By Patrick Shanley
Managing Editor
This year’s best documentary feature nominees continues a long trend of music docs being recognized by the Academy, as two music-related films have earned nominations at this year’s Oscars.
Amy, which tells the story of late songstress Amy Winehouse in her own words through never-before-seen archival footage and unreleased tracks and is nominated for best doc this year, earned nominations for the Queer Palm and Golden Eye awards at the 2015 Cannes Film Festival for director Asif Kapadia.
Filmmaker Liz Garbus earned the second nomination of her career with the Netflix documentary, What Happened, Miss Simone? The film focuses on the life of iconic R&B singer Nina Simone and her life as a singer, mother, and civil rights activist. Garbus earned her first Oscar nomination in 1998 for her documentary The Farm: Angola, USA.
Music-related docs have been a hot topic for the Academy in years past,...
Managing Editor
This year’s best documentary feature nominees continues a long trend of music docs being recognized by the Academy, as two music-related films have earned nominations at this year’s Oscars.
Amy, which tells the story of late songstress Amy Winehouse in her own words through never-before-seen archival footage and unreleased tracks and is nominated for best doc this year, earned nominations for the Queer Palm and Golden Eye awards at the 2015 Cannes Film Festival for director Asif Kapadia.
Filmmaker Liz Garbus earned the second nomination of her career with the Netflix documentary, What Happened, Miss Simone? The film focuses on the life of iconic R&B singer Nina Simone and her life as a singer, mother, and civil rights activist. Garbus earned her first Oscar nomination in 1998 for her documentary The Farm: Angola, USA.
Music-related docs have been a hot topic for the Academy in years past,...
- 1/22/2016
- by Patrick Shanley
- Scott Feinberg
By Anjelica Oswald
Managing Editor
Keep on Keepin’ On, director Alan Hicks’ debut film, follows four years of the friendship and mentorship between jazz legend and trumpeter Clark Terry, who played with Count Basie and Duke Ellington and taught a young Quincy Jones how to play, and Justin Kauflin, a talented 23-year-old blind pianist. The two musicians support each other as Terry begins to lose his eyesight due to health issues and as Kauflin deals with stage fright as a semi-finalist in the Thelonious Monk International Jazz Competition. The film is one of 15 films on the Oscar documentary shortlist, five of which will be nominated on Jan. 15.
The Academy is particularly fond of music-related documentaries, nominating 17 since 1942, with eight winning. Keep on Keepin’ On could join the following Oscar-nominated films:
Festival (1967)
Director Murray Lerner’s black-and-white documentary offers a glimpse into three years (1963-1966) of the Newport Folk Festival, which...
Managing Editor
Keep on Keepin’ On, director Alan Hicks’ debut film, follows four years of the friendship and mentorship between jazz legend and trumpeter Clark Terry, who played with Count Basie and Duke Ellington and taught a young Quincy Jones how to play, and Justin Kauflin, a talented 23-year-old blind pianist. The two musicians support each other as Terry begins to lose his eyesight due to health issues and as Kauflin deals with stage fright as a semi-finalist in the Thelonious Monk International Jazz Competition. The film is one of 15 films on the Oscar documentary shortlist, five of which will be nominated on Jan. 15.
The Academy is particularly fond of music-related documentaries, nominating 17 since 1942, with eight winning. Keep on Keepin’ On could join the following Oscar-nominated films:
Festival (1967)
Director Murray Lerner’s black-and-white documentary offers a glimpse into three years (1963-1966) of the Newport Folk Festival, which...
- 1/8/2015
- by Anjelica Oswald
- Scott Feinberg
Rating: 3.5 out of 5 stars
Stuart Schulberg’s Nuremberg, originally released in 1948, is distinguished as the first documentary made about the Holocaust. While exhibited fairly extensively in Germany as part of the Allied De-Nazification initiative, it received little play elsewhere, and with the U.S. soon enough turning their attention to Cold War concerns, the film became something of an artefact.
Resurrected and restored by Schulberg’s daughter Sandra alongside Josh Waletzky – complete with both a new title and score, as well as strong re-recorded narration provided by Liev Schreiber – Nuremberg remains in its new form a harrowing but important contraction of the key beats which brought about some of World War 2’s most heinous acts.
Beginning with footage of a desolate, restless post-war Europe, Schulberg then transports us to the beginning of the Nuremberg trials, as footage recorded by and confiscated from Nazi soldiers – much of it appearing in this...
Stuart Schulberg’s Nuremberg, originally released in 1948, is distinguished as the first documentary made about the Holocaust. While exhibited fairly extensively in Germany as part of the Allied De-Nazification initiative, it received little play elsewhere, and with the U.S. soon enough turning their attention to Cold War concerns, the film became something of an artefact.
Resurrected and restored by Schulberg’s daughter Sandra alongside Josh Waletzky – complete with both a new title and score, as well as strong re-recorded narration provided by Liev Schreiber – Nuremberg remains in its new form a harrowing but important contraction of the key beats which brought about some of World War 2’s most heinous acts.
Beginning with footage of a desolate, restless post-war Europe, Schulberg then transports us to the beginning of the Nuremberg trials, as footage recorded by and confiscated from Nazi soldiers – much of it appearing in this...
- 6/11/2012
- by Shaun Munro
- Obsessed with Film
A compact, conclusive primer on the criminality and rise of the Nazi party, Nuremberg: Its Lesson For Today, is actually a recovered documentary from 1948 written and directed by the late Stuart Schulberg (brother of Budd, the writer of On The Waterfront) that, though U.S.-sponsored, was never released in this country. Thought lost for many years, Schulberg’s daughter Sandra Schulberg and her fellow documentarian Josh Waletzky have now restored the film using a decent print that they discovered with the help of the German Bundesarchiv (Germany’s National Archive, headquartered in Berlin). Enlisting the vocal talents of actor Liev Schreiber, the narration has been re-recorded, this time in English and the result is an interesting documentary that combines footage of the trial of Hitler’s commanders who survived the war – Hermann Goering, Rudolf Hess, Julius Streicher, etc. with a concise flashback history of the rise and fall of the Nazi Party.
- 1/20/2012
- by Tom Stockman
- WeAreMovieGeeks.com
Originally published in the Fall 2010 issue.
The time frame needed to produce an independent feature these days can seem longer than the lifespan of its underlying technology. Cheap HDSLRs challenge high-end camcorders that cost 50 times more. Even Red One, whose revolutionary bona fides were golden two years ago, suddenly feels status quo. And lurking around the corner — due at year’s end — is a vanguard of new, inexpensive large-sensor camcorders from all the usual suspects.
It’s been said that the geek shall inherit the earth, but this is getting ridiculous. How’s a producer to make sense of these exploding possibilities? Even d.p.’s and post mavens alert to the latest digital trends struggle to keep up.
It wasn’t always so. A few weeks ago I stood at the dry end of a DuArt processing machine as a roll of 35mm came off, a print of the long-suppressed Nazi war-crimes film,...
The time frame needed to produce an independent feature these days can seem longer than the lifespan of its underlying technology. Cheap HDSLRs challenge high-end camcorders that cost 50 times more. Even Red One, whose revolutionary bona fides were golden two years ago, suddenly feels status quo. And lurking around the corner — due at year’s end — is a vanguard of new, inexpensive large-sensor camcorders from all the usual suspects.
It’s been said that the geek shall inherit the earth, but this is getting ridiculous. How’s a producer to make sense of these exploding possibilities? Even d.p.’s and post mavens alert to the latest digital trends struggle to keep up.
It wasn’t always so. A few weeks ago I stood at the dry end of a DuArt processing machine as a roll of 35mm came off, a print of the long-suppressed Nazi war-crimes film,...
- 12/4/2011
- by David Leitner
- Filmmaker Magazine - Blog
Chicago – In the opening moments of Stuart Schulberg’s invaluable 1948 documentary, “Nuremberg: Its Lesson for Today,” shell-shocked men, women and children emerge from the wreckage of what appears to be a post-apocalyptic landscape. A street lamp juts out from the carnage, twisted out of all recognition, much like the human bodies later viewed in the footage.
Rating: 5.0/5.0
The level of barbarism and monstrous inhumanity captured by Schulberg’s lens is simply beyond words. It’s impossible to dissect such vital images with a conventionally critical eye. “Nuremberg” is less a film than an enduring historical record. Moviegoers familiar with dramatizations such as Stanley Kramer’s excellent 1961 ensemble piece, “Judgment at Nuremberg,” will be amazed to see excerpts from the 25 hours of film permitted to be shot of the initial Nuremberg trials, from November 1945 to October 1946.
Read Matt Fagerholm’s full review of “Nuremberg [The Schulberg/Restoration]” in our reviews section.
History buffs and...
Rating: 5.0/5.0
The level of barbarism and monstrous inhumanity captured by Schulberg’s lens is simply beyond words. It’s impossible to dissect such vital images with a conventionally critical eye. “Nuremberg” is less a film than an enduring historical record. Moviegoers familiar with dramatizations such as Stanley Kramer’s excellent 1961 ensemble piece, “Judgment at Nuremberg,” will be amazed to see excerpts from the 25 hours of film permitted to be shot of the initial Nuremberg trials, from November 1945 to October 1946.
Read Matt Fagerholm’s full review of “Nuremberg [The Schulberg/Restoration]” in our reviews section.
History buffs and...
- 5/6/2011
- by adam@hollywoodchicago.com (Adam Fendelman)
- HollywoodChicago.com
Toronto -- Film and TV producer Stuart Schulberg's unreleased documentary about the 1946 Nuremberg Nazi trial has received a celluloid face-lift.
Daughter Sandra Schulberg and Josh Waletzky brought their courtroom drama restoration of "Nuremberg: Its Lesson for Today" to the Toronto Jewish Film Festival for its North American bow, ahead of a late-September theatrical release in New York City.
Indie producer Schulberg speculates Cold War intrigue likely stopped her father's film from ever being distributed in American theatres after the war. The 78-minute official Nuremberg trial documentary was only screened in Germany in 1948 and 1949 as part of American denazification efforts in that country.
"We're still unraveling this mystery," Schulberg said of the film's post-war suppression in the U.S., which makes this week's Toronto festival screening the first-ever theatrical showing in North America.
The original post-war production of "Nuremberg: Its Lesson For Today" followed Stuart Schulberg and older...
Daughter Sandra Schulberg and Josh Waletzky brought their courtroom drama restoration of "Nuremberg: Its Lesson for Today" to the Toronto Jewish Film Festival for its North American bow, ahead of a late-September theatrical release in New York City.
Indie producer Schulberg speculates Cold War intrigue likely stopped her father's film from ever being distributed in American theatres after the war. The 78-minute official Nuremberg trial documentary was only screened in Germany in 1948 and 1949 as part of American denazification efforts in that country.
"We're still unraveling this mystery," Schulberg said of the film's post-war suppression in the U.S., which makes this week's Toronto festival screening the first-ever theatrical showing in North America.
The original post-war production of "Nuremberg: Its Lesson For Today" followed Stuart Schulberg and older...
- 4/22/2010
- by By Etan Vlessing
- The Hollywood Reporter - Movie News
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