cronos,...
- 2/27/2018
- by Chris O'Falt
- Indiewire
Author: Competitions
To mark the release of Orchestra Rehearsal on 12th February, we’ve been given 3 copies to give away on Blu-ray.
An Italian television crew visits a dilapidated auditorium (a converted 13th-century church) to meet an orchestra assembling to rehearse under the instruction of a tyrannical conductor. The TV crew interviews the various musicians who each speak lovingly about their chosen instruments. However, as petty squabbles break out amid the different factions of the ensemble, and the conductor berates his musicians, the meeting descends into anarchy and vandalism. A destructive crescendo ensues before the musicians regroup and play together once more in perfect harmony. Orchestra rehearsal is directed and written by Federico Fellini, in collaboration once more with Oscar-winning composer Nino Rota.
Please note: This competition is open to UK residents only
a Rafflecopter giveaway
The Small Print
Open to UK residents only The competition will close 26th February...
To mark the release of Orchestra Rehearsal on 12th February, we’ve been given 3 copies to give away on Blu-ray.
An Italian television crew visits a dilapidated auditorium (a converted 13th-century church) to meet an orchestra assembling to rehearse under the instruction of a tyrannical conductor. The TV crew interviews the various musicians who each speak lovingly about their chosen instruments. However, as petty squabbles break out amid the different factions of the ensemble, and the conductor berates his musicians, the meeting descends into anarchy and vandalism. A destructive crescendo ensues before the musicians regroup and play together once more in perfect harmony. Orchestra rehearsal is directed and written by Federico Fellini, in collaboration once more with Oscar-winning composer Nino Rota.
Please note: This competition is open to UK residents only
a Rafflecopter giveaway
The Small Print
Open to UK residents only The competition will close 26th February...
- 2/14/2018
- by Competitions
- HeyUGuys.co.uk
The Academy of Motion Picture Arts and Sciences and The Los Angeles Philharmonic today announced details of The Oscar Concert, a special, one-night-only celebration of film music at Walt Disney Concert Hall on Wednesday, February 28, 2018, at 8:00 p.m.
As part of the Oscar week celebrations for its 90th anniversary, the Academy, in partnership with the La Phil, presents an exclusive one-of-a-kind celebration of film music, including never-before-heard arrangements of this year’s five Original Score Oscar nominees.
Curated by composers and Academy Governors Michael Giacchino, Laura Karpman, and Charles Bernstein, the evening offers an insider’s look at film scoring across the decades, with select scores performed live by the Los Angeles Philharmonic, led by conductor Thomas Wilkins, and special guest Terence Blanchard (trumpet), with additional special guests to be announced. The Oscar Concert explores the history of film music through special arrangements of beloved scores by composers including Tan Dun,...
As part of the Oscar week celebrations for its 90th anniversary, the Academy, in partnership with the La Phil, presents an exclusive one-of-a-kind celebration of film music, including never-before-heard arrangements of this year’s five Original Score Oscar nominees.
Curated by composers and Academy Governors Michael Giacchino, Laura Karpman, and Charles Bernstein, the evening offers an insider’s look at film scoring across the decades, with select scores performed live by the Los Angeles Philharmonic, led by conductor Thomas Wilkins, and special guest Terence Blanchard (trumpet), with additional special guests to be announced. The Oscar Concert explores the history of film music through special arrangements of beloved scores by composers including Tan Dun,...
- 2/1/2018
- by Michelle Hannett
- WeAreMovieGeeks.com
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