Capital Celluloid 2025 — Day 360: Sun Dec 28

The Deep Blue Sea (Litvak, 1955): Close-Up Cinema, 8pm

This 16mm presentation in the Never on Sunday season at Close-Up Cinema is introduced by strand curator Ehsan Khoshbakht

Close-Up Cinema introduction:
Hester (Vivien Leigh), a middle-aged woman's suicide attempt at the beginning of the story sparks off two flashbacks, one from the point of view of the upper-class husband she has abandoned and the other from the view of the younger, capricious ex-RAF pilot for whom she has left her husband. Back to the present, the film revolves around her desperate attempt to win back her lover, only to realise she is yearning for something she can’t have. Adapted from a play of the same name by Terence Rattigan who also wrote the script under director Anatole Litvak’s supervision, Litvak conveys a stifling world of failed dreams (a doctor who has turned bookie, a jobless and meddlesome actress) with an emotional impact somehow stronger than Terence Davies’s 2011 version. Litvak shows unconstrained impulses without making them look pathetic. There's no malice of intent in the way characters hurt each other, but things always fall in the wrong places. When hope wanes, the dust of memories obscures it beyond recognition. There’s a profound sadness to the sense of love ebbing away, scene after scene.
Ehsan Khoshbakht

Here (and above) is the trailer.

Capital Celluloid 2025 — Day 359: Sat Dec 27

Boom! (Losey, 1968): BFI Southbank, NFT3, 2.15pm

This 35mm presentation, also being screened on December 8th, is part of the Richard Burton season at BFI Southbank. Details here

BFI introduction:
Set on a secluded island, Boom introduced a new, minimal ‘music box’ sound that composer John Barry frequently used in the years immediately before his move to the US. The powerhouse combination of Richard Burton and Elizabeth Taylor at their most florid propels Joseph Losey’s adaptation of Tennessee Williams’ The Milk Train Doesn’t Stop Here Anymore. Wonderfully camp, it bombed in 1968. But time has been kind to it. And Noël Coward has a star turn as Bill Ridgeway, ‘the witch of Capri’. Indeed. dubbed ‘The Angel of Death’, Burton’s wandering-poet-cum-gigolo washes up on the isolated Sardinian isle of Taylor’s ailing widow, in this visually stunning, alcohol-drenched adaptation. Compellingly miscast, the pair face off in the sort of unhinged register best relished with an enthusiastic audience. Devoted fans include John Waters, who opined, ‘If you don’t like this film, I hate you’.

Here (and above) is the trailer.

 

Capital Celluloid 2025 — Day 358: Fri Dec 26

Interstellar (Nolan, 2014): Prince Charles Cinema, 2pm

This film, being shown from 35mm and 70mm, is on an extended run at the Prince Charles Cinema. You can find all the details here.

Chicago Reader review:
On a visual level, Interstellar is an exceptionally well-crafted Hollywood entertainment. Director Christopher Nolan, art director Dean Wolcott, and their effects artists render the imaginary settings in stunning detail. The film is rife with brilliant imagery: a horizon of frozen clouds, an ocean wave as tall as a skyscraper, the flashing interior of a wormhole through which the principal characters fly their spacecraft. The most striking thing about these images is that we’re rarely encouraged to ooh and aah over them; unlike most ambitious space operas since 2001: A Space Odyssey(1968), Interstellar inspires not wonder but a cool contemplation. Nolan and his brother Jonathan, who cowrote the script, advance a hard-science perspective, incorporating such concepts as the theory of relativity and placing dramatic emphasis on research and problem solving.
Ben Sachs

Here (and above) is the trailer.

Capital Celluloid 2025 — Day 357: Thu Dec 25

Sunset Boulevard (Wilder, 1950): JW3 Cinema, 341-351 Finchley Rd, NW3 12.30pm

This film screens at JW3 Cinema from December 21st to 25th. Details here.

Chicago Reader review:
Billy Wilder's searing, funny, morbid look at the real tinsel beneath the phony tinsel (1950). Aging silent-movie vamp Gloria Swanson takes up with William Holden, a two-bit screenwriter on the make, and virtually holds him captive in her Hollywood gothic mansion. Erich von Stroheim, once her director, now her butler, is the other figure in this menage-a-weird. A tour de force for Swanson and one of Wilder's better efforts.

Dan Druker

Here (and above) is the trailer.

Capital Celluloid 2025 — Day 356: Wed Dec 24

It's A Wonderful Life (Capra, 1946): Everyman Screen on the Green, 7pm

The 35mm presentation, part of the Christmas season at the Screen on the Green, is also being shown on December 7th, 13th and 21st and you can find all the details here.

Chicago Reader review: 
The film Frank Capra was born to make. This 1946 release marked his return to features after four years of turning out propaganda films for the government, and Capra poured his heart and soul into it. James Stewart stars as a small-town nobody, on the brink of suicide, who believes his life is worthless. Guardian angel Henry Travers shows him how wrong he is by letting Stewart see what would have happened had he never been born. Wonderfully drawn and acted by a superb cast (Donna Reed, Beulah Bondi, Thomas Mitchell, Lionel Barrymore, Gloria Grahame) and told with a sense of image and metaphor (the use of water is especially elegant) that appears in no other Capra film. The epiphany of movie sentiment and a transcendent experience.
Dave Kehr

Here (and above) is the trailer.

Capital Celluloid 2025 — Day 355: Tue Dec 23

Villain (Tuchner, 1971): BFI Southbank, NFT3, 6.10pm

This 35mm presentation, also being screened on December 28th, is part of the Richard Burton season at BFI Southbank. Details here.

Guardian review (full five-star write-up here):
Dick Clement and Ian La Frenais are renowned for small-screen comic masterpieces such as Porridge and The Likely Lads, but in 1971 they scripted the deadly serious and horribly gripping London crime picture Villain,. It’s an extremely lairy and tasty piece of work in which Richard Burton gave one of his best, most lip-smackingly gruesome performances: this film’s easily as good as the far better known Get Carter with Michael Caine, released that same year.
Peter Bradshaw

Here (and above) is the trailer.

Capital Celluloid 2025 — Day 354: Mon Dec 22

Portrait of Jennie (Dieterle, 1948): BFI Southbank, NFT2, 6.20pm

This 35mm screening, part of the Melodrama season at BFI Southbank, is also screened at the cinema on December 27th. Details here.

Time Out review:
A companion piece to the William Dieterle/David O. Selznick Love Letters, also starring Jennifer Jones and Joseph Cotten; but where the earlier film remained rooted in superior romantic hokum, this one takes wing into genuine romantic fantasy through its tale of a love that transcends space and time as Cotten's struggling artist meets, falls in love with, and is inspired by a strangely ethereal girl (Jones) whom he eventually realises is the spirit of a woman long dead. Direction and performances are superb throughout, but the real star is Joseph August's camera, which conjures pure magic out of the couple's tender odyssey, from the gravely quizzical charm of their first encounter in snowy Central Park (when she is still a little girl, strangely dressed in clothes of bygone days) through to the awesome storm at sea that supernaturally heralds their final parting. Buñuel saw it and of course approved: 'It opened up a big window for me'.
Tom Milne

Here (and above) is the trailer.