Wednesday, 17 December 2014

Capital Celluloid 2015 - Day 5: Mon Jan 5

The Leopard (Visconti 1963): BFI Southbank, NFT1, 6.10pm


This film is part of the Passport to Cinema season at BFI Southbank and also screens on 3 January. Tonight's presentation is introduced by Richard Combs. Full details here

This movie is a bona fide masterpiece which grows in stature with the passing years and seen in a remastered print on the best sccreen in London simply adds to the beauty of a magisterial work of cinema.

Here is critic Dave Kehr on the film's history, it was butchered on release and only seen in a truncated form for many years, and here is Martin Scorsese talking about his involvement in the restoration. The Leopard is one of the American director's favourite films as evidenced in this list.


Chicago Reader review:
'Cut, dubbed, and printed in an inferior color process, the U.S. release of Luchino Visconti's epic didn't leave much of an impression in 1963; 20 years later, a restoration of the much longer Italian version revealed this as not only Visconti's greatest film but a work that transcends its creator, achieving a sensitivity and intelligence without parallel in his other films. Burt Lancaster initiated his formidable mature period as the aging aristocrat Don Fabrizio, who works to find a place for himself and his family values in the new Italy being organized in the 1860s. The film's superb first two hours, which weave social and historical themes into rich personal drama, turn out to be only a prelude to the magnificent final hour—an extended ballroom sequence that leaves history behind to become one of the most moving meditations on individual mortality in the history of the cinema. With Alain Delon and Claudia Cardinale. In Italian with subtitles.'


Here (and above) is the BFI trailer.

Tuesday, 16 December 2014

Capital Celluloid 2015 - Day 4: Sun Jan 4

Dr No (Young, 1962): Prince Charles Cinema, 8.45pm


Starting tonight the Prince Charles Cinema are running a full 007 Retrospective showing every James Bond movie over the coming months. You can see all the details of the screenings here.

The press reviews of the films don't capture the excitement of this retrospective for Bond fans and I am recommending the Blogalongabond series by Neil Alcock (aka @theincrediblesuit on Twitter). Here is his take on the first movie in the Bond franchise.

Time Out review:
The first Bond film, made comparatively cheaply but effectively establishing a formula for the series - basically a high-tech gloss repackaging of the old serials - and setting up a box-office bonanza with its gleeful blend of sex, violence and wit. As memorable as anything in the series (the arteries hadn't hardened yet) are modest highlights like Bond's encounter with a tarantula, Honeychile's first appearance as a nymph from the sea, the perils of Dr No's assault course of pain.


Here is Bond's first introduction to the film-going public.

Capital Celluloid 2015 - Day 3: Sat Jan 3

A Private Function (Mowbray, 1984): BFI Southbank, NFT2, 6.20pm


This film, part of the Maggie Smith season at the BFI Southbank, also screens on 9 January. Full details here.

BFI Southbank preview:
Alan Bennett’s brilliant Yorkshire comedy deals with a civic ‘do’ to celebrate the Queen’s wedding in 1947, and the habits of an incontinent pig smuggled away for the banquet. Michael Palin’s chiropodist uncovers a conspiracy while Maggie Smith, the Lady Macbeth of Ilkley, aspires to her rightful milieu: ‘Put me in a long dress and surround me with sophisticated people, and I’d bloom.’

Here (and above) is the trailer.

There is some choice dialogue in Bennett's script. Here are a couple of favourites:

Joyce Chilvers (Maggie Smith): 'I think sexual intercourse is in order, Gilbert.'

[the pig has been abducted]...
Grand Hotel Manager: 'I can put my hands on two turkeys in Bradford.'
Frank Lockwood the Solicitor: 'Two? TWO? We've got a hundred and fifty people coming! And Jesus isn't one of them!'

Capital Celluloid 2015 - Day 2: Fri Jan 2

The Green Ray (Rohmer, 1986): BFI Southbank, 2.30, 6.10 & 8.30pm


The Green Ray, the centrepiece of the BFI Southbank Eric Rohmer season, starts an extended run today and runs till 18 January. You can find all the details here.

Chicago Reader review:
Eric Rohmer's fifth installment in his "Comedies and Proverbs" cycle is as conversationally obsessed as ever (which is quite all right with me), though as always in Rohmer's ironic universe, talk is less the moral equivalent of action than the rationalizing substitute for it. A jilted secretary pining away the summer in Paris decides to take a vacation on her own; unfortunately, the more she travels the lonelier she becomes as her rationalizing search for the ideal food, the ideal romance, the ideal traveling companion drives her more and more toward narcissistic nullity. I suspect Rohmer sees in his heroine an ironic reflection of his own aesthetic temper—the lighter and airier she gets, the more she threatens to evanesce completely—and at times this 1986 film comes perilously close to duplicating the girl's predicament. Fortunately, there's more to Rohmer's subtle strategy than idle distillations, and the marvelous epiphany at the end provides whatever justification is needed for the precarious formal balancing: it's a moment of emotional complexity and revelation based, appropriately enough, on a trivial optical illusion. With Marie Riviere, Lisa Heredia, Eric Hamm, and an appealingly contentious Beatrice Romand.
Pat Graham

Here (and above) is the trailer.

Monday, 15 December 2014

Capital Celluloid 2015 - Day 1: Thu Jan 1

Le Signe du lion (Rohmer, 1956): BFI Southbank, NFT1, 5.50pm


This film, also being shown on 6 January, screens as part of the Eric Rohmer season at BFI Southbank. Full details here.

BFI Southbank preview:
Rohmer’s earliest extant feature still feels remarkably raw and modern as he blends fiction with documentary footage of Paris in summer, through which his feckless hero treks in search of money to survive on after taking a legacy for granted. A caustic cautionary tale, laced with dark ironies, sharp insights and appearances by Resnais, Melville and (most memorably) Godard.

Here (and above) is the trailer.

Wednesday, 10 December 2014

Capital Celluloid 2014 - Day 363: Wed Dec 31

When Harry Met Sally (Ephron, 1989): Prince Charles Cinema


Time Out review:
1977: cynical womaniser Harry (Crystal) and clean-living would-be journo Sally (Ryan) are thrown together on an 18-hour trip to New York. They don't exactly hit it off, but ten years later, having suffered the traumas of break-up and divorce, they meet again and find they can offer mutual support. Will their friendship move from platonic to romantic? It seems likely, but there's a problem: Harry is reluctant to commit himself, while Sally won't countenance one-night stands. Reiner's Woody Allen-ish comedy is, for all its up-front discussion of matters sexual, disarmingly old-fashioned. A mite too pat, it never really probes or challenges Harry and Sally's attitiudes; but Nora Ephron's extended, slightly sentimental, and none-too-original meeting cute scenario includes enough funny one-liners to hold the attention of all but the most jaded viewer. As ever, Reiner clearly likes his characters, and elicits sturdy performances from a proficient cast (Kirby and Fisher are especially fine as friends and confidants to the pair).
Geoff Andrew

Here (and above) is the trailer.

Capital Celluloid 2014 - Day 362: Tue Dec 30

Stand By Me (Reiner, 1986): Prince Charles Cinema, 8.45pm


Time Out review:
In Reiner's superior slice of teen nostalgia, Dreyfuss is the now middle-aged writer, looking back at the dear dead days beyond recall when he and a group of young friends ventured into the local woods where they believed a corpse was buried. Based on an (apparently) semi-autobiographical story by Stephen King, the film covers similar territory to countless other rites-of-passage dramas. The Ben E King theme song and all the imagery of tousled adolescents preening themselves like miniature James Deans rekindle memories of old jeans commercials, but the film is so well-observed and so energetically acted by its young cast that mawkishness is kept at bay.
Geoffrey Macnab

Here (and above) is the trailer.