With it being seven years since his last live-action film, 2014’s The Grand Budapast Hotel, Wes Anderson is hard at work. Following a Cannes premiere, The French Dispatch finally arrives in limited theaters on October 22 followed by a wide release the following week, and he’s already shooting his next film (recently revealed to have the title Asteroid City) outside of Madrid with Tilda Swinton, Bill Murray, Adrien Brody, Tom Hanks, Margot Robbie, Rupert Friend, Jason Schwartzman, Scarlett Johansson, Bryan Cranston, Hope Davis, Jeffrey Wright, Liev Schreiber, Tony Revolori, and Matt Dillon.
As is the case with all of his work, Wes Anderson synthesizes cinema history in his own specific language and for The French Dispatch he has provided a list of influences. As revealed in a promotional book sent to The Flim Stage and styled after the film’s magazine, 32 films are listed that “provided inspiration to the filmmakers,...
As is the case with all of his work, Wes Anderson synthesizes cinema history in his own specific language and for The French Dispatch he has provided a list of influences. As revealed in a promotional book sent to The Flim Stage and styled after the film’s magazine, 32 films are listed that “provided inspiration to the filmmakers,...
- 10/12/2021
- by Jordan Raup
- The Film Stage
The director of Over The Edge and The Accused takes us on a journey through some of his favorite movies.
Show Notes: Movies Referenced In This Episode
The Student Teachers (1973)
Night Call Nurses (1972)
White Line Fever (1975)
Truck Turner (1974)
Heart Like A Wheel (1983)
The Accused (1988)
Over The Edge (1979)
Modern Times (1936)
City Lights (1931)
Manhattan (1979)
Some Like It Hot (1959)
The Apartment (1960)
North By Northwest (1959)
Moon Pilot (1962)
Mr. Billion (1977)
White Heat (1949)
The Wizard of Oz (1939)
The Three Musketeers (1973)
The Four Musketeers (1974)
Superman (1978)
Superman II (1980)
The Three Musketeers (1948)
Shane (1953)
The 400 Blows (1959)
8 ½ (1963)
Fellini Satyricon (1969)
Richard (1972)
Millhouse (1971)
The Projectionist (1970)
El Dorado (1966)
The Shootist (1976)
Woodstock (1970)
Payback (1999)
A Hard Day’s Night (1964)
The Loneliness of the Long Distance Runner (1962)
Billy Liar (1963)
Ford Vs Ferrari (2019)
The Wild Bunch (1969)
The Ballad of Cable Hogue (1970)
Bad Girls (1994)
Masters of the Universe (1987)
Giant (1956)
The More The Merrier (1943)
The Graduate (1967)
The Victors (1963)
…And Justice For All (1979)
Citizen Kane (1941)
An Alan Smithee Film: Burn Hollywood Burn...
Show Notes: Movies Referenced In This Episode
The Student Teachers (1973)
Night Call Nurses (1972)
White Line Fever (1975)
Truck Turner (1974)
Heart Like A Wheel (1983)
The Accused (1988)
Over The Edge (1979)
Modern Times (1936)
City Lights (1931)
Manhattan (1979)
Some Like It Hot (1959)
The Apartment (1960)
North By Northwest (1959)
Moon Pilot (1962)
Mr. Billion (1977)
White Heat (1949)
The Wizard of Oz (1939)
The Three Musketeers (1973)
The Four Musketeers (1974)
Superman (1978)
Superman II (1980)
The Three Musketeers (1948)
Shane (1953)
The 400 Blows (1959)
8 ½ (1963)
Fellini Satyricon (1969)
Richard (1972)
Millhouse (1971)
The Projectionist (1970)
El Dorado (1966)
The Shootist (1976)
Woodstock (1970)
Payback (1999)
A Hard Day’s Night (1964)
The Loneliness of the Long Distance Runner (1962)
Billy Liar (1963)
Ford Vs Ferrari (2019)
The Wild Bunch (1969)
The Ballad of Cable Hogue (1970)
Bad Girls (1994)
Masters of the Universe (1987)
Giant (1956)
The More The Merrier (1943)
The Graduate (1967)
The Victors (1963)
…And Justice For All (1979)
Citizen Kane (1941)
An Alan Smithee Film: Burn Hollywood Burn...
- 7/7/2020
- by Kris Millsap
- Trailers from Hell
Exclusive: Martin Sheen to is on board to narrate Rush to Judgment II, an update to the 1967 version, Rush to Judgment, which is being executive produced by Stephen S. Jaffe. He is a former staff investigator and last surviving member of the legal team run by New Orleans District Attorney Jim Garrison who led a probe into the assassination of President John F. Kennedy.
The original Emile de Antonio-directed documentary was based on the New York Times best-selling novel Rush to Judgment by attorney Mark Lane, in which he takes issue with the Kennedy investigation and exposes serious flaws in the conclusions made by the Warren Commission. Lane, died in 2016, will be credited posthumously as an executive producer.
The contemporary documentary, which will be produced by Dylan Howard via his Topixly label, aims to uncover the conspiracy of powerful men that resulted in the assassination of President Kennedy and...
The original Emile de Antonio-directed documentary was based on the New York Times best-selling novel Rush to Judgment by attorney Mark Lane, in which he takes issue with the Kennedy investigation and exposes serious flaws in the conclusions made by the Warren Commission. Lane, died in 2016, will be credited posthumously as an executive producer.
The contemporary documentary, which will be produced by Dylan Howard via his Topixly label, aims to uncover the conspiracy of powerful men that resulted in the assassination of President Kennedy and...
- 6/17/2019
- by Amanda N'Duka
- Deadline Film + TV
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.
Bam
Films by Elaine May, Yvonne Rainer, and Shirley Clarke play under “A Different Picture: Women Filmmakers in the New Hollywood Era, 1967—1980.”
Metrograph
As an Emile de Antonio retro ends, four of Paul Schrader’s best films screen.
Quad Cinema
The long-longed-for Alan Rudolph retrospective continues and mustn’t be missed.
Museum of Modern Art...
Bam
Films by Elaine May, Yvonne Rainer, and Shirley Clarke play under “A Different Picture: Women Filmmakers in the New Hollywood Era, 1967—1980.”
Metrograph
As an Emile de Antonio retro ends, four of Paul Schrader’s best films screen.
Quad Cinema
The long-longed-for Alan Rudolph retrospective continues and mustn’t be missed.
Museum of Modern Art...
- 5/4/2018
- by Nick Newman
- The Film Stage
In a letter dated June 1, 1962, the newly formed Film-Makers’ Cooperative offered their first list of films that were available to rent. Fourteen filmmakers were represented.
The need to form a cooperative distribution center for what were then called “independent filmmakers” was made in a series of meetings in the autumn of 1960. The meetings were organized by Jonas Mekas and Lew Allen; and included New York City-based filmmakers such as Robert Frank, Shirley Clarke, Adolfas Mekas, Ben Carruthers, Peter Bogdanovich and others. These informal meetings would eventually coalesce into the formation of the New American Cinema Group.
On September 30, 1960, Jonas Mekas presented The First Statement of the New American Cinema Group manifesto. One of the items in the manifesto stated that filmmaker Emile de Antonio was entrusted with the task of forming the distribution center, although there’s no record of de Antonio’s actual involvement beyond that.
The distribution center...
The need to form a cooperative distribution center for what were then called “independent filmmakers” was made in a series of meetings in the autumn of 1960. The meetings were organized by Jonas Mekas and Lew Allen; and included New York City-based filmmakers such as Robert Frank, Shirley Clarke, Adolfas Mekas, Ben Carruthers, Peter Bogdanovich and others. These informal meetings would eventually coalesce into the formation of the New American Cinema Group.
On September 30, 1960, Jonas Mekas presented The First Statement of the New American Cinema Group manifesto. One of the items in the manifesto stated that filmmaker Emile de Antonio was entrusted with the task of forming the distribution center, although there’s no record of de Antonio’s actual involvement beyond that.
The distribution center...
- 4/1/2018
- by Mike Everleth
- Underground Film Journal
This is Part Two in a series of articles on the Robert Beck Memorial Cinema (Rbmc). As detailed in Part One, the Rbmc was an experimental film screening series in New York City, started by filmmaker Brian L. Frye.
Frye programmed the first screening on May 12, 1998 at the Collective Unconscious theater space. The screening included the feature-length documentary Underground by Emile de Antonio about the left-wing militant group the Weather Underground, and a kinoscope of Richard M. Nixon’s infamous “Checker’s Speech.” At the screening, fellow media artist Bradley Eros introduced himself to Frye and the pair co-programmed the Rbmc together for several years.
The goal of the screenings was to present work that typically wouldn’t be projected anywhere else, such as small gauge film formats and expanded cinema performances. The Rbmc would also host filmmakers in town for larger shows elsewhere in the city and asked them to screen their older,...
Frye programmed the first screening on May 12, 1998 at the Collective Unconscious theater space. The screening included the feature-length documentary Underground by Emile de Antonio about the left-wing militant group the Weather Underground, and a kinoscope of Richard M. Nixon’s infamous “Checker’s Speech.” At the screening, fellow media artist Bradley Eros introduced himself to Frye and the pair co-programmed the Rbmc together for several years.
The goal of the screenings was to present work that typically wouldn’t be projected anywhere else, such as small gauge film formats and expanded cinema performances. The Rbmc would also host filmmakers in town for larger shows elsewhere in the city and asked them to screen their older,...
- 2/4/2018
- by Mike Everleth
- Underground Film Journal
New York City has a rich history of short-lived, unorthodox screening venues and societies that have buoyed the underground film movement along from its beginning. For some examples, in the 1960s, there was Jonas Mekas‘s Film-makers’ Cinematheque; while the late ’70s had Eric Mitchell and James Nares’s New Cinema.
In 1998, Brian L. Frye was a transplant from San Francisco looking to open a new microcinema in NYC, having been inspired by Craig Baldwin‘s Other Cinema at Artists Television Access and David Sherman and Rebecca Barten’s Total Mobile Home. Despite not having a venue to call his own, Frye came to an agreement with the alternative performance space Collective Unconscious at 145 Ludlow Street in the Lower East Side to screen films on Tuesday nights at 9 p.m. (Collective Unconscious formed in 1993 originally at 28 Avenue B, until a fire a year later forced them to relocate to Ludlow Street.
In 1998, Brian L. Frye was a transplant from San Francisco looking to open a new microcinema in NYC, having been inspired by Craig Baldwin‘s Other Cinema at Artists Television Access and David Sherman and Rebecca Barten’s Total Mobile Home. Despite not having a venue to call his own, Frye came to an agreement with the alternative performance space Collective Unconscious at 145 Ludlow Street in the Lower East Side to screen films on Tuesday nights at 9 p.m. (Collective Unconscious formed in 1993 originally at 28 Avenue B, until a fire a year later forced them to relocate to Ludlow Street.
- 1/28/2018
- by Mike Everleth
- Underground Film Journal
Above: illustration by Jean-Marie Troillard.When the great arthouse impresario Dan Talbot passed away last week, just two weeks after the announcement of the closing of the Lincoln Plaza, his flagship Upper West Side multiplex, it was a double-blow to the New York film community. To me and to a number of my friends and colleagues it was also a deep personal loss. Dan had given me my first job in New York in 1990 at his distribution company New Yorker Films, hiring me first to type up their annual catalogue and then to be an assistant to himself and his right-hand man, Jose Lopez. Ironically, it was a New York Times article about the closing of another of Dan’s theaters, the Cinema Studio, that alerted me not only to Dan and to New Yorker Films, but also to the whole concept of film distribution. Dan took a chance on...
- 1/5/2018
- MUBI
Daniel Talbot, a distributor and exhibitor of enormous influence over specialized exhibition and distribution as well as the international film world, died Friday in Manhattan. He was 91. A memorial was held Sunday, December 31 at the Riverside Memorial Chapel with a capacity audience including many leading New York specialized players. Talbot’s wife and business partner, Toby Talbot, as well as daughters Nina, Emily and Sara attended the memorial, where the family spoke fondly about Talbot’s love for the comedian W.C. Fields.
Another more public post-holiday event marking the closing of the Lincoln Plaza Cinemas is scheduled on January 28 in New York. The last few weeks have seen Talbot’s legacy celebrated with reaction to the unexpected announcement that the six-screen Upper West Side theater would close at the end of January, at the expiration of its lease. Milstein Properties, who have been the Talbots’ co-partners in the theater since...
Another more public post-holiday event marking the closing of the Lincoln Plaza Cinemas is scheduled on January 28 in New York. The last few weeks have seen Talbot’s legacy celebrated with reaction to the unexpected announcement that the six-screen Upper West Side theater would close at the end of January, at the expiration of its lease. Milstein Properties, who have been the Talbots’ co-partners in the theater since...
- 1/1/2018
- by Tom Brueggemann
- Indiewire
In 1983, the Walker Art Center in Minneapolis, Minnesota, along with Media Study/Buffalo, created a touring retrospective of avant-garde films, primarily feature-length ones and a few shorts, which they called “The American New Wave 1958-1967.” To accompany the tour, a hefty catalog was produced that included notes on the films, essays by film historians and critics, writings by major underground film figures and more.
The retrospective was created at a time when financially viable independent filmmaking was on the rise, such as films made by John Sayles, Wayne Wang and Susan Seidelman. According to the co-curators of the retrospective, Melinda Ward and Bruce Jenkins, the objective of the tour was to:
provide a more adequate picture than conventional history affords us of a rare period of American cinematic invention and thereby prepare a coherent critical and historical context for the reception of the new work by the current generation of independent filmmakers.
The retrospective was created at a time when financially viable independent filmmaking was on the rise, such as films made by John Sayles, Wayne Wang and Susan Seidelman. According to the co-curators of the retrospective, Melinda Ward and Bruce Jenkins, the objective of the tour was to:
provide a more adequate picture than conventional history affords us of a rare period of American cinematic invention and thereby prepare a coherent critical and historical context for the reception of the new work by the current generation of independent filmmakers.
- 11/25/2017
- by Mike Everleth
- Underground Film Journal
James Comey’s testimony before Congress may reflect a dark chapter in American politics, but it also created some of the most riveting live television in history — and, at just under three hours, a gripping feature-length window into the anxieties of our troubled times. While the biggest questions remain unresolved — has President Trump colluded with Russians? obstructed justice? — it created a fascinating spectacle of the highest order.
Moments before testimony began, pundits already discussed the broadcast in movie terms. More than one journalist compared Comey’s appearance to “Mr. Smith Goes to Washington” — a private citizen standing before the government, ostensibly taking the moral high ground. However, that comparison failed to convey Comey’s paradoxical nature. Last fall, he emerged from the 2016 presidential election reviled on both sides of the aisle, with his role in the Hillary Clinton email scandal leaving Democrats reeling. However, by the time he was unceremoniously dismissed last month,...
Moments before testimony began, pundits already discussed the broadcast in movie terms. More than one journalist compared Comey’s appearance to “Mr. Smith Goes to Washington” — a private citizen standing before the government, ostensibly taking the moral high ground. However, that comparison failed to convey Comey’s paradoxical nature. Last fall, he emerged from the 2016 presidential election reviled on both sides of the aisle, with his role in the Hillary Clinton email scandal leaving Democrats reeling. However, by the time he was unceremoniously dismissed last month,...
- 6/9/2017
- by Eric Kohn
- Indiewire
In today's roundup of news and views: Adrian Martin on Robert Bresson, Sarinah Masukor on Jean-Luc Godard, Chris Luscri on Jacques Rivette, Jonathan Rosenbaum on Bertrand Tavernier, Erich von Stroheim and Emile de Antonio, J. Hoberman on Chris Marker and Léon Poirier, Jesse Barron and John Semley on Paul Thomas Anderson's Inherent Vice, Michael Wood on Jacques Tati, Michael Atkinson on Monte Hellman, Agata Pyzik on Walerian Borowczyk, Sean Axmaker on Orson Welles, Erich Kuersten on Werner Herzog, Robert Moeller on Harun Farocki and much, much more. » - David Hudson...
- 11/19/2014
- Keyframe
In today's roundup of news and views: Adrian Martin on Robert Bresson, Sarinah Masukor on Jean-Luc Godard, Chris Luscri on Jacques Rivette, Jonathan Rosenbaum on Bertrand Tavernier, Erich von Stroheim and Emile de Antonio, J. Hoberman on Chris Marker and Léon Poirier, Jesse Barron and John Semley on Paul Thomas Anderson's Inherent Vice, Michael Wood on Jacques Tati, Michael Atkinson on Monte Hellman, Agata Pyzik on Walerian Borowczyk, Sean Axmaker on Orson Welles, Erich Kuersten on Werner Herzog, Robert Moeller on Harun Farocki and much, much more. » - David Hudson...
- 11/19/2014
- Fandor: Keyframe
Like most Americans living today, I was born after November 22, 1963, so I don't remember John F. Kennedy and can't tell you where I was when news broke of his assassination. So here's what I know about the man, his presidency, and his death, thanks to the history professors of Hollywood.
Let me see if I have this right: JFK was a handsome man with the charisma of a movie star. (Indeed, he had connections to Hollywood through his father, a onetime movie producer; through his brother-in-law Peter Lawford and fellow Rat Packer Frank Sinatra; and through his torrid affair with Marilyn Monroe.) Through his youth, good looks, charisma, and forward-looking rhetoric, he inspired a nation to stop wearing hats, build rockets to the moon, and join the Peace Corps. His even more attractive, youthful, stylish, and patrician wife Jackie swept out the dowdy cobwebs of the Eisenhower years and turned...
Let me see if I have this right: JFK was a handsome man with the charisma of a movie star. (Indeed, he had connections to Hollywood through his father, a onetime movie producer; through his brother-in-law Peter Lawford and fellow Rat Packer Frank Sinatra; and through his torrid affair with Marilyn Monroe.) Through his youth, good looks, charisma, and forward-looking rhetoric, he inspired a nation to stop wearing hats, build rockets to the moon, and join the Peace Corps. His even more attractive, youthful, stylish, and patrician wife Jackie swept out the dowdy cobwebs of the Eisenhower years and turned...
- 11/20/2013
- by Gary Susman
- Moviefone
For the last four weeks, Current TV has been running down its list of 50 documentaries every person must see in his/her lifetime. Tomorrow night, the series unveils its No. 1 documentary: Hoop Dreams. Steve James’ moving portrayal of inner city athletes is a safe choice to top the list of docs, though its only Oscar nomination at the time was for editing. Still, there are some glaring omissions that made room for host Morgan Spurlock’s Supersize Me (#5) and network honcho Al Gore’s An Inconvenient Truth (#8), not to mention more dubious inclusions like last year’s Catfish. See what...
- 8/29/2011
- by Lanford Beard
- EW.com - PopWatch
Critics' Week has already begun celebrating its 50th anniversary by posting 50 video interviews with directors and actors who've seen their work debut in this section at Cannes. We're celebrating, too. In association with the 4+1 Film Festival, Mubi is presenting a retrospective of some of the greatest films first seen in Critics' Week over the past half-century. And even though the first 1000 views of each of the films will be free to you, the viewer, the rights holders will carry on receiving their duly earned revenue.
The retrospective encompasses over 100 titles in all, but please do keep in mind that rights issues can get complicated and not every film can be available in every country. That said, here's a quick overview of just some of the highlights:
Over in the Garage, a La Semaine Blogathon is already on the roll, starting with Kj Farrington's entry on Miranda July's Me and You and Everyone We Know,...
The retrospective encompasses over 100 titles in all, but please do keep in mind that rights issues can get complicated and not every film can be available in every country. That said, here's a quick overview of just some of the highlights:
Over in the Garage, a La Semaine Blogathon is already on the roll, starting with Kj Farrington's entry on Miranda July's Me and You and Everyone We Know,...
- 5/14/2011
- MUBI
There is a certain individuality of the International Film Festival of Kerala (Iffk) that cannot be taken lightly. Every visitor to any Iffk edition would be stunned by the unassuming audience’s informed ability to appreciate good cinema. Take the example of the screening of the Mexican/Spanish feature film “Biutiful” in mid-December 2010. The film credits began to roll and as soon as Javier Bardem’s name appeared on the screen, there was a spontaneous applause from a section of the Kerala festival audience. The applause could be associated with the fact that many Keralites are familiar with Bardem’s accomplishments thus far in cinema. But then how many Indians elsewhere in India can claim to know of Javier Bardem? Or perhaps it relates to the audience’s awareness of the fact that Bardem had won the Cannes Best Actor Award for this film. (His Oscar and BAFTA nominations were...
- 2/7/2011
- by Jugu Abraham
- DearCinema.com
And we’re off…! As I said in my post announcing the Sundance 2011 lineup, I’ll be going over the complete list, highlighting titles that we already haven’t given coverage to, taking into consideration this blog’s specific interests.
The first is a documentary titled The Black Power Mixtape 1967-1975, directed by Swedish filmmaker Göran Hugo Olsson, and co-produced by Danny Glover and his Louverture Films.
Its synopsis: From 1967 to 1975, Swedish journalists chronicled the Black Power movement in America. Combining that 16mm footage, undiscovered until now, with contemporary audio interviews, this film illuminates the people and culture that fueled change and brings the movement to life anew.
Included in the mix are appearances and commentary by: Stokely Carmichael (Kwame Ture), Dr. Martin Luther King, Jr., Eldridge Cleaver, Bobby Seale, Huey P. Newton, Emile de Antonio, Angela Davis, Harry Belafonte, Kathleen Cleaver, Robin Kelley, Abiodun Oyewole, Sonia Sanchez, Bobby Seale...
The first is a documentary titled The Black Power Mixtape 1967-1975, directed by Swedish filmmaker Göran Hugo Olsson, and co-produced by Danny Glover and his Louverture Films.
Its synopsis: From 1967 to 1975, Swedish journalists chronicled the Black Power movement in America. Combining that 16mm footage, undiscovered until now, with contemporary audio interviews, this film illuminates the people and culture that fueled change and brings the movement to life anew.
Included in the mix are appearances and commentary by: Stokely Carmichael (Kwame Ture), Dr. Martin Luther King, Jr., Eldridge Cleaver, Bobby Seale, Huey P. Newton, Emile de Antonio, Angela Davis, Harry Belafonte, Kathleen Cleaver, Robin Kelley, Abiodun Oyewole, Sonia Sanchez, Bobby Seale...
- 12/2/2010
- by Tambay
- ShadowAndAct
I. Festivals And Ideology
"I cannot tell a lie," writes Jonathan Rosenbaum in the catalogue introduction to the retrospective on American film comedy he curated for this year's Viennale (in collaboration with the Austrian Filmmuseum), "the initial concept and impulse for this series weren’t my own." A paragraph later, he goes on to explain, "[...] both the selection of the films and the preparation of this catalogue [...] came only after I overcame a certain amount of resistance." And as if he weren't transparent enough, Rosenbaum adds, "I was tempted by [the Viennale and Filmmuseum directors' joint proposal], but various roadblocks stood in the way, most of them either logistical or ideological." One of these roadblocks, "a reluctance to restrict [himself] to 'American cinema' after living through eight years of American separatism and exceptionalism as propounded and promulgated by the administration of George W. Bush," is not much of an ideological leap for those familiar with Rosenbaum.
"I cannot tell a lie," writes Jonathan Rosenbaum in the catalogue introduction to the retrospective on American film comedy he curated for this year's Viennale (in collaboration with the Austrian Filmmuseum), "the initial concept and impulse for this series weren’t my own." A paragraph later, he goes on to explain, "[...] both the selection of the films and the preparation of this catalogue [...] came only after I overcame a certain amount of resistance." And as if he weren't transparent enough, Rosenbaum adds, "I was tempted by [the Viennale and Filmmuseum directors' joint proposal], but various roadblocks stood in the way, most of them either logistical or ideological." One of these roadblocks, "a reluctance to restrict [himself] to 'American cinema' after living through eight years of American separatism and exceptionalism as propounded and promulgated by the administration of George W. Bush," is not much of an ideological leap for those familiar with Rosenbaum.
- 11/13/2009
- MUBI
The Iraq war has yet to yield up its latter-day version of de Antonio's landmark Vietnam documentary In the Year of the Pig, but Charles Ferguson's No End in Sight will suffice for now.
Bullet holes on a wall in Iraq. Photograph: Dan Chung
The Iraq war has yet to yield up its latter-day version of Emile de Antonio's landmark Vietnam documentary In the Year of the Pig, but Charles Ferguson's No End in Sight will suffice for now. It is a painstaking and pessimistic chronicle of the arrogance and ignorance that doomed the American occupation of Iraq almost from its inception, told largely by the experts, military, diplomatic and civilian, who were there on the ground, whose advice was ignored and whose efforts were often actively undermined by tone-deaf political overseers in Pentagon and the White House.
Continue reading...
Bullet holes on a wall in Iraq. Photograph: Dan Chung
The Iraq war has yet to yield up its latter-day version of Emile de Antonio's landmark Vietnam documentary In the Year of the Pig, but Charles Ferguson's No End in Sight will suffice for now. It is a painstaking and pessimistic chronicle of the arrogance and ignorance that doomed the American occupation of Iraq almost from its inception, told largely by the experts, military, diplomatic and civilian, who were there on the ground, whose advice was ignored and whose efforts were often actively undermined by tone-deaf political overseers in Pentagon and the White House.
Continue reading...
- 8/9/2007
- by John Patterson
- The Guardian - Film News
Martin Sheen tells John Patterson what the new scenes add to the movie that nearly took his life
"Hi, I'm Martin," he says, a little superfluously, as he extends his hand. These days the face still offers echoes of the beauty it had when its owner was a young man, still intact when he made Apocalypse Now. Time, gravity and experience have since combined to fill it out, but the 60-year-old version is still alert and expressive, and as reassuring as a president's face should be. His physique was always lean and compact, and even now that he's filled out a little, he still emits a sense of controlled, coiled strength.
It 's tempting to probe Sheen about The West Wing, and about Terrence Malick's Badlands ("that and Apocalypse are my own favourites"), Catch-22, and his work with David Cronenberg and dissident American documentarist Emile de Antonio. But we're...
"Hi, I'm Martin," he says, a little superfluously, as he extends his hand. These days the face still offers echoes of the beauty it had when its owner was a young man, still intact when he made Apocalypse Now. Time, gravity and experience have since combined to fill it out, but the 60-year-old version is still alert and expressive, and as reassuring as a president's face should be. His physique was always lean and compact, and even now that he's filled out a little, he still emits a sense of controlled, coiled strength.
It 's tempting to probe Sheen about The West Wing, and about Terrence Malick's Badlands ("that and Apocalypse are my own favourites"), Catch-22, and his work with David Cronenberg and dissident American documentarist Emile de Antonio. But we're...
- 11/2/2001
- by Guardian Staff
- The Guardian - Film News
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