Cormac McCarthy, a Pulitzer Prize-winning novelist who endured decades of obscurity and poverty before film versions of “All the Pretty Horses,” “No Country for Old Men” and “The Road” brought him a wide readership and financial security, died Tuesday in Santa Fe, N.M. His publisher, Penguin Random House, said his son John McCarthy announced his death from natural causes. He was 89.
Extremely reclusive, McCarthy shunned publicity so effectively that one critic observed, “He wasn’t even famous for it.” But Joel and Ethan Coen’s 2008 adaptation of 2005 novel “No Country for Old Men” put him momentarily in the limelight; the crime thriller, which starred Tommy Lee Jones, Javier Bardem and Josh Brolin, won Oscars for best picture, director, adapted screenplay and supporting actor.
While McCarthy’s first novel, “The Orchard Keeper,” was published in 1965, commercial success eluded him until his 1992 National Book Award-winning “All the Pretty Horses” and the...
Extremely reclusive, McCarthy shunned publicity so effectively that one critic observed, “He wasn’t even famous for it.” But Joel and Ethan Coen’s 2008 adaptation of 2005 novel “No Country for Old Men” put him momentarily in the limelight; the crime thriller, which starred Tommy Lee Jones, Javier Bardem and Josh Brolin, won Oscars for best picture, director, adapted screenplay and supporting actor.
While McCarthy’s first novel, “The Orchard Keeper,” was published in 1965, commercial success eluded him until his 1992 National Book Award-winning “All the Pretty Horses” and the...
- 6/13/2023
- by Carmel Dagan
- Variety Film + TV
Frank Perry’s version of the shootout at the O.K. Corral shapes up as a fine western and an even better drama — the revisionist angle is supported by an excellent script and thoughtful, challenging characterizations. Tombstone’s frontier folk are dirty, vulgar and corrupt, but Stacy Keach and Faye Dunaway generate a rough-hewn romantic harmony. Harris Yulin’s Wyatt Earp is a revelation as well — if this were modern times Earp would get a lock on city hall politics and go into the land development racket. The beautifully filmed movie looks terrific on disc. Alex Cox delivers a solid audio commentary as well.
“Doc”
Blu-ray
Kl Studio Classics
1971 / Color / 1:85 widescreen / 96 min. / Street Date March 23, 2021 / available through Kino Lorber / 24.95
Starring: Stacy Keach, Faye Dunaway, Harris Yulin, Mike Witney, Penelope Allen, Antonia Rey, Denver John Collins, Penelope Allen, Luis Barboo.
Cinematography: Gerald Hirschfeld
Film Editors: Alan Heim, Juan Serra
Production...
“Doc”
Blu-ray
Kl Studio Classics
1971 / Color / 1:85 widescreen / 96 min. / Street Date March 23, 2021 / available through Kino Lorber / 24.95
Starring: Stacy Keach, Faye Dunaway, Harris Yulin, Mike Witney, Penelope Allen, Antonia Rey, Denver John Collins, Penelope Allen, Luis Barboo.
Cinematography: Gerald Hirschfeld
Film Editors: Alan Heim, Juan Serra
Production...
- 2/16/2021
- by Glenn Erickson
- Trailers from Hell
We’re on the road again with a pair of eccentric new-age hobos, the kind that just can’t hack it in polite society. Gene Hackman and Al Pacino’s conflicting acting styles get a workout in Jerry Schatzberg’s tale of drifters cursed with iffy goals; Vilmos Zsigmond’s Panavision cinematography helped it earn a big prize at Cannes.
Scarecrow
Blu-ray
Warner Archive Collection
1973 / Color / 2:40 widescreen / 112 min. / Street Date October 31, 2017 / available through the WBshop / 21.99
Starring: Gene Hackman, Al Pacino, Dorothy Tristan, Ann Wedgeworth, Richard Lynch, Eileen Brennan, Penny Allen, Richard Hackman, Al Cingolani, Rutanya Alda.
Cinematography: Vilmos Zsigmond
Film Editor: Evan Lottman, Craig McKay
Production Design: Albert Brenner
Original Music: Fred Myrow
Written by Garry Michael White
Produced by Robert M. Sherman
Directed by Jerry Schatzberg
Movie-wise, everything was up in the air in the early 1970s. The view from Westwood in West Los Angeles, then the place to go see a film,...
Scarecrow
Blu-ray
Warner Archive Collection
1973 / Color / 2:40 widescreen / 112 min. / Street Date October 31, 2017 / available through the WBshop / 21.99
Starring: Gene Hackman, Al Pacino, Dorothy Tristan, Ann Wedgeworth, Richard Lynch, Eileen Brennan, Penny Allen, Richard Hackman, Al Cingolani, Rutanya Alda.
Cinematography: Vilmos Zsigmond
Film Editor: Evan Lottman, Craig McKay
Production Design: Albert Brenner
Original Music: Fred Myrow
Written by Garry Michael White
Produced by Robert M. Sherman
Directed by Jerry Schatzberg
Movie-wise, everything was up in the air in the early 1970s. The view from Westwood in West Los Angeles, then the place to go see a film,...
- 11/25/2017
- by Glenn Erickson
- Trailers from Hell
Since any New York City cinephile has a nearly suffocating wealth of theatrical options, we figured it’d be best to compile some of the more worthwhile repertory showings into one handy list. Displayed below are a few of the city’s most reliable theaters and links to screenings of their weekend offerings — films you’re not likely to see in a theater again anytime soon, and many of which are, also, on 35mm. If you have a chance to attend any of these, we’re of the mind that it’s time extremely well-spent.
Film Society of Lincoln Center
In honor of Moonlight, a new series (about which more here) shows the seeds of Barry Jenkins’ sensation — including films from Hou Hsiao-hsien, Wong Kar-wai, and Claire Denis.
Tampopo also screens.
Metrograph
“Welcome to Metrograph: A to Z” brings films from Jane Campion, Nicolas Roeg, and more.
Vagabond, The Wolfpack,...
Film Society of Lincoln Center
In honor of Moonlight, a new series (about which more here) shows the seeds of Barry Jenkins’ sensation — including films from Hou Hsiao-hsien, Wong Kar-wai, and Claire Denis.
Tampopo also screens.
Metrograph
“Welcome to Metrograph: A to Z” brings films from Jane Campion, Nicolas Roeg, and more.
Vagabond, The Wolfpack,...
- 1/5/2017
- by Nick Newman
- The Film Stage
By Diane A. Rodgers
This film comes across as something of a vanity project for Pacino, part documentary, part dramatisation of Shakespeare's Richard III, in an attempt to explore, understand and represent the play to the common man. The film and its aims are ambitious perhaps and in great danger of hilarious and actorly self parody in places ("It has always been a dream of mine to communicate how I feel about Shakespeare to other people") . Although overall Pacino's film is a little confused about what it's exact aims are, it does capture some entertaining aspects of the creative acting and directing process.
Pacino's sincere passion for Richard III, his earnest attempts to analyse it and make it relevant are admirable; the play is complex and interwoven, full of scheming politics, intrigue and backstabbing. He tackles head on a number of issues including the difficulties American actors and audiences face with the language of Shakespeare,...
This film comes across as something of a vanity project for Pacino, part documentary, part dramatisation of Shakespeare's Richard III, in an attempt to explore, understand and represent the play to the common man. The film and its aims are ambitious perhaps and in great danger of hilarious and actorly self parody in places ("It has always been a dream of mine to communicate how I feel about Shakespeare to other people") . Although overall Pacino's film is a little confused about what it's exact aims are, it does capture some entertaining aspects of the creative acting and directing process.
Pacino's sincere passion for Richard III, his earnest attempts to analyse it and make it relevant are admirable; the play is complex and interwoven, full of scheming politics, intrigue and backstabbing. He tackles head on a number of issues including the difficulties American actors and audiences face with the language of Shakespeare,...
- 10/23/2016
- by nospam@example.com (Cinema Retro)
- Cinemaretro.com
Warner Bros. Theatre Ventures announced Thursday that it is developing a new stage play based on Al Pacino‘s Oscar-winning 1975 movie “Dog Day Afternoon.” Stephen Adly Guirgis, who won the Pulitzer Prize in Drama last year for “Between Riverside and Crazy,” will write the stage adaptation. “Dog Day Afternoon” was released in 1975 and stars Al Pacino, John Cazale and Penelope Allen and follows a man who robs a bank to pay for his lover’s operation. It holds a score of 95 percent on Rotten Tomatoes. Also Read: 'Point Break' La Press Screenings Canceled by Warner Bros. Warner Bros. Theatre Ventures is currently.
- 1/7/2016
- by Beatrice Verhoeven
- The Wrap
While there's still no sign of Ridley Scott's "The Counselor" at either Venice, Toronto or New York (perhaps it'll pop up in Telluride?), the anticipation for the film still remains very high. Not only does it feature a ridiculous cast (Brad Pitt, Michael Fassbender, Javier Bardem, Penelope Cruz, Cameron Diaz and more), it also has a script from one of America's literary titans, Cormac McCarthy. This is something written directly for the screen, not an adaption of a book, but as hardcore fans know, this isn't the first script he's written. Way, way back in 1977 PBS unveiled "The Gardener's Son," as part of their "Visions" series of original programming, and it's a feature length film penned by none other than McCarthy. And thanks to helpful reader Luca for the heads up, you can watch the nearly two-hour movie in full below. Starring Ned Beatty, Kevin Conway, Brad Dourif and Penelope Allen,...
- 8/15/2013
- by Kevin Jagernauth
- The Playlist
Scarecrow and The King of Marvin Gardens – quirky, unstylised films made in the 60s and 70s that refused to smooth their rough edges. This bravery, Adam Mars-Jones argues, is what film-makers are missing today
The label "independent film" doesn't mean what it once did, and the Sundance festival is part of the reason. The moment aspiring film-makers realised there was a potential shortcut to distribution and acclaim, they started smoothing off their rough edges – consciously or without even noticing – or at least they began to stylise themselves. Either way, the overall effect of the festival has not been to promote individuality but to erode it. So it's a mild beneficial shock to watch two American films of the early 1970s on re-release – not because they're masterpieces, exactly, but because they give the flavour of a different set of assumptions.
Scarecrow, directed by Jerry Schatzberg, won a prize at Cannes in...
The label "independent film" doesn't mean what it once did, and the Sundance festival is part of the reason. The moment aspiring film-makers realised there was a potential shortcut to distribution and acclaim, they started smoothing off their rough edges – consciously or without even noticing – or at least they began to stylise themselves. Either way, the overall effect of the festival has not been to promote individuality but to erode it. So it's a mild beneficial shock to watch two American films of the early 1970s on re-release – not because they're masterpieces, exactly, but because they give the flavour of a different set of assumptions.
Scarecrow, directed by Jerry Schatzberg, won a prize at Cannes in...
- 5/24/2013
- by Adam Mars-Jones
- The Guardian - Film News
Director: Matt Bissonnette Writer(s): Matt Bissonnette Starring: Adam Scott, Joel Bissonnette, Robin Tunney, Gale Harold, Penelope Allen, Vitta Quinn, Mickey Cottrell Michael (Adam Scott) is a frustrated writer living alone in Los Angeles. His younger brother, Tobey (Joel Bissonnette), needs to embark on a wild goose chase to find something; the problem is that his car is broken down, so he asks Michael to be his chauffeur. Tobey is a recovering drug addict, so most of his requests are greeted with suspicion by his older brother. Michael eventually gives in to Tobey’s pleading, and their entire day is spent driving around Los Angeles (as well as out-lying areas) in Michael’s car. Every location that they stop at, Michael remains in the car and is frequently subjected to absurd events, as Tobey acquires another clue sending them to another location. 90% of the film takes place within the...
- 11/16/2009
- by Don Simpson
- SmellsLikeScreenSpirit
No expletives were deleted as the American Film Institute presented its 35th annual AFI Life Achievement Award to Al Pacino at the Kodak Theatre at Hollywood & Highland as Robin Williams, who kicked off the evening, set the tone by offering a toast to "Al fucking Pacino!"
The intense actor, known for burrowing deeply into his roles, requesting endless takes and delivering explosive, unexpurgated performances, admitted that he was at a bit of a loss when Sean Penn called him to the stage to accept the trophy. He pleaded, "I don't have a character tonight."
But settling into the role of honoree, he thanked his mentor and acting coach Charlie Laughton and actress and acting coach Penelope Allen; the late Lee Strasberg; producer Marty Bregman, who offered early career guidance to the young actor; his longtime agent Rick Nicita; and the "great directors" he has worked with, making special mention of Francis Ford Coppola, who fought to cast Pacino in The Godfather.
"I am so overwhelmed and grateful to this group and the AFI," Pacino said Thursday night. "There are things going on inside of me that I am trying to get out, but I need a character."
Williams, who co-starred with Pacino in Insomnia, got the evening off to a raucous, roast-like note, with cracks like, "If you put Robert De Niro in a dryer, you'd get Al Pacino."
Sean Connery, last year's achievement award winner, offered his own words of praise, while Kirk Douglas earned sustained applause as he walked onstage to recount how he first discovered Pacino's talent when the star was still working as a young actor in New York in a production of The Indian Wants the Bronx.
Jamie Foxx amused the crowd by describing how Pacino's spittle showered him during their scenes together in Oliver Stone's Any Given Sunday, but that he swallowed some of Pacino's "mouth moisture" with the result that "next thing you know I won the Oscar!"...
The intense actor, known for burrowing deeply into his roles, requesting endless takes and delivering explosive, unexpurgated performances, admitted that he was at a bit of a loss when Sean Penn called him to the stage to accept the trophy. He pleaded, "I don't have a character tonight."
But settling into the role of honoree, he thanked his mentor and acting coach Charlie Laughton and actress and acting coach Penelope Allen; the late Lee Strasberg; producer Marty Bregman, who offered early career guidance to the young actor; his longtime agent Rick Nicita; and the "great directors" he has worked with, making special mention of Francis Ford Coppola, who fought to cast Pacino in The Godfather.
"I am so overwhelmed and grateful to this group and the AFI," Pacino said Thursday night. "There are things going on inside of me that I am trying to get out, but I need a character."
Williams, who co-starred with Pacino in Insomnia, got the evening off to a raucous, roast-like note, with cracks like, "If you put Robert De Niro in a dryer, you'd get Al Pacino."
Sean Connery, last year's achievement award winner, offered his own words of praise, while Kirk Douglas earned sustained applause as he walked onstage to recount how he first discovered Pacino's talent when the star was still working as a young actor in New York in a production of The Indian Wants the Bronx.
Jamie Foxx amused the crowd by describing how Pacino's spittle showered him during their scenes together in Oliver Stone's Any Given Sunday, but that he swallowed some of Pacino's "mouth moisture" with the result that "next thing you know I won the Oscar!"...
- 6/11/2007
- The Hollywood Reporter - Movie News
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