Thursday, 27 September 2012

Capital Celluloid 2012 - Day 276: Wed Oct 3

APOLOGIES: it would appear that Riverside Studios have had to cancel this double-bill as the films are no longer in the schedule for tonight.

Peeping Tom (Powell, 1960) and Berberian Sound Studio (Strickland, 2011):
Riverside Studios Cinema, 7pm & 9.05pm
This great double-bill is also screening on Mon October 1 at the Riverside.

Chicago reader review of Peeping Tom:
'Michael Powell's suppressed masterpiece, made in 1960 but sparsely shown in the U.S. with its ferocity and compassion intact. The German actor Carl Boehm plays a shy, sensitive British boy (Powell doesn't try to cover his accent, which is typical of the film's deliberate sacrifice of realism for effect) who loves movies with all his heart and soul because he knows what they're really about—sex and death. This seductive, brightly colored thriller isn't about the “problem” of voyeurism as much as the sub-rosa fascinations of the cinema. It's an understanding and at times even celebratory film—attitudes that scandalized critics years ago and are still pretty potent today. The uniformly excellent cast includes Anna Massey, Moira Shearer (the ballerina of Powell's The Red Shoes), and Maxine Audley' Dave Kehr
(Peeping Tom trailer here.)

Time Out review of Berberian Sound Studio:
'Toby Jones hits a career best as Gilderoy, an English sound recordist who, in the early 1970s, arrives at an Italian recording studio to work on the Foley track of a groundbreaking new horror picture. A buttoned-down mother’s boy who works in his garden shed, Gilderoy is unprepared for the graphic scenes of torture he’s forced to witness. The intensity of the project, coupled with a deep longing for home, begins to play havoc with his mental state.‘Berberian Sound Studio’ is, at heart, a cine-literate horror film, despite its complete lack of on-screen violence. Strickland uses his set-up as a way to explore horror and the effect it can have on a sensitive soul, with particular focus on the sudden explosion of graphic images in the ’70s. His conclusions may be oblique, but his methods – using sound effects and dialogue to create moments of discomfort – are remarkable.' Tom Huddleston
Here is the trailer.

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