This past weekend, the American Society of Cinematographers awarded Greig Fraser for his contribution to Lion as last year’s greatest accomplishment in the field. Of course, his achievement was just a small sampling of the fantastic work from directors of photography, but it did give us a stronger hint at what may be the winner on Oscar night. Ahead of the ceremony, we have a new video compilation that honors all the past winners in the category at the Academy Awards
Created by Burger Fiction, it spans the stunning silent landmark Sunrise: A Song of Two Humans all the way up to the end of Emmanuel Lubezki‘s three-peat win for The Revenant. Aside from the advancements in color and aspect ration, it’s a thrill to see some of cinema’s most iconic shots side-by-side. However, the best way to experience the evolution of the craft is by...
Created by Burger Fiction, it spans the stunning silent landmark Sunrise: A Song of Two Humans all the way up to the end of Emmanuel Lubezki‘s three-peat win for The Revenant. Aside from the advancements in color and aspect ration, it’s a thrill to see some of cinema’s most iconic shots side-by-side. However, the best way to experience the evolution of the craft is by...
- 2/6/2017
- by Jordan Raup
- The Film Stage
The biggest, most lavish hook-up between Hollywood and the Pentagon was this Anthony Mann-James Stewart collaboration, a morale & recruiting cheer for America's intercontinental bombing air force, the service that kept the peace by holding up our side of the balance of fear. Strategic Air Command Blu-ray Olive Films 1955 / Color / 1:66 widescreen (VistaVision) / 112 min. / Street Date October 16, 2016 / available through the Olive Films website / 29.98 Starring James Stewart, June Allyson, Frank Lovejoy, Barry Sullivan, Alex Nicol, Bruce Bennett, Jay C. Flippen, James Millican, James Bell, Rosemary DeCamp, Harry Morgan, William Hudson, Strother Martin, House Peters Jr. Cinematography William Daniels Film Editor Eda Warren Original Music Victor Young Written by Valentine Davies, Beirne Lay, Jr. Produced by Samuel J. Briskin Directed by Anthony Mann
Reviewed by Glenn Erickson
In the 1950s America was spending its enormous military budget on a fantastic array of advanced weapons technology, the most expensive of which was...
Reviewed by Glenn Erickson
In the 1950s America was spending its enormous military budget on a fantastic array of advanced weapons technology, the most expensive of which was...
- 10/22/2016
- by Glenn Erickson
- Trailers from Hell
Well, we’ve finally reached the summit: the 10 most definitive romantic comedies of all time. Unlike the other sections of this list, there is not a movie here that approaches “bad.” As always, some are better than others, despite the order. But one thing is for sure: if you plan to have a rom-com binge-a-thon soon, this is where you start, no questions asked. In fact, after reading this, you should go do that and report back.
courtesy of reverseshot.com 10. Some Like It Hot (1959)
What’s funnier than men dressing in drag? Depends on who you ask. It’s Billy Wilder again with a fictional story of two musicians – Joe (Tony Curtis) and Jerry (Jack Lemmon) – who witness the St. Valentine’s Day massacre in Chicago and leave town. But, since the mob has ties everywhere, they need to disguise themselves as best they can: as women in an...
courtesy of reverseshot.com 10. Some Like It Hot (1959)
What’s funnier than men dressing in drag? Depends on who you ask. It’s Billy Wilder again with a fictional story of two musicians – Joe (Tony Curtis) and Jerry (Jack Lemmon) – who witness the St. Valentine’s Day massacre in Chicago and leave town. But, since the mob has ties everywhere, they need to disguise themselves as best they can: as women in an...
- 1/10/2016
- by Joshua Gaul
- SoundOnSight
Olivia de Havilland picture U.S. labor history-making 'Gone with the Wind' star and two-time Best Actress winner Olivia de Havilland turns 99 (This Olivia de Havilland article is currently being revised and expanded.) Two-time Best Actress Academy Award winner Olivia de Havilland, the only surviving major Gone with the Wind cast member and oldest surviving Oscar winner, is turning 99 years old today, July 1.[1] Also known for her widely publicized feud with sister Joan Fontaine and for her eight movies with Errol Flynn, de Havilland should be remembered as well for having made Hollywood labor history. This particular history has nothing to do with de Havilland's films, her two Oscars, Gone with the Wind, Joan Fontaine, or Errol Flynn. Instead, history was made as a result of a legal fight: after winning a lawsuit against Warner Bros. in the mid-'40s, Olivia de Havilland put an end to treacherous...
- 7/2/2015
- by Andre Soares
- Alt Film Guide
Love can be a many splendid thing…both in triumph and sometimes in tragedy. The emphasis of this sentiment is mainly on the latter as tragedy can be defined in various degrees of despair. Consequently, we have endured all sorts of conflict between lovers in cinema throughout the history of frequenting the movies.
In You’ve Lost That Loving Feeling: Top Ten Tragic Lovers in the Movies we will look at a selection of films where the tragic circumstances have shaped the foundation of film lovers convincingly. The tragic overtones come in all varieties: marital discourse, criminal activity, fraud, addiction, etc. Granted that there are probably bigger and better choices for lovey-dovey antagonism that could be cited in You’ve Lost That Loving Feeling but hey…the outcome remains the same: hampered relationships that are creatively rooted in turmoil.
The spotlight of “lovers” are open to discussion in the realm of combative married couples,...
In You’ve Lost That Loving Feeling: Top Ten Tragic Lovers in the Movies we will look at a selection of films where the tragic circumstances have shaped the foundation of film lovers convincingly. The tragic overtones come in all varieties: marital discourse, criminal activity, fraud, addiction, etc. Granted that there are probably bigger and better choices for lovey-dovey antagonism that could be cited in You’ve Lost That Loving Feeling but hey…the outcome remains the same: hampered relationships that are creatively rooted in turmoil.
The spotlight of “lovers” are open to discussion in the realm of combative married couples,...
- 1/27/2015
- by Frank Ochieng
- SoundOnSight
By Anjelica Oswald
Managing Editor
Of the 114 titles eligible for best original score at the 87th Academy Awards, five of French composer Alexandre Desplat’s scores have made the list: Godzilla, The Grand Budapest Hotel, The Imitation Game, The Monuments Men and Unbroken. The final nominees will be announced Jan. 15.
Desplat has become one of the most prolific composers in Hollywood since his first Hollywood film score for 2003’s Girl With a Pearl Earring, and he has received six Oscar nominations in eight years. His first nomination came for 2006’s The Queen and was followed by 2008’s The Curious Case of Benjamin Button, 2009’s Fantastic Mr. Fox, 2010’s The King’s Speech, 2012’s Argo and 2013’s Philomena. If he is nominated again this year — for one or more of his scores — he will have upwards of seven nominations in nine years, yet Desplat has never won. He joins five other...
Managing Editor
Of the 114 titles eligible for best original score at the 87th Academy Awards, five of French composer Alexandre Desplat’s scores have made the list: Godzilla, The Grand Budapest Hotel, The Imitation Game, The Monuments Men and Unbroken. The final nominees will be announced Jan. 15.
Desplat has become one of the most prolific composers in Hollywood since his first Hollywood film score for 2003’s Girl With a Pearl Earring, and he has received six Oscar nominations in eight years. His first nomination came for 2006’s The Queen and was followed by 2008’s The Curious Case of Benjamin Button, 2009’s Fantastic Mr. Fox, 2010’s The King’s Speech, 2012’s Argo and 2013’s Philomena. If he is nominated again this year — for one or more of his scores — he will have upwards of seven nominations in nine years, yet Desplat has never won. He joins five other...
- 12/29/2014
- by Anjelica Oswald
- Scott Feinberg
By Anjelica Oswald
Managing Editor
Originally planned to screen as a 30-minute preview at AFI Fest, Ava DuVernay’s Selma, centered on Dr. Martin Luther King Jr. and the Civil Rights marches from Selma to Montgomery, premiered in its entirety and stirred up more Oscar buzz ahead of its Christmas Day release.
The Hollywood Reporter’s Stephen Farber says the film is “intelligently written, vividly shot, tightly edited and sharply acted,” and that it “represents a rare example of craftsmanship working to produce a deeply moving piece of history.” Meanwhile, Paul Webb’s screenplay and David Oyelowo’s portrayal of Dr. King have been praised. The Wrap’s James Rocchi says, “Oyelowo’s performance would be impressive enough if it merely recreated the icon we now revere as perfectly as he does through a variety of methods… But Oyelowo, and Webb’s screenplay, also give us a rich, rewarding portrait of King as a man,...
Managing Editor
Originally planned to screen as a 30-minute preview at AFI Fest, Ava DuVernay’s Selma, centered on Dr. Martin Luther King Jr. and the Civil Rights marches from Selma to Montgomery, premiered in its entirety and stirred up more Oscar buzz ahead of its Christmas Day release.
The Hollywood Reporter’s Stephen Farber says the film is “intelligently written, vividly shot, tightly edited and sharply acted,” and that it “represents a rare example of craftsmanship working to produce a deeply moving piece of history.” Meanwhile, Paul Webb’s screenplay and David Oyelowo’s portrayal of Dr. King have been praised. The Wrap’s James Rocchi says, “Oyelowo’s performance would be impressive enough if it merely recreated the icon we now revere as perfectly as he does through a variety of methods… But Oyelowo, and Webb’s screenplay, also give us a rich, rewarding portrait of King as a man,...
- 11/14/2014
- by Anjelica Oswald
- Scott Feinberg
Philip Seymour Hoffman, Shirley Temple, and Oscar movies: Library of Congress’ March 2014 screenings (photo: Philip Seymour Hoffman as Truman Capote in ‘Capote’) Tributes to the recently deceased Shirley Temple and Philip Seymour Hoffman, and several Academy Award-nominated and -winning films are among the March 2014 screenings at the Library of Congress’ Packard Campus Theater and, in collaboration with the Library’s National Audio-Visual Conservation Center, The State Theatre, both located in Culpeper, Virginia. The 1934 sentimental comedy-drama Little Miss Marker (March 6, Packard) is the movie that turned six-year-old Shirley Temple into a major film star. Temple would become the biggest domestic box-office draw of the mid-1930s, and, Tyrone Power, Alice Faye, Sonja Henie, Don Ameche, Loretta Young, and Madeleine Carroll notwithstanding, would remain 20th Century Fox’s top star until later in the decade. Directed by Alexander Hall (Here Comes Mr. Jordan, My Sister Eileen), Little Miss Marker — actually, a Paramount...
- 2/21/2014
- by Andre Soares
- Alt Film Guide
Well, we’ve finally reached the summit: the 10 most definitive romantic comedies of all time. Unlike the other sections of this list, there is not a movie here that approaches “bad.” As always, some are better than others, despite the order. But one thing is for sure: if you plan to have a rom-com binge-a-thon soon, this is where you start, no questions asked. In fact, after reading this, you should go do that and report back.
courtesy of reverseshot.com
10. Some Like It Hot (1959)
What’s funnier than men dressing in drag? Depends on who you ask. It’s Billy Wilder again with a fictional story of two musicians – Joe (Tony Curtis) and Jerry (Jack Lemmon) – who witness the St. Valentine’s Day massacre in Chicago and leave town. But, since the mob has ties everywhere, they need to disguise themselves as best they can: as women in an...
courtesy of reverseshot.com
10. Some Like It Hot (1959)
What’s funnier than men dressing in drag? Depends on who you ask. It’s Billy Wilder again with a fictional story of two musicians – Joe (Tony Curtis) and Jerry (Jack Lemmon) – who witness the St. Valentine’s Day massacre in Chicago and leave town. But, since the mob has ties everywhere, they need to disguise themselves as best they can: as women in an...
- 2/10/2014
- by Joshua Gaul
- SoundOnSight
Considering the coverage U.S. cinema receives globally, it might seem odd that there should be a festival that focuses solely on films from the U.S. And yet, a cursory glance over the program for the third edition of the American Film Festival shows just how limited in scope the majority of mainstream American releases actually are. If one wants to find out more about America – the world that exists beyond the blockbusters – it is necessary to dig a little deeper. It is only then that you uncover a rich seam of innovative, challenging and engaging films.
The American Film Festival in Poland this November promotes American indies abroad. Considering there’s money to be made abroad which is not always readily accessible here, indie filmmakers here in the U.S. should take notice of what's going on in Poland.
Indies have to get into the international scene and the European distribs are often ignorant of what indies exist here in the U.S.
The 2 best films in post-production from last year’s American Film Festival in Wroclaw, Poland are now complete and were here in Competition at the Napa Valley Film Festival. Again, Not Waving but Drowning took a prize, this time for cinematography. A new network seems to be creating itself which I hope continues to include arthouse distributor and producer Sophie Dulac’s Champs Elysees Film Festival in Paris and the Mobile New Horizons Ff in Wroclaw, Poland’s largest film festival owned by the largest arthouse film distributor (Gutek) in Poland, a rich territory which thus far is relatively untouched even by the European recession.
The films that open and close the third edition offer some indication of what audiences can look forward to over the course of five days. Wes Anderson’s Moonrise Kingdom, the director’s seventh feature, is arguably his most stylised work: a film whose look has been designed to the minutiae, as it charts the love affair between two teens in late-1960s coastal America. As for Ben Affleck’s impressive third feature Argo, which closes the festival, it couldn’t be more different. A high-octane drama, based on a true story that unfolded following the Iranian occupation of the American Embassy in Tehran in 1979, it cements Affleck’s reputation as a skilled filmmaker. It is also one of the most intelligent and enjoyable Hollywood thrillers in years.
Other major Us films featured in the festival include John Hillcoat’s (The Road, The Proposition) Lawless and The Master, the latest film by Paul Thomas Anderson (Magnolia, Boogie Nights). Hillcoat’s film, loosely based on the true story of bootleggers at the height of prohibition in rural Virginia, stars Shia Labeouf, Tom Hardy, Gary Oldman, Jessica Chastain, Mia Wasikowska and Guy Pearce. With a script by Nick Cave, Lawless plays to Hillcoat’s strengths as one of contemporary cinema’s most muscular directors and features an impressive turn by Labeouf, suggesting there is more to him than the idiotic lead in Michael Bay’s woeful Transformers franchise.
Anderson’s film is a companion piece – of sorts – to his 2007 drama There Will Be Blood. Like that film, it pits two men against each other: one a primal, barely formed creature whose inability to conform to societal norms finds him adrift in the world; the other the head of a belief system that purports to offer the secrets to humanity’s past and its betterment for the future. A complex, troubling and brilliant film, it is further evidence of Anderson’s position as one of America’s leading filmmakers.
Away from the mainstream, there are numerous delights on offer. Highlights include: Safety Not Guaranteed, a low-budget, comic addition to the time-travel sub-genre; Jeff, Who Lives at Home, the latest film from the Duplass brothers (The Puffy Chair), starring Jason Segel; Bernie, Richard Linklater’s second collaboration with Jack Black, albeit worlds away from School of Rock; the hugely controversial Compliance, which premiered at the Sundance Film Festival in January and has seen audiences walking out of screenings wherever it has shown; and Now Forager, a nuanced character study of two mushroom pickers in up state New York, which featured in the Gotham in Progress event at last year’s festival.
Alongside new releases are four retrospectives. Audiences have the chance to see all of Wes Anderson’s films, including his brilliant sophomore feature Rushmore – one of the best films of the 1990s. The Universal horror films of the 1930s (arguably the golden age of Hollywood horror) are represented by three of the most iconic features from that period: Todd Browning’s Dracula (1931), starring Bela Lugosi; Karl Freund’s The Mummy (1932); and arguably the best of the three, James Whale’s adaptation of Mary Shelley’s Frankenstein (1931).
The festival is also showcasing is a selection of Nicholas Ray’s films from the 1950s. Ray, one of the visionaries of Hollywood during that decade, took a scalpel to American life, producing a body of work that eviscerated the Norman Rockwell-inspired image of suburbia, with it’s trimmed lawns and white picket fences. Rebel Without a Cause (1955), with James Dean’s searing performance as a teenage rebelling against societal norms, may be the best known of the four films screening, but there is much pleasure to be had from Joan Crawford in one of her finest performances, opposite Sterling Hayden in Johnny Guitar (1954). Humphrey Bogart is scintillating as a hard-bitten Hollywood screenwriter in one of Tinseltown’s bleakest chronicles, In a Lonely Place (1950). However, the real gem in this brief overview is the director’s 1956 masterpiece Bigger Than Life. James Mason is at his best playing a schoolteacher whose addiction to a prescribed drug transforms his personality. It is a harrowing drama that exposes the rot at the core of Eisenhower-era America.
The final retrospective celebrates the films of Jerry Schatzberg. An acclaimed photographer, he has also directed a body of work that looks at life mostly lived on the margins of American society. Included is the director’s debut Puzzle of a Downfall Child (1971), featuring a startling performance by Faye Dunaway, and Street Smart (1987), about the impact of a journalist’s false claims, starring an Oscar-nominated performance by Morgan Freeman. However, the gems in this brief overview are Panic in Needle Park (1971) and Scarecrow (1973). Both feature a young Al Pacino, but the real star of the films is Schatzberg, who will be present during the festival to talk about his career. His freewheeling camera gave actors the chance to explore their characters in a way less fearless directors would balk at. However, he never loses the sense of place within which the action unfolds. Pacino and Gene Hackman’s journey through America’s hinterland in Scarecrow finds Schatzberg at his best, producing one of the great road movies of the era and reminding us how vital and engaging American cinema can be.
Ten Films to See at the Festival
Rushmore (1998)
Wes Anderson’s second feature is still his best – a variation on the high school comedy drama, featuring Jason Schwartzman, Olivia Williams and Anderson regular Bill Murray.
The Master
Paul Thomas Anderson’s perplexing and brilliant drama, loosely based on the life of Scientology founder L. Ron Hubbard.
Argo
Ben Affleck directs what might be this year’s most entertaining Hollywood film.
Scarecrow (1973)
Jerry Schatzberg’s Palme d’Or-winning road movie, starring Al Pacino and Gene Hackman.
Bigger Than Life (1956)
James Mason delivers a career-defining performance in Nicholas Ray’s masterpiece.
Now Forager
One of the most original indies of recent years, a nuanced comedy drama set in the world of mushroom picking.
Compliance
Arguably this year’s most controversial film at the festival, which walks a fine line between exploration and exploitation.
Lawless
An old-fashioned gangster film set in America’s heartland and featuring a stellar cast.
4:44 Last Day on Earth
American cinema’s enfant terrible Abel Ferrara’s latest film is one of his most highly regarded in recent years.
West of Memphis
A powerful account of a serial killer in America’s Deep South, whose crimes were ignored by the media.
The American Film Festival in Poland this November promotes American indies abroad. Considering there’s money to be made abroad which is not always readily accessible here, indie filmmakers here in the U.S. should take notice of what's going on in Poland.
Indies have to get into the international scene and the European distribs are often ignorant of what indies exist here in the U.S.
The 2 best films in post-production from last year’s American Film Festival in Wroclaw, Poland are now complete and were here in Competition at the Napa Valley Film Festival. Again, Not Waving but Drowning took a prize, this time for cinematography. A new network seems to be creating itself which I hope continues to include arthouse distributor and producer Sophie Dulac’s Champs Elysees Film Festival in Paris and the Mobile New Horizons Ff in Wroclaw, Poland’s largest film festival owned by the largest arthouse film distributor (Gutek) in Poland, a rich territory which thus far is relatively untouched even by the European recession.
The films that open and close the third edition offer some indication of what audiences can look forward to over the course of five days. Wes Anderson’s Moonrise Kingdom, the director’s seventh feature, is arguably his most stylised work: a film whose look has been designed to the minutiae, as it charts the love affair between two teens in late-1960s coastal America. As for Ben Affleck’s impressive third feature Argo, which closes the festival, it couldn’t be more different. A high-octane drama, based on a true story that unfolded following the Iranian occupation of the American Embassy in Tehran in 1979, it cements Affleck’s reputation as a skilled filmmaker. It is also one of the most intelligent and enjoyable Hollywood thrillers in years.
Other major Us films featured in the festival include John Hillcoat’s (The Road, The Proposition) Lawless and The Master, the latest film by Paul Thomas Anderson (Magnolia, Boogie Nights). Hillcoat’s film, loosely based on the true story of bootleggers at the height of prohibition in rural Virginia, stars Shia Labeouf, Tom Hardy, Gary Oldman, Jessica Chastain, Mia Wasikowska and Guy Pearce. With a script by Nick Cave, Lawless plays to Hillcoat’s strengths as one of contemporary cinema’s most muscular directors and features an impressive turn by Labeouf, suggesting there is more to him than the idiotic lead in Michael Bay’s woeful Transformers franchise.
Anderson’s film is a companion piece – of sorts – to his 2007 drama There Will Be Blood. Like that film, it pits two men against each other: one a primal, barely formed creature whose inability to conform to societal norms finds him adrift in the world; the other the head of a belief system that purports to offer the secrets to humanity’s past and its betterment for the future. A complex, troubling and brilliant film, it is further evidence of Anderson’s position as one of America’s leading filmmakers.
Away from the mainstream, there are numerous delights on offer. Highlights include: Safety Not Guaranteed, a low-budget, comic addition to the time-travel sub-genre; Jeff, Who Lives at Home, the latest film from the Duplass brothers (The Puffy Chair), starring Jason Segel; Bernie, Richard Linklater’s second collaboration with Jack Black, albeit worlds away from School of Rock; the hugely controversial Compliance, which premiered at the Sundance Film Festival in January and has seen audiences walking out of screenings wherever it has shown; and Now Forager, a nuanced character study of two mushroom pickers in up state New York, which featured in the Gotham in Progress event at last year’s festival.
Alongside new releases are four retrospectives. Audiences have the chance to see all of Wes Anderson’s films, including his brilliant sophomore feature Rushmore – one of the best films of the 1990s. The Universal horror films of the 1930s (arguably the golden age of Hollywood horror) are represented by three of the most iconic features from that period: Todd Browning’s Dracula (1931), starring Bela Lugosi; Karl Freund’s The Mummy (1932); and arguably the best of the three, James Whale’s adaptation of Mary Shelley’s Frankenstein (1931).
The festival is also showcasing is a selection of Nicholas Ray’s films from the 1950s. Ray, one of the visionaries of Hollywood during that decade, took a scalpel to American life, producing a body of work that eviscerated the Norman Rockwell-inspired image of suburbia, with it’s trimmed lawns and white picket fences. Rebel Without a Cause (1955), with James Dean’s searing performance as a teenage rebelling against societal norms, may be the best known of the four films screening, but there is much pleasure to be had from Joan Crawford in one of her finest performances, opposite Sterling Hayden in Johnny Guitar (1954). Humphrey Bogart is scintillating as a hard-bitten Hollywood screenwriter in one of Tinseltown’s bleakest chronicles, In a Lonely Place (1950). However, the real gem in this brief overview is the director’s 1956 masterpiece Bigger Than Life. James Mason is at his best playing a schoolteacher whose addiction to a prescribed drug transforms his personality. It is a harrowing drama that exposes the rot at the core of Eisenhower-era America.
The final retrospective celebrates the films of Jerry Schatzberg. An acclaimed photographer, he has also directed a body of work that looks at life mostly lived on the margins of American society. Included is the director’s debut Puzzle of a Downfall Child (1971), featuring a startling performance by Faye Dunaway, and Street Smart (1987), about the impact of a journalist’s false claims, starring an Oscar-nominated performance by Morgan Freeman. However, the gems in this brief overview are Panic in Needle Park (1971) and Scarecrow (1973). Both feature a young Al Pacino, but the real star of the films is Schatzberg, who will be present during the festival to talk about his career. His freewheeling camera gave actors the chance to explore their characters in a way less fearless directors would balk at. However, he never loses the sense of place within which the action unfolds. Pacino and Gene Hackman’s journey through America’s hinterland in Scarecrow finds Schatzberg at his best, producing one of the great road movies of the era and reminding us how vital and engaging American cinema can be.
Ten Films to See at the Festival
Rushmore (1998)
Wes Anderson’s second feature is still his best – a variation on the high school comedy drama, featuring Jason Schwartzman, Olivia Williams and Anderson regular Bill Murray.
The Master
Paul Thomas Anderson’s perplexing and brilliant drama, loosely based on the life of Scientology founder L. Ron Hubbard.
Argo
Ben Affleck directs what might be this year’s most entertaining Hollywood film.
Scarecrow (1973)
Jerry Schatzberg’s Palme d’Or-winning road movie, starring Al Pacino and Gene Hackman.
Bigger Than Life (1956)
James Mason delivers a career-defining performance in Nicholas Ray’s masterpiece.
Now Forager
One of the most original indies of recent years, a nuanced comedy drama set in the world of mushroom picking.
Compliance
Arguably this year’s most controversial film at the festival, which walks a fine line between exploration and exploitation.
Lawless
An old-fashioned gangster film set in America’s heartland and featuring a stellar cast.
4:44 Last Day on Earth
American cinema’s enfant terrible Abel Ferrara’s latest film is one of his most highly regarded in recent years.
West of Memphis
A powerful account of a serial killer in America’s Deep South, whose crimes were ignored by the media.
- 11/13/2012
- by Sydney Levine
- Sydney's Buzz
Los Angeles — He was a tubby tough guy with a pug of a mug, as unlikely a big-screen star or a romantic lead as could be imagined.
Yet Ernest Borgnine won a woman's love and an Academy Award in one of the great lonelyhearts roles in "Marty," a highlight in a workhorse career that spanned nearly seven decades and more than 200 film and television parts.
Borgnine, who died Sunday at 95, worked to the end. One of his final roles was a bit part as a CIA records-keeper in 2011's action comedy "Red" – fittingly for his age, a story of retired spies who show that it's never too late to remain in the game when they're pulled back into action.
"I keep telling myself, `Damn it, you gotta go to work,'" Borgnine said in a 2007 interview with The Associated Press. "But there aren't many people who want to put Borgnine to work these days.
Yet Ernest Borgnine won a woman's love and an Academy Award in one of the great lonelyhearts roles in "Marty," a highlight in a workhorse career that spanned nearly seven decades and more than 200 film and television parts.
Borgnine, who died Sunday at 95, worked to the end. One of his final roles was a bit part as a CIA records-keeper in 2011's action comedy "Red" – fittingly for his age, a story of retired spies who show that it's never too late to remain in the game when they're pulled back into action.
"I keep telling myself, `Damn it, you gotta go to work,'" Borgnine said in a 2007 interview with The Associated Press. "But there aren't many people who want to put Borgnine to work these days.
- 7/9/2012
- by AP
- Huffington Post
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