After making what many people cite as the greatest film ever made, “Citizen Kane” (1941), multi-talented actor, writer, director and producer Orson Welles struggled to live up to the success he achieved when he was just 26 years old. Yet seen today, many of the films he made afterwards have attained a similar acclaim. Let’s take a look back at all 13 of his completed feature films as a director, ranked worst to best.
Born in 1915, Welles first came to prominence as a stage director, mounting groundbreaking productions of “Macbeth,” “Dr. Faustus,” and “The Cradle Will Rock” before forming his own repertory company, The Mercury Theater. In addition to Welles, the Mercury Theater Players included Joseph Cotten, Ray Collins, Agnes Moorhead, Everett Sloane, George Coulouris, Norman Lloyd, Martin Gabel and Paul Stewart, many of whom would go onto appear in the director’s films.
It was the Mercury Theater’s transition into...
Born in 1915, Welles first came to prominence as a stage director, mounting groundbreaking productions of “Macbeth,” “Dr. Faustus,” and “The Cradle Will Rock” before forming his own repertory company, The Mercury Theater. In addition to Welles, the Mercury Theater Players included Joseph Cotten, Ray Collins, Agnes Moorhead, Everett Sloane, George Coulouris, Norman Lloyd, Martin Gabel and Paul Stewart, many of whom would go onto appear in the director’s films.
It was the Mercury Theater’s transition into...
- 5/4/2024
- by Zach Laws and Chris Beachum
- Gold Derby
Obviously it wasn’t by design, but the early-1950s renewal of the western genre, aided in large part by the success of Winchester ’73, which heralded a career second act for both its director, Anthony Mann, and its star, James Stewart, was answered in other quarters of the industry by multiple endeavors to take the once disreputable genre, previously dismissed as Roy Rogers/Saturday-matinee bunkum, all the way into the hallowed halls of state-sanctioned, capital-a art. And, as it happened, the two westerns that made a big runner-up showing at the 1952 and 1953 Oscars, High Noon and Shane, respectively, also served, by virtue of holding what wide swaths of the future cinephile demographic would come to view as Vichy letters of transit, as high-value targets for skeptics of the official cultural narrative.
These auteurist critics and film buffs, whose philosophy acquired definite contours some 10-odd years later, observed a different watershed moment: Rio Bravo.
These auteurist critics and film buffs, whose philosophy acquired definite contours some 10-odd years later, observed a different watershed moment: Rio Bravo.
- 5/3/2024
- by Jaime N. Christley
- Slant Magazine
(Welcome to Did They Get It Right?, a series where we look at Oscars categories from yesteryear and examine whether the Academy's winners stand the test of time.)
If you were to guess who the most nominated director was in the history of the Academy Awards, who would you guess? Maybe you'd say Steven Spielberg, who has made films for a half-century that have been beloved by millions. Or maybe you're inclination was to guess Martin Scorsese, given his level of simultaneous mainstream acclaim and critical adoration. Or maybe you'd go back to the golden age of Hollywood and guess someone like Frank Capra or John Ford, filmmakers fundamental to establishing what popular American cinema was and directed many films still revered today. In reality, it's not any of these people.
It may come as a surprise to learn that the most nominated director of all time is William Wyler.
If you were to guess who the most nominated director was in the history of the Academy Awards, who would you guess? Maybe you'd say Steven Spielberg, who has made films for a half-century that have been beloved by millions. Or maybe you're inclination was to guess Martin Scorsese, given his level of simultaneous mainstream acclaim and critical adoration. Or maybe you'd go back to the golden age of Hollywood and guess someone like Frank Capra or John Ford, filmmakers fundamental to establishing what popular American cinema was and directed many films still revered today. In reality, it's not any of these people.
It may come as a surprise to learn that the most nominated director of all time is William Wyler.
- 10/15/2023
- by Mike Shutt
- Slash Film
During the final week of production on director Pablo Larraín’s “El Conde” in Patagonia, cinematographer Ed Lachman broke his hip, the result of a bathroom slip and “not doing anything heroic [on set],” the famed cinematographer joked while recalling the fall to IndieWire.
The injury was no joking matter for Lachman, who was devastated he couldn’t shoot his longtime collaborator Todd Haynes’ film, “May December.” And later this month when Haynes and crew premiere that new film at the New York Film Festival, Lachman, a staple at the fest since the early ’70s, also won’t be able to be in Alice Tully Hall cheering them on. But that’s actually this story’s happy ending.
“I’m in Berlin doing tests for Pablo’s new movie,” said Lachman. That’s right, Lachman’s back, prepping Larraín’s new film “Maria,” starring Angelina Jolie as Maria Callas and set to...
The injury was no joking matter for Lachman, who was devastated he couldn’t shoot his longtime collaborator Todd Haynes’ film, “May December.” And later this month when Haynes and crew premiere that new film at the New York Film Festival, Lachman, a staple at the fest since the early ’70s, also won’t be able to be in Alice Tully Hall cheering them on. But that’s actually this story’s happy ending.
“I’m in Berlin doing tests for Pablo’s new movie,” said Lachman. That’s right, Lachman’s back, prepping Larraín’s new film “Maria,” starring Angelina Jolie as Maria Callas and set to...
- 9/15/2023
- by Chris O'Falt
- Indiewire
“Now I’m through with land and the land’s through with me,” says world-weary mariner Donkeyman (Arthur Shields) in The Long Voyage Home, succinctly expressing the dichotomy that runs through John Ford’s 1940 drama. Adapted by Dudley Nichols from four of Eugene O’Neill’s one-act plays, the film is deeply concerned with the threshold between land and sea.
Even when in port, the men working on the SS Glencairn are largely confined to the British cargo ship, and for logical reasons, such as police and military restrictions during wartime. Yet, through the aura of despondence and alienation so strongly established by Gregg Toland’s almost spectral cinematography, the men’s entrapment takes on a metaphysical significance not unlike that of the bourgeois individuals unable to exit the dining room in Luis Buñuel’s The Exterminating Angel.
For all the isolation and deprivation endured by the sailors, The Long Voyage Home is,...
Even when in port, the men working on the SS Glencairn are largely confined to the British cargo ship, and for logical reasons, such as police and military restrictions during wartime. Yet, through the aura of despondence and alienation so strongly established by Gregg Toland’s almost spectral cinematography, the men’s entrapment takes on a metaphysical significance not unlike that of the bourgeois individuals unable to exit the dining room in Luis Buñuel’s The Exterminating Angel.
For all the isolation and deprivation endured by the sailors, The Long Voyage Home is,...
- 7/11/2023
- by Derek Smith
- Slant Magazine
From the opening montage of the 2023 Oscars, the Academy signaled an effort to place attention on the crafts, following last year’s widely criticized decision to present eight categories prior to the live telecast and instead including clumsily-edited excerpts from those presentations in the live broadcast.
As part of this change, a film camera was featured on the Dolby Theatre stage as part of the cinematography presentation, which was introduced with a nod to Gregg Toland’s lensing of Citizen Kane, while host Jimmy Kimmel carried a boom at one point, offering a salute to sound pros. Additionally, short clips were introduced showing the recipients of the Academy’s SciTech Awards, which were presented on Feb. 24, including Gordon E. Sawyer Award winner, lens designer Ian Neil.
Those with a keen eye in the audience at the Dolby might have noticed that during the presentation of film editing Oscar, the woman...
As part of this change, a film camera was featured on the Dolby Theatre stage as part of the cinematography presentation, which was introduced with a nod to Gregg Toland’s lensing of Citizen Kane, while host Jimmy Kimmel carried a boom at one point, offering a salute to sound pros. Additionally, short clips were introduced showing the recipients of the Academy’s SciTech Awards, which were presented on Feb. 24, including Gordon E. Sawyer Award winner, lens designer Ian Neil.
Those with a keen eye in the audience at the Dolby might have noticed that during the presentation of film editing Oscar, the woman...
- 3/13/2023
- by Carolyn Giardina
- The Hollywood Reporter - Movie News
Orson Welles was just 26 when he wrote, produced, directed, and starred in "Citizen Kane." The 1941 film revolutionized the young industry. It boldly broke from the traditional linear storytelling pattern with a non-linear narrative told from several perspectives. Welles and cinematographer Gregg Toland introduced new cinematography techniques still used in modern filmmaking. Welles perfected the use of the montage, telling the complex life story of protagonist Charles Foster Kane in just under two hours. Welles broke established cinematic rules beginning with the film's opening moments.
The character Charles Foster Kane is loosely based on media magnate and yellow journalism originator William Randolph Hearst. But "Citizen Kane" might also have been a prophetic story of Orson Welles' own life. After multiple marriages, reclusive periods in his life, and struggles with weight as he aged left many to draw comparisons to his own creation, Charles Foster Kane.
The man that began his film...
The character Charles Foster Kane is loosely based on media magnate and yellow journalism originator William Randolph Hearst. But "Citizen Kane" might also have been a prophetic story of Orson Welles' own life. After multiple marriages, reclusive periods in his life, and struggles with weight as he aged left many to draw comparisons to his own creation, Charles Foster Kane.
The man that began his film...
- 2/9/2023
- by Travis Yates
- Slash Film
Peter Lorre’s Hollywood debut is one of the weirder pix ever to come from MGM, or maybe anywhere else. One of ace cinematographer Karl Freund’s rare forays into directing, and his last. Gregg Toland photographed it, and years later Pauline Kael would claim he stole a lot of shots from this to use in Citizen Kane!
The post Mad Love appeared first on Trailers From Hell.
The post Mad Love appeared first on Trailers From Hell.
- 1/25/2023
- by TFH Team
- Trailers from Hell
John Wayne had finally broken free of Poverty Row B-flicks as the lead of John Ford's classic Western "Stagecoach" when he jockeyed for the lead in the filmmaker's 1940 seafaring drama "The Long Voyage Home." Like "Stagecoach," this World War II-set yarn about a tramp steamer wending its way from the West Indies to Baltimore and then on to England is an ensemble work. It is also one of Ford's most formally considered features, bolstered by expressive cinematography from the great Gregg Toland (who was one year away from changing the filmmaking game forever alongside Orson Welles with "Citizen Kane").
Wayne had made his name on Westerns, and with World War II on the horizon — which would take some of his stiffest movie star competition, most notably James Stewart and Henry Fonda, out of the country for four years — he had an opportunity to become one of the biggest names in the industry.
Wayne had made his name on Westerns, and with World War II on the horizon — which would take some of his stiffest movie star competition, most notably James Stewart and Henry Fonda, out of the country for four years — he had an opportunity to become one of the biggest names in the industry.
- 1/4/2023
- by Jeremy Smith
- Slash Film
Filmmaker Sally Potter discusses a few of her favorite movies with hosts Josh Olson and Joe Dante.
Show Notes: Movies Referenced In This Episode
Orlando (1992)
Look At Me (2022)
The Roads Not Taken (2020)
Singin’ In The Rain (1952) – John Landis’s trailer commentary
On The Town (1949)
Seven Brides For Seven Brothers (1954) – John Landis’s trailer commentary, Glenn Erickson’s Blu-ray review
Whisky Galore! (1949) – Charlie Largent’s Blu-ray review
Battleship Potemkin (1925)
8 ½ (1963) – Allan Arkush’s trailer commentary
Monsieur Hulot’s Holiday (1953)
Jules and Jim (1962) – Michael Peyser’s trailer commentary
Au Hasard Balthazar (1966) – Charlie Largent’s Criterion Blu-ray review
Persona (1966)
On The Waterfront (1954) – John Badham’s trailer commentary
Sweet Smell Of Success (1957)
Citizen Kane (1941) – John Landis’s trailer commentary, Glenn Erickson’s Criterion Blu-ray review
The Third Man (1949) – George Hickenlooper’s trailer commentary, Randy Fuller’s wine pairings
Come And See (1985) – Larry Karaszewski’s trailer commentary, Glenn Erickson’s Criterion Blu-ray review
The Cranes Are...
Show Notes: Movies Referenced In This Episode
Orlando (1992)
Look At Me (2022)
The Roads Not Taken (2020)
Singin’ In The Rain (1952) – John Landis’s trailer commentary
On The Town (1949)
Seven Brides For Seven Brothers (1954) – John Landis’s trailer commentary, Glenn Erickson’s Blu-ray review
Whisky Galore! (1949) – Charlie Largent’s Blu-ray review
Battleship Potemkin (1925)
8 ½ (1963) – Allan Arkush’s trailer commentary
Monsieur Hulot’s Holiday (1953)
Jules and Jim (1962) – Michael Peyser’s trailer commentary
Au Hasard Balthazar (1966) – Charlie Largent’s Criterion Blu-ray review
Persona (1966)
On The Waterfront (1954) – John Badham’s trailer commentary
Sweet Smell Of Success (1957)
Citizen Kane (1941) – John Landis’s trailer commentary, Glenn Erickson’s Criterion Blu-ray review
The Third Man (1949) – George Hickenlooper’s trailer commentary, Randy Fuller’s wine pairings
Come And See (1985) – Larry Karaszewski’s trailer commentary, Glenn Erickson’s Criterion Blu-ray review
The Cranes Are...
- 11/8/2022
- by Kris Millsap
- Trailers from Hell
When an ambitious, first-time filmmaker pulls off a cinematic coup, critics and jealous industry veterans have a penchant for working overtime to undermine their achievement. You need look no further than "Citizen Kane," the genius of which has, over the years, been ascribed to cinematographer Gregg Toland, screenwriter Herman J. Mankiewicz, and editor Robert Wise. Surely, Welles, who only revolutionized radio and stagecraft, couldn't have transformed yet another medium!
But when an ambitious, first-time filmmaker faceplants, everyone in a position to claim credit skedaddles like cockroaches at the flick of a light switch. The cast and crew were at the mercy of a misguided fool. They did their jobs as directed, and couldn't wait to move on to the next show.
This is the way of things in Hollywood. So it's strange that John Wayne spent the last nineteen years of his life fighting to assert authorship of the poorly...
But when an ambitious, first-time filmmaker faceplants, everyone in a position to claim credit skedaddles like cockroaches at the flick of a light switch. The cast and crew were at the mercy of a misguided fool. They did their jobs as directed, and couldn't wait to move on to the next show.
This is the way of things in Hollywood. So it's strange that John Wayne spent the last nineteen years of his life fighting to assert authorship of the poorly...
- 9/30/2022
- by Jeremy Smith
- Slash Film
Outside of exceptions like "Citizen Kane" cinematographer Gregg Toland, the role of the director of photography in classic Hollywood was fairly anonymous. No matter the impact of their work on the public consciousness or their sculpting of unforgettable images, their names have historically been left out of the public discourse — being remembered by pocket communities of dedicated film historians or industry veterans who were influenced by their work. As James Wong Howe would say in a 1945 op-ed in "The Screen Writer," "when the photography of a picture is good, the critic usually praises the director for his understanding and handling of the...
The post The Chinese-Born Cinematographer Who Shaped Hollywood As We Know It appeared first on /Film.
The post The Chinese-Born Cinematographer Who Shaped Hollywood As We Know It appeared first on /Film.
- 5/23/2022
- by Anthony Crislip
- Slash Film
“His influence will never wane; there simply isn’t anyone who’s any good who isn’t standing on his shoulders.”
That’s what Steven Soderbergh wrote about Gordon Willis, the cinematographer who changed the American cinema forever with his work on Francis Ford Coppola’s “The Godfather.” Though other filmmakers had used some of the same techniques as Willis — John Ford and Gregg Toland made extensive use of practically motivated light sources on “The Long Voyage Home,” and many noir films experimented with placing their characters in darkness — the revolution didn’t really take hold until he applied the approach to what became one of the most critically acclaimed and commercially successful movies of all time.
“The Godfather” celebrates its 50th anniversary this year and Willis’ work continues to inform the ways in which cinematographers approach their work; look no further than Greig Fraser’s character and psychology-driven lighting on “The Batman” for proof.
That’s what Steven Soderbergh wrote about Gordon Willis, the cinematographer who changed the American cinema forever with his work on Francis Ford Coppola’s “The Godfather.” Though other filmmakers had used some of the same techniques as Willis — John Ford and Gregg Toland made extensive use of practically motivated light sources on “The Long Voyage Home,” and many noir films experimented with placing their characters in darkness — the revolution didn’t really take hold until he applied the approach to what became one of the most critically acclaimed and commercially successful movies of all time.
“The Godfather” celebrates its 50th anniversary this year and Willis’ work continues to inform the ways in which cinematographers approach their work; look no further than Greig Fraser’s character and psychology-driven lighting on “The Batman” for proof.
- 4/14/2022
- by Jim Hemphill
- Indiewire
“Of all the gin joints, in all the towns, in all the world, she walks into mine”
The Rock ‘n’ Roll Drive-in in Chaffee, Mo has become another great St. Louis-area place to see old movies (Chaffee is about 120 miles south of St. Louis). This Friday April 8th, the Rock ‘n’ Roll Drive-in is screening Casablanca double feature Citizen Kane. Gates open at 6:30 pm, and the movies begin at 8:00 pm. The Rock ‘n’ Roll Drive-in’s site can be found Here. Their other screen is showing The Hunger Games (PG-13) and Harry Potter and the Prisoner of Azkaban (PG)
I there was ever a film deserved to be considered a classic then Casablanca is it, Even if you haven’t seen it before you’ll recognize much of the dialogue; it is probably the most quoted, and misquoted, film of all time. Humphrey Bogart is excellent in...
The Rock ‘n’ Roll Drive-in in Chaffee, Mo has become another great St. Louis-area place to see old movies (Chaffee is about 120 miles south of St. Louis). This Friday April 8th, the Rock ‘n’ Roll Drive-in is screening Casablanca double feature Citizen Kane. Gates open at 6:30 pm, and the movies begin at 8:00 pm. The Rock ‘n’ Roll Drive-in’s site can be found Here. Their other screen is showing The Hunger Games (PG-13) and Harry Potter and the Prisoner of Azkaban (PG)
I there was ever a film deserved to be considered a classic then Casablanca is it, Even if you haven’t seen it before you’ll recognize much of the dialogue; it is probably the most quoted, and misquoted, film of all time. Humphrey Bogart is excellent in...
- 4/5/2022
- by Tom Stockman
- WeAreMovieGeeks.com
“That’s all he ever wanted out of life… was love. That’s the tragedy of Charles Foster Kane. You see, he just didn’t have any to give.”
Nothing’s more fun than The Wildey’s Tuesday Night Film Series Citizen Kane (1941) will be on the big screen when it plays at The Wildey Theater in Edwardsville, Il at 7:00pm Tuesday January 4th. Tickets are only $3 Tickets available starting at 3pm day of movie at Wildey Theatre ticket office. Cash or check only. Lobby opens at 6pm.
Is Citizen Kane the greatest film ever made? On a technical level, it may as well be. It’s at least the most groundbreaking film ever made. On a storytelling level, it’s an amazing achievement itself in that Orson Welles used such avant-garde techniques yet maintained an engrossing story. It’s a film full of contradictions and works perfectly because of them.
Nothing’s more fun than The Wildey’s Tuesday Night Film Series Citizen Kane (1941) will be on the big screen when it plays at The Wildey Theater in Edwardsville, Il at 7:00pm Tuesday January 4th. Tickets are only $3 Tickets available starting at 3pm day of movie at Wildey Theatre ticket office. Cash or check only. Lobby opens at 6pm.
Is Citizen Kane the greatest film ever made? On a technical level, it may as well be. It’s at least the most groundbreaking film ever made. On a storytelling level, it’s an amazing achievement itself in that Orson Welles used such avant-garde techniques yet maintained an engrossing story. It’s a film full of contradictions and works perfectly because of them.
- 12/30/2021
- by Tom Stockman
- WeAreMovieGeeks.com
Guillermo del Toro’s “Nightmare Alley” channels Hollywood’s classic noir period of the 1940s and 1950s, only there’s one glaring difference: Del Toro’s film is in color. Gone are the high-contrast black-and-white visuals and instead are vivid greens and sumptuous golds. Speaking to IndieWire’s Eric Kohn this week as part of the Awards Spotlight video series, del Toro explained that even though his “Nightmare Alley” is not in black-and-white, he still filmed the noir as if it were. Del Toro even revealed a black-and-white cut of “Nightmare Alley” exists that he “hopes can be seen.”
“I was production assistant in a movie with Gabriel Figueroa, who was the greatest Mexican cinematographer,” del Toro said. “He had a great kinship with Gregg Toland, they were good friends. He said to me when you art direct for black and white, you use the greens and the reds and...
“I was production assistant in a movie with Gabriel Figueroa, who was the greatest Mexican cinematographer,” del Toro said. “He had a great kinship with Gregg Toland, they were good friends. He said to me when you art direct for black and white, you use the greens and the reds and...
- 12/3/2021
- by Zack Sharf
- Indiewire
A thousand releases down the line, Criterion gives us a special edition of the most creatively brilliant & innovative movie in history, as the label debuts selected 4K releases. It’s a four-disc set, with three Blu-rays that hold a huge quantity of well-chosen and well-produced extras. What can be said about Kane that hasn’t been debated decades ago? Our Declaration of Principles is to just try and tell the truth: we try a ‘civilian’ approach, sketching the film’s wonderments without assuming the reader is already a true believer in the Cinema God Orson Welles. Which Welles definitely is.
Citizen Kane 4K
4K Ultra HD + Blu-ray
The Criterion Collection 1104
1941 / B&w / 1:37 Academy / 119 min. / available through The Criterion Collection / Street Date November 23, 2021 / 47.96
Starring: Orson Welles, Joseph Cotten, Dorothy Comingore, Agnes Moorehead, Ruth Warrick, Ray Collins, Erskine Sanford, Everett Sloane, William Alland, Paul Stewart, George Coulouris, Fortunio Bonanova.
Cinematography: Gregg Toland...
Citizen Kane 4K
4K Ultra HD + Blu-ray
The Criterion Collection 1104
1941 / B&w / 1:37 Academy / 119 min. / available through The Criterion Collection / Street Date November 23, 2021 / 47.96
Starring: Orson Welles, Joseph Cotten, Dorothy Comingore, Agnes Moorehead, Ruth Warrick, Ray Collins, Erskine Sanford, Everett Sloane, William Alland, Paul Stewart, George Coulouris, Fortunio Bonanova.
Cinematography: Gregg Toland...
- 11/30/2021
- by Glenn Erickson
- Trailers from Hell
What a Halloween treat! Karl Freund stopped directing after this classic, which is a shame — it’s German expressionism’s most exciting foray into classic Hollywood horror of the ’30s. Peter Lorre is incredible as Dr. Gogol, making himself as creepy and repulsive as possible while retaining a giddy audience sympathy. It’s Grand Guignol all the way — macabre, funny and irresistible. The screenplay toys with uncomfortable Body Horror and psychological weirdness; Colin Clive must contend with becoming the recipient of murderous hands. Frances Drake is the beauty that drives Dr. Gogol mad, and comedian Edward Brophy is a highlight in a non-comedic scene. “I have conquered science. Why can I not conquer love?!”
Mad Love
Blu-ray
Warner Archive Collection
1935 / B&w / 1:37 Academy / 68 (86) min. / Available at Amazon.com / Street Date October 19, 2021 / 21.99
Starring: Peter Lorre, Frances Drake, Colin Clive, Ted Healy, Sara Haden, Edward Brophy, Henry Kolker, Keye Luke, May Beatty, Billy Gilbert,...
Mad Love
Blu-ray
Warner Archive Collection
1935 / B&w / 1:37 Academy / 68 (86) min. / Available at Amazon.com / Street Date October 19, 2021 / 21.99
Starring: Peter Lorre, Frances Drake, Colin Clive, Ted Healy, Sara Haden, Edward Brophy, Henry Kolker, Keye Luke, May Beatty, Billy Gilbert,...
- 10/26/2021
- by Glenn Erickson
- Trailers from Hell
‘Unabashed, unfettered romanticism’ runs wild in Frank Borzage’s golden-age masterpiece of a runaway wife and the crazy Frenchman who pursues her. Long lost to awful, ragged 16mm prints, the newly restored gem will dazzle fans of delirious love stories, where the right people get together despite distance, time, and the interference of jealous husbands, misunderstandings, accusations of murder and natural disasters. All the above figure in this mini-epic, yet the movie never seems like a genre mash-up. Jean Arthur skips the squeaky line deliveries, Charles Boyer drops the gloom act, Colin Clive is more frightening than in his horror movies and Leo Carillo steals the show with one of the most endearing characters of the 1930s.
History is Made at Night
Blu-ray
The Criterion Collection 1072
1937 / B&w / 1:37 Academy / 97 min. / available through The Criterion Collection / Street Date April 13, 2021 / 39.95
Starring: Charles Boyer, Jean Arthur, Leo Carrillo, Colin Clive, Ivan Lebedeff,...
History is Made at Night
Blu-ray
The Criterion Collection 1072
1937 / B&w / 1:37 Academy / 97 min. / available through The Criterion Collection / Street Date April 13, 2021 / 39.95
Starring: Charles Boyer, Jean Arthur, Leo Carrillo, Colin Clive, Ivan Lebedeff,...
- 5/18/2021
- by Glenn Erickson
- Trailers from Hell
Erik Messerschmidt won his first Oscar for his black and white rendering of David Fincher’s ’30s-set biopic about Citizen Kane screenwriter Herman J. Mankiewicz.
Messerschimidt–who previously worked with Fincher on Netflix series Mindhunter–said that the iconic Citizen Kane “is one of the movies that make me want to make movies” and its legendary cinematographer Gregg Toland “pushed the medium forward.”
He said he was happy “to make a movie that references what he did a little bit …through through a modern sense and while bringing something new to it.”
This is the second time in three ...
Messerschimidt–who previously worked with Fincher on Netflix series Mindhunter–said that the iconic Citizen Kane “is one of the movies that make me want to make movies” and its legendary cinematographer Gregg Toland “pushed the medium forward.”
He said he was happy “to make a movie that references what he did a little bit …through through a modern sense and while bringing something new to it.”
This is the second time in three ...
- 4/26/2021
- The Hollywood Reporter - Movie News
Erik Messerschmidt won his first Oscar for his black and white rendering of David Fincher’s ’30s-set biopic about Citizen Kane screenwriter Herman J. Mankiewicz.
Messerschimidt–who previously worked with Fincher on Netflix series Mindhunter–said that the iconic Citizen Kane “is one of the movies that make me want to make movies” and its legendary cinematographer Gregg Toland “pushed the medium forward.”
He said he was happy “to make a movie that references what he did a little bit …though through a modern lens and while bringing something new to it.”
This is the second time in three ...
Messerschimidt–who previously worked with Fincher on Netflix series Mindhunter–said that the iconic Citizen Kane “is one of the movies that make me want to make movies” and its legendary cinematographer Gregg Toland “pushed the medium forward.”
He said he was happy “to make a movie that references what he did a little bit …though through a modern lens and while bringing something new to it.”
This is the second time in three ...
- 4/26/2021
- The Hollywood Reporter - Film + TV
The cinematography race pits Joshua James Richards (“Nomadland”) against Erik Messerschmidt (“Mank”), Phedon Papamichael (“The Trial of the Chicago 7”), Dariusz Wolski (“News of the World”), and Sean Bobbitt (“Judas and the Black Messiah”). Of the five, only Papamichael has been previously nominated (for “Nebraska”). Although Messerschmidt won the coveted ASC award, Richards is the favorite for Chloé Zhao’s Best Picture frontrunner.
The momentum has been with Richards for “Nomadland” ever since he won Camerimage’s prestigious Golden Frog last year. In the recessionary road odyssey, the director’s go-to cinematographer offered a roving, naturalistic nod to Terrence Malick (with the Arri Alexa Mini), while capturing Frances McDormand’s journey through the landscapes of the American West in changing light. Magic hour was the time to capture her long walks alone (with the camera placed on the Ronin 2 gimbal).
In David Fincher’s “Mank,” Messerschmidt recreated a Golden Age of Hollywood in black-and-white.
The momentum has been with Richards for “Nomadland” ever since he won Camerimage’s prestigious Golden Frog last year. In the recessionary road odyssey, the director’s go-to cinematographer offered a roving, naturalistic nod to Terrence Malick (with the Arri Alexa Mini), while capturing Frances McDormand’s journey through the landscapes of the American West in changing light. Magic hour was the time to capture her long walks alone (with the camera placed on the Ronin 2 gimbal).
In David Fincher’s “Mank,” Messerschmidt recreated a Golden Age of Hollywood in black-and-white.
- 4/20/2021
- by Bill Desowitz
- Indiewire
“Mank” cinematographer Erik Messerschmidt upset “Nomadland” Dp Joshua James Richards, the Oscar favorite, at the 35th annual American Society of Cinematographers Awards on Sunday. The win for David Fincher’s monochromatic biopic, with Herman J. Mankiewicz (Gary Oldman) struggling to churn out a first draft of “Citizen Kane,” was a surprise, given the momentum that has been with Richards since he won Camerimage’s prestigious Golden Frog last year. However, Richards (previously nominated for the Spotlight Award for “The Rider” but is not a current ASC member) still remains the Oscar favorite for shooting Chloé Zhao’s Best Picture frontrunner (she is also the favorite to take Best Director).
Yet it is a breakthrough achievement for Fincher’s go-to cinematographer from “Mindhunter.” Messerschmidt recreated a Golden Age of Hollywood in black-and-white, shooting with the Red Ranger Helium Monochrome, and bolstered by the Cinefade variable depth of field tool to emulate...
Yet it is a breakthrough achievement for Fincher’s go-to cinematographer from “Mindhunter.” Messerschmidt recreated a Golden Age of Hollywood in black-and-white, shooting with the Red Ranger Helium Monochrome, and bolstered by the Cinefade variable depth of field tool to emulate...
- 4/18/2021
- by Chris Lindahl and Bill Desowitz
- Indiewire
When the 35th edition of the American Society of Cinematographers Awards for Outstanding Achievement convenes on April 18 to announce the winners, all eyes will be on the future of their craft.
This year’s crop of nominees in the feature film category includes two fresh faces and three previous contenders — but a distinct lack of usual suspects and past superstars like Roger Deakins, Emmanuel Lubezki, Robert Richardson, Janusz Kaminski and Rodrigo Prieto. Perhaps it’s a matter of timing in this strange year, with some big titles being held back, or prestigious projects landing prior to the pandemic. And surely, the quarantine had some effect on how this year’s films were seen and perceived.
“The Trial of the Chicago 7” brought Phedon Papamichael his seventh ASC nod, following last year’s “Ford v Ferrari,” while “News of the World,” the Tom Hanks Western, gave Dariusz Wolski his second, a full 25 years after his first,...
This year’s crop of nominees in the feature film category includes two fresh faces and three previous contenders — but a distinct lack of usual suspects and past superstars like Roger Deakins, Emmanuel Lubezki, Robert Richardson, Janusz Kaminski and Rodrigo Prieto. Perhaps it’s a matter of timing in this strange year, with some big titles being held back, or prestigious projects landing prior to the pandemic. And surely, the quarantine had some effect on how this year’s films were seen and perceived.
“The Trial of the Chicago 7” brought Phedon Papamichael his seventh ASC nod, following last year’s “Ford v Ferrari,” while “News of the World,” the Tom Hanks Western, gave Dariusz Wolski his second, a full 25 years after his first,...
- 4/15/2021
- by David Heuring
- Variety Film + TV
Though he’s been active in the industry for nearly two decades, cinematographer Erik Messerschmidt made his feature film debut last year with David Fincher’s silvery period drama “Mank.” Messerschmidt’s credits include television work in projects as diverse as “Everybody Hates Chris,” Ridley Scott’s “Raised by Wolves,” and Fincher’s “Mindhunter.” Fincher, in fact, had hired Messerschmidt three years ago to lens his sequel to “World War Z,” but after that project was cancelled in early 2019, the director called the cinematographer with a different proposal.
“David said, ‘I’ve got this black and white movie I’m thinking about. Do you want to do it?” Messerschmidt recalled to TheWrap. “He’s kind of coy like that. So I didn’t really know anything about what the film was. But I said, ‘Sure.'”
The film, of course, was Fincher’s biopic of “Citizen Kane” screenwriter Herman Mankiewicz...
“David said, ‘I’ve got this black and white movie I’m thinking about. Do you want to do it?” Messerschmidt recalled to TheWrap. “He’s kind of coy like that. So I didn’t really know anything about what the film was. But I said, ‘Sure.'”
The film, of course, was Fincher’s biopic of “Citizen Kane” screenwriter Herman Mankiewicz...
- 4/14/2021
- by Joe McGovern
- The Wrap
David Fincher’s “Mank” leads all Oscar craft nominations with six. And yet its greatest chance of a win rests with Don Burt’s meticulous production design of the iconic Hearst Castle and San Simeon compound. However, since he was working in black-and-white with set decorator Jan Pascale — his co-nominee — it was more advantageous to capture the spirit of William Randolph Hearst’s opulent retreat than trying to replicate it. For one thing, the colors would get lost, and, for another, they’d still be struggling to recreate all of the detail.
“Hearst Castle felt like something Hearst [Charles Dance] built as his Xanadu [from ‘Citizen Kane’], and now it’s maintained more like a theme park,” said Burt, who actually didn’t visit the landmark since they couldn’t shoot there. But he referenced plenty of images and studied its architecture and interior design along with the beautiful landscaping of San Simeon.
“Hearst Castle felt like something Hearst [Charles Dance] built as his Xanadu [from ‘Citizen Kane’], and now it’s maintained more like a theme park,” said Burt, who actually didn’t visit the landmark since they couldn’t shoot there. But he referenced plenty of images and studied its architecture and interior design along with the beautiful landscaping of San Simeon.
- 4/7/2021
- by Bill Desowitz
- Indiewire
“Mank” costume designer Trish Summerville, who first worked with director David Fincher a decade ago on “The Girl with the Dragon Tattoo,” and Erik Messerschmidt, who makes his feature debut as a cinematographer, joined Variety’s Jenelle Riley for a recent Zoom conversation.
“Mank” is shot in glorious black-and-white. Summerville noted she had worked in the format in videos or commercials but had never costumes for a black-and-white feature. “In the beginning, I started just pulling costumes from rental houses and fabrics and photographing them in various settings on my phone and sent them to Dave and Erik and said ‘Which of these will be the closest to where you think you’re going? Could you give me a direction as to where to go?”’
She and her staff did their own research of what colors, prints and patterns translated well to black-and-white. “Once we got to do the camera test,...
“Mank” is shot in glorious black-and-white. Summerville noted she had worked in the format in videos or commercials but had never costumes for a black-and-white feature. “In the beginning, I started just pulling costumes from rental houses and fabrics and photographing them in various settings on my phone and sent them to Dave and Erik and said ‘Which of these will be the closest to where you think you’re going? Could you give me a direction as to where to go?”’
She and her staff did their own research of what colors, prints and patterns translated well to black-and-white. “Once we got to do the camera test,...
- 3/2/2021
- by Susan King
- Gold Derby
On David Fincher’s Mank, cinematographer Erik Messerschmidt channeled the aesthetics of Hollywood’s Golden Age, in order to tell the story of one of its legendary figures.
Written by Fincher’s late father, Jack, the drama follows brilliant, alcoholic screenwriter Herman J. Mankiewicz (Gary Oldman), as he pens the script for Citizen Kane.
Shooting digitally, in native black and white, Messerschmidt would place viewers inside Mankiewicz’s era by playing with the vocabulary of films from the ’30s and ’40s. At the same time, he would look to pay homage with his choices to Gregg Toland, the pioneering Dp behind Kane, who popularized deep focus photography. “I think it was more [loose] inspiration, and we certainly weren’t recreating anything from Citizen Kane directly,” Messerschmidt notes. “When I was feeling insecure about the choices I was making, I’d be like, ‘Okay, what would Gregg Toland have done?’ But we...
Written by Fincher’s late father, Jack, the drama follows brilliant, alcoholic screenwriter Herman J. Mankiewicz (Gary Oldman), as he pens the script for Citizen Kane.
Shooting digitally, in native black and white, Messerschmidt would place viewers inside Mankiewicz’s era by playing with the vocabulary of films from the ’30s and ’40s. At the same time, he would look to pay homage with his choices to Gregg Toland, the pioneering Dp behind Kane, who popularized deep focus photography. “I think it was more [loose] inspiration, and we certainly weren’t recreating anything from Citizen Kane directly,” Messerschmidt notes. “When I was feeling insecure about the choices I was making, I’d be like, ‘Okay, what would Gregg Toland have done?’ But we...
- 1/11/2021
- by Matt Grobar
- Deadline Film + TV
For the longest time, cinematographers have referenced paintings and still photography, whether recreating those images or riffing on them to create the moving images in films. It was no different for Chloé Zhao’s “Nomadland,” which captured the beauty of America, and Regina King’s “One Night in Miami,” which was influenced by historical events. Even more impressive is the fact that some of the lensers behind this year’s top films are somewhat new to the circuit.
For his fourth feature film, “Nomadland” cinematographer Joshua James Richards traveled across the Badlands of South Dakota; Empire, Nev.; and western Nebraska, venturing into real-life nomad territory to tell the story of Fern (Frances McDormand), who lives on the road in her van.
The main visual reference, he says, was Andrew Wyeth’s Miss Olson. That painting served as the “texture and palette of the interior of Fern’s van.”
It wasn...
For his fourth feature film, “Nomadland” cinematographer Joshua James Richards traveled across the Badlands of South Dakota; Empire, Nev.; and western Nebraska, venturing into real-life nomad territory to tell the story of Fern (Frances McDormand), who lives on the road in her van.
The main visual reference, he says, was Andrew Wyeth’s Miss Olson. That painting served as the “texture and palette of the interior of Fern’s van.”
It wasn...
- 12/24/2020
- by Jazz Tangcay
- Variety Film + TV
Gregg Toland is one of the most influential cinematographers of all time, and his work on Orson Welles’ Citizen Kane (1941) — with innovations including deep focus, which keeps the foreground, middle ground and background all looking sharp — is iconic. So when director David Fincher and cinematographer Erik Messerschmidt set out to make Mank, the Netflix drama that stars Gary Oldman as screenwriter Herman J. Mankiewicz in the throes of writing Kane, Toland’s efforts had to be carefully considered.
“David and I talked at length about it. That was something we wanted to echo and reference and pay homage to,...
“David and I talked at length about it. That was something we wanted to echo and reference and pay homage to,...
- 12/22/2020
- The Hollywood Reporter - Movie News
Gregg Toland is one of the most influential cinematographers of all time, and his work on Orson Welles’ Citizen Kane (1941) — with innovations including deep focus, which keeps the foreground, middle ground and background all looking sharp — is iconic. So when director David Fincher and cinematographer Erik Messerschmidt set out to make Mank, the Netflix drama that stars Gary Oldman as screenwriter Herman J. Mankiewicz in the throes of writing Kane, Toland’s efforts had to be carefully considered.
“David and I talked at length about it. That was something we wanted to echo and reference and pay homage to,...
“David and I talked at length about it. That was something we wanted to echo and reference and pay homage to,...
- 12/22/2020
- The Hollywood Reporter - Film + TV
Beginning his collaboration with David Fincher as a gaffer on Gone Girl, cinematographer Erik Messerschmidt’s third collaboration with the director has now arrived nearly a decade later. Mank follows alcoholic screenwriter Herman J. Mankiewicz in his mad dash to finish the script for Citizen Kane, and Messerschmidt’s playful interpolation of Gregg Toland’s iconic cinematography is a sight to behold in every frame.
I spoke with Messerschmidt about his work with Fincher on Mindhunter organically leading to Mank, how Fincher doesn’t accept “much of anything he can’t control,” emulating the look of 1940s cinema without trying to perfectly recreate it, and he provides a list of movies he studied in preparation for Mank.
The Film Stage: Did you debate shooting on film versus the black and white Red prototype?
Erik Messerschmidt: No, not really. It just doesn’t really fit in David’s workflow. I think...
I spoke with Messerschmidt about his work with Fincher on Mindhunter organically leading to Mank, how Fincher doesn’t accept “much of anything he can’t control,” emulating the look of 1940s cinema without trying to perfectly recreate it, and he provides a list of movies he studied in preparation for Mank.
The Film Stage: Did you debate shooting on film versus the black and white Red prototype?
Erik Messerschmidt: No, not really. It just doesn’t really fit in David’s workflow. I think...
- 12/17/2020
- by Joshua Encinias
- The Film Stage
There was never any doubt that David Fincher was going to shoot “Mank” in black-and-white. His biopic about alcoholic and acerbic screenwriter Herman J. Mankiewicz (Gary Oldman) struggling to churn out a first draft of “Citizen Kane” cried out for monochromatic treatment. And yet Fincher and cinematographer Erik Messerschmidt (“Mindhunter”) were not about to indulge in a “Kane”-like re-enactment, or be confined to shooting on film, or composing in the period accurate aspect ratio of 1.37:1. Not with Fincher’s digital prowess and penchant for the 2.39: 1 widescreen format.
So Fincher and Messerschmidt struck a balance between retro and modern, taking advantage of the director’s efficient digital workflow to approximate the look of a movie made around the time of “Kane” in 1940 yet “Photographed in Hi-Dynamic Range” (as the title card proclaims).
“Filmmaking has always been a medium where we selectively employ the techniques that are available on the day,...
So Fincher and Messerschmidt struck a balance between retro and modern, taking advantage of the director’s efficient digital workflow to approximate the look of a movie made around the time of “Kane” in 1940 yet “Photographed in Hi-Dynamic Range” (as the title card proclaims).
“Filmmaking has always been a medium where we selectively employ the techniques that are available on the day,...
- 12/7/2020
- by Bill Desowitz
- Indiewire
“Mank” is the gripping story of the brilliant but troubled artist behind “Citizen Kane,” often considered to be the greatest movie ever made.
No, it’s not about director Orson Welles. Instead, it pushes Herman J. Mankiewicz, the alcoholic writer for hire who is responsible for bringing the film’s revolutionary, non-linear narrative structure and corrosive portrait of wealth and power, to the center of the frame.
“He was one of those voices that charted the way,” says David Fincher, the director who labored for nearly 30 years to bring “Mank” to life. “My hope is that people will be entertained watching a generational wit, who is in some ways forgotten and never got his due.”
“Mank,” which Netflix will debut Dec. 4, is also likely to reignite a fierce debate around the concept of auteurism. If film is truly a director’s medium, then who gets the credit for a masterpiece?...
No, it’s not about director Orson Welles. Instead, it pushes Herman J. Mankiewicz, the alcoholic writer for hire who is responsible for bringing the film’s revolutionary, non-linear narrative structure and corrosive portrait of wealth and power, to the center of the frame.
“He was one of those voices that charted the way,” says David Fincher, the director who labored for nearly 30 years to bring “Mank” to life. “My hope is that people will be entertained watching a generational wit, who is in some ways forgotten and never got his due.”
“Mank,” which Netflix will debut Dec. 4, is also likely to reignite a fierce debate around the concept of auteurism. If film is truly a director’s medium, then who gets the credit for a masterpiece?...
- 11/18/2020
- by Brent Lang
- Variety Film + TV
David Fincher’s keenly anticipated Netflix original “Mank” is a valentine to old Hollywood glamor in the shape of a character study of the larger-than-life screenwriter of Orson Welles’ “Citizen Kane,” Herman J. Mankiewicz, played with gusto by Gary Oldman.
Speaking in an online seminar at the EnergaCamerimage Film Festival, cinematographer Erik Messerschmidt described the production team’s obsessive pursuit of the lustrous black-and-white look and feel for the period project, which brought together the in-depth research of production designer Donald Burt and costume designer Trish Summerville.
Getting pre-war Hollywood right while paying homage to one of cinema’s most iconic films, said Messerschmidt, was no easy task, even with the incredible range of digital camera technology now on offer.
The original cinematographer for “Citizen Kane,” Gregg Toland, “is incredibly influential,” said Messerschmidt. “Obviously we looked at ‘Citizen Kane’ and looked at his work.”
“Mank” pays homage to his signature techniques – “deep focus,...
Speaking in an online seminar at the EnergaCamerimage Film Festival, cinematographer Erik Messerschmidt described the production team’s obsessive pursuit of the lustrous black-and-white look and feel for the period project, which brought together the in-depth research of production designer Donald Burt and costume designer Trish Summerville.
Getting pre-war Hollywood right while paying homage to one of cinema’s most iconic films, said Messerschmidt, was no easy task, even with the incredible range of digital camera technology now on offer.
The original cinematographer for “Citizen Kane,” Gregg Toland, “is incredibly influential,” said Messerschmidt. “Obviously we looked at ‘Citizen Kane’ and looked at his work.”
“Mank” pays homage to his signature techniques – “deep focus,...
- 11/18/2020
- by Will Tizard
- Variety Film + TV
David Fincher, the beloved and mercurial filmmaker behind Fight Club and Zodiac, released a seeming torrent of criticism over multiple interviews for everything from fanboy darlings like last year’s Joker to the long worshipped ghost of Orson Welles.
In the case of the former, Fincher was speaking with The Daily Telegraph (via Deadline) when he said, “Nobody would have thought they had a shot at a giant hit with Joker had The Dark Knight not been as massive as it was. I don’t think anyone would have looked at that material and thought, ‘Yeah, let’s take [Taxi Driver’s] Travis Bickle and [The King of Comedy’s] Rupert Pupkin and conflate them, then trap him in a betrayal of the mentally ill, and trot it out for a billion dollars.”
The swipe about Joker being a betrayal of the “mentally ill” is certain to stir the pot with comic book fans, but...
In the case of the former, Fincher was speaking with The Daily Telegraph (via Deadline) when he said, “Nobody would have thought they had a shot at a giant hit with Joker had The Dark Knight not been as massive as it was. I don’t think anyone would have looked at that material and thought, ‘Yeah, let’s take [Taxi Driver’s] Travis Bickle and [The King of Comedy’s] Rupert Pupkin and conflate them, then trap him in a betrayal of the mentally ill, and trot it out for a billion dollars.”
The swipe about Joker being a betrayal of the “mentally ill” is certain to stir the pot with comic book fans, but...
- 11/16/2020
- by David Crow
- Den of Geek
9 random things that happened on this day, September 28th, in showbiz history:
1935 Comic actor Stan Laurel marries his second wife Virginia Ruth Rogers who will also become his fourth wife. Old Hollywood stars sure did get married and divorced and remarried a lot! The recent underseen biopic Stan & Ollie (2018) looked at Laurel & Hardy's final years after the heyday of their fame, with Steven Coogan as Stan Laurel and Nina Arianda giving yet another great supporting performance as Laurel's fifth and final wife Ida. When is Nina Arianda going to get her due in Hollywood?
1945 Seventy-five years ago today, noir classic Mildred Pierce starring Joan Crawford opened, reviving her career and winning her the Oscar. (The movie was nominated for 5 additional Oscars including Best Picture). It's a must-see.
Gregg Toland, Martin & Lewis, and Olivia Newton-John after the jump...
1935 Comic actor Stan Laurel marries his second wife Virginia Ruth Rogers who will also become his fourth wife. Old Hollywood stars sure did get married and divorced and remarried a lot! The recent underseen biopic Stan & Ollie (2018) looked at Laurel & Hardy's final years after the heyday of their fame, with Steven Coogan as Stan Laurel and Nina Arianda giving yet another great supporting performance as Laurel's fifth and final wife Ida. When is Nina Arianda going to get her due in Hollywood?
1945 Seventy-five years ago today, noir classic Mildred Pierce starring Joan Crawford opened, reviving her career and winning her the Oscar. (The movie was nominated for 5 additional Oscars including Best Picture). It's a must-see.
Gregg Toland, Martin & Lewis, and Olivia Newton-John after the jump...
- 9/28/2020
- by NATHANIEL R
- FilmExperience
Legendary animator Floyd Norman talks about his all time favorite movies.
Show Notes: Movies Referenced In This Episode
Floyd Norman: An Animated Life (2016)
Vertigo (1958)
Citizen Kane (1941)
Rope (1948)
The Trouble With Harry (1955)
The Man Who Knew Too Much (1956)
Song of the South (1946)
The Treasure of Sierra Madre (1948)
The Third Man (1950)
The Jungle Book (1967)
The Jungle Book (2016)
The Lion King (2019)
Pinocchio (1940)
Snow White and the Seven Dwarfs (1937)
The Old Mill (1937)
Casablanca (1942)
Cinderella (1950)
Singin’ In The Rain (1953)
Paths of Glory (1957)
1917 (2019)
The Bridge On The River Kwai (1957)
Star Wars (1977)
American Graffiti (1973)
Sorcerer (1977)
Other Notable Items
Michael Fiore
The Watts riots
The LAPD’s cruel mistreatment of Rodney King
The George Floyd protests
Move in Philadelphia
Walt Disney Pictures
Tfh Guru Roger Corman
Erik Sharkey
The Three Stooges
I Am the Greatest: The Adventures of Muhammad Ali TV series (1977)
Muhammad Ali
Fred Calvert
Alfred Hitchcock
Bernard Herrman’s Vertigo score
Robert Burks
The latest...
Show Notes: Movies Referenced In This Episode
Floyd Norman: An Animated Life (2016)
Vertigo (1958)
Citizen Kane (1941)
Rope (1948)
The Trouble With Harry (1955)
The Man Who Knew Too Much (1956)
Song of the South (1946)
The Treasure of Sierra Madre (1948)
The Third Man (1950)
The Jungle Book (1967)
The Jungle Book (2016)
The Lion King (2019)
Pinocchio (1940)
Snow White and the Seven Dwarfs (1937)
The Old Mill (1937)
Casablanca (1942)
Cinderella (1950)
Singin’ In The Rain (1953)
Paths of Glory (1957)
1917 (2019)
The Bridge On The River Kwai (1957)
Star Wars (1977)
American Graffiti (1973)
Sorcerer (1977)
Other Notable Items
Michael Fiore
The Watts riots
The LAPD’s cruel mistreatment of Rodney King
The George Floyd protests
Move in Philadelphia
Walt Disney Pictures
Tfh Guru Roger Corman
Erik Sharkey
The Three Stooges
I Am the Greatest: The Adventures of Muhammad Ali TV series (1977)
Muhammad Ali
Fred Calvert
Alfred Hitchcock
Bernard Herrman’s Vertigo score
Robert Burks
The latest...
- 6/9/2020
- by Kris Millsap
- Trailers from Hell
Following its screening accompanied by a live performance of its score by the Hollywood Chamber Orchestra, Bong Joon Ho's Parasite will soon be screened in black and white in New York and Los Angeles, giving viewers yet another way to experience the renowned film that's nominated for six Oscars:
Parasite will screen in black and white at New York's Walter Reade Theater and Francesca Beale Theater, as well as Los Angeles' Egyptian Theater. We have the official press release with full details below, and in case you missed it, Bong Joon Ho's latest film is coming to Blu-ray, DVD, and VOD on January 28th.
Press Release: New York, January 22, 2020 - Neon, in partnership with Film at Lincoln Center in New York and the American Cinematheque in Los Angeles, is thrilled to present the black and white version of Parasite to audiences on both coasts. This special presentation of the...
Parasite will screen in black and white at New York's Walter Reade Theater and Francesca Beale Theater, as well as Los Angeles' Egyptian Theater. We have the official press release with full details below, and in case you missed it, Bong Joon Ho's latest film is coming to Blu-ray, DVD, and VOD on January 28th.
Press Release: New York, January 22, 2020 - Neon, in partnership with Film at Lincoln Center in New York and the American Cinematheque in Los Angeles, is thrilled to present the black and white version of Parasite to audiences on both coasts. This special presentation of the...
- 1/27/2020
- by Derek Anderson
- DailyDead
As the 100th anniversary of the American Society of Cinematographers, New York Film Festival programmers Kent Jones and Dan Sullivan knew that 2019 would be an ideal time to look back at the history cinematography in this country. The 13-film retrospective they programmed as part of this year’s festival highlights some of the best work by masters of the craft like Gordon Willis, Gregg Toland, James Wong Howe, and Robby Müller, but it also serves as a history of the craft itself.
“We couldn’t do a comprehensive history of the Asc as a film series, and once we accepted that, it freed us to make some more interesting choices,” said Sullivan. “There’s some canonical titles, personal favorites, and weird things people might not necessarily think about in this context and might appreciate differently. But I would say roughly we were trying to capture the trajectory of the development...
“We couldn’t do a comprehensive history of the Asc as a film series, and once we accepted that, it freed us to make some more interesting choices,” said Sullivan. “There’s some canonical titles, personal favorites, and weird things people might not necessarily think about in this context and might appreciate differently. But I would say roughly we were trying to capture the trajectory of the development...
- 10/4/2019
- by Chris O'Falt
- Indiewire
“That’s all he ever wanted out of life… was love. That’s the tragedy of Charles Foster Kane. You see, he just didn’t have any to give.”
Citizen Kane comes to life on the big screen Monday August 5th as part of the ‘Classics on the Loop’ series. Showtimes are 4pm and 7pm. Admission is $7.A Facebook invite can be found Here
Citizen Kane (1941) Directed by Orson Welles Shown from left, front: George Coulouris, Buddy Swan; rear: Harry Shannon, Agnes Moorehead
Is Citizen Kane the greatest film ever made? On a technical level, it may as well be. It’s at least the most groundbreaking film ever made. On a storytelling level, it’s an amazing achievement itself in that Orson Welles used such avant-garde techniques yet maintained an engrossing story. It’s a film full of contradictions and works perfectly because of them. Its over-the-top yet subtle,...
Citizen Kane comes to life on the big screen Monday August 5th as part of the ‘Classics on the Loop’ series. Showtimes are 4pm and 7pm. Admission is $7.A Facebook invite can be found Here
Citizen Kane (1941) Directed by Orson Welles Shown from left, front: George Coulouris, Buddy Swan; rear: Harry Shannon, Agnes Moorehead
Is Citizen Kane the greatest film ever made? On a technical level, it may as well be. It’s at least the most groundbreaking film ever made. On a storytelling level, it’s an amazing achievement itself in that Orson Welles used such avant-garde techniques yet maintained an engrossing story. It’s a film full of contradictions and works perfectly because of them. Its over-the-top yet subtle,...
- 8/5/2019
- by Tom Stockman
- WeAreMovieGeeks.com
Orson Welles would’ve celebrated his 104th birthday on May 6, 2019. After making what many people cite as the greatest film ever made, “Citizen Kane” (1941), the multi-talented actor, writer, director and producer struggled to live up to the success he achieved when he was just 26 years old. Yet seen today, many of the films he made afterwards have attained a similar acclaim. In honor of his birthday, let’s take a look back at all 13 of his completed feature films as a director, ranked worst to best.
Born in 1915, Welles first came to prominence as a stage director, mounting groundbreaking productions of “Macbeth,” “Dr. Faustus,” and “The Cradle Will Rock” before forming his own repertory company, The Mercury Theater. In addition to Welles, the Mercury Theater Players included Joseph Cotten, Ray Collins, Agnes Moorhead, Everett Sloane, George Coulouris, Norman Lloyd, Martin Gabel and Paul Stewart, many of whom would go onto...
Born in 1915, Welles first came to prominence as a stage director, mounting groundbreaking productions of “Macbeth,” “Dr. Faustus,” and “The Cradle Will Rock” before forming his own repertory company, The Mercury Theater. In addition to Welles, the Mercury Theater Players included Joseph Cotten, Ray Collins, Agnes Moorhead, Everett Sloane, George Coulouris, Norman Lloyd, Martin Gabel and Paul Stewart, many of whom would go onto...
- 5/6/2019
- by Zach Laws and Chris Beachum
- Gold Derby
In celebration of its 100th anniversary, the American Society of Cinematographers has released a list of the 100 best shot films of the 20th century.
This list was released to "showcase the best of cinematography as selected by professional cinematographers.” Here's how the list was put together:
The process of cultivating the 100 films began with Asc members each submitting 10 to 25 titles that were personally inspirational or perhaps changed the way they approached their craft. “I asked them — as cinematographers, members of the Asc, artists, filmmakers and people who love film and whose lives were shaped by films — to list the films that were most influential,” Fierberg explains. A master list was then complied, and members voted on what they considered to be the most essential 100 titles.
Here's a little sizzle reel that was cut together showcasing some of the films on the list:
It's hard to argue with the Top 10 films,...
This list was released to "showcase the best of cinematography as selected by professional cinematographers.” Here's how the list was put together:
The process of cultivating the 100 films began with Asc members each submitting 10 to 25 titles that were personally inspirational or perhaps changed the way they approached their craft. “I asked them — as cinematographers, members of the Asc, artists, filmmakers and people who love film and whose lives were shaped by films — to list the films that were most influential,” Fierberg explains. A master list was then complied, and members voted on what they considered to be the most essential 100 titles.
Here's a little sizzle reel that was cut together showcasing some of the films on the list:
It's hard to argue with the Top 10 films,...
- 1/9/2019
- by Joey Paur
- GeekTyrant
To celebrate the 100th anniversary of the American Society of Cinematographers (Asc) this year, they’ve polled their members to determine 100 milestone films in the art and craft of cinematography of the 20th century. Topping the list is David Lean’s epic Lawrence of Arabia, shot by Freddie Young. Also in the top ten is Blade Runner (Jordan Cronenweth), The Conformist (Vittorio Storaro), Days of Heaven (Néstor Almendros), and more.
Organized by Steven Fierberg, he said “Asc members wanted to call attention to the most significant achievements of the cinematographer’s art but not refer to one achievement as ‘better’ than another. The selected films represent a range of styles, eras and visual artistry, but most importantly, it commemorates films that are inspirational or influential to Asc members and have exhibited enduring influence on generations of filmmakers.”
See the top 10 below, along with the full list.
1. Lawrence of Arabia (1962), Freddie Young,...
Organized by Steven Fierberg, he said “Asc members wanted to call attention to the most significant achievements of the cinematographer’s art but not refer to one achievement as ‘better’ than another. The selected films represent a range of styles, eras and visual artistry, but most importantly, it commemorates films that are inspirational or influential to Asc members and have exhibited enduring influence on generations of filmmakers.”
See the top 10 below, along with the full list.
1. Lawrence of Arabia (1962), Freddie Young,...
- 1/9/2019
- by Jordan Raup
- The Film Stage
The American Society of Cinematographers, in celebration of the organization’s 100th anniversary, has revealed its list of 100 milestone films in the art and craft of cinematography from the 20th century. The list culminates with a top 10, topped by Freddie Young’s lensing of David Lean’s Oscar-winning 1962 epic “Lawrence of Arabia.”
Jordan Cronenweth’s work on Ridley Scott’s 1982 sci-fi standard “Blade Runner” came in at number two. Celebrated cinematographer Roger Deakins finally won an Oscar last year for the film’s sequel, “Blade Runner 2049.”
Vittorio Storaro rounded out the top three for Francis Ford Coppola’s 1979 Vietnam odyssey “Apocalypse Now.” He, Conrad Hall and Gordon Willis each appeared on the overall list five times, leading the pack. John Alcott, Caleb Deschanel and Haskell Wexler each lensed four.
Organized by Steven Fierberg, Asc (“The Affair”) and voted on by Asc members, the milestones list is the first of...
Jordan Cronenweth’s work on Ridley Scott’s 1982 sci-fi standard “Blade Runner” came in at number two. Celebrated cinematographer Roger Deakins finally won an Oscar last year for the film’s sequel, “Blade Runner 2049.”
Vittorio Storaro rounded out the top three for Francis Ford Coppola’s 1979 Vietnam odyssey “Apocalypse Now.” He, Conrad Hall and Gordon Willis each appeared on the overall list five times, leading the pack. John Alcott, Caleb Deschanel and Haskell Wexler each lensed four.
Organized by Steven Fierberg, Asc (“The Affair”) and voted on by Asc members, the milestones list is the first of...
- 1/8/2019
- by Kristopher Tapley
- Variety Film + TV
The American Society of Cinematographers (Asc), an elite organization of cinematographers at the top of their field, is celebrating the 100th anniversary of its founding today. What better way to honor that milestone than to create a list of 100 milestone films known for the art and craft of cinematography in the 20th century, and they call it the Best Shot Films Of All Time.
Asc says this is the first time a list like this has been compiled, at least by a group of pros who should know what they are talking about. The list culminates in a Top 10 (the other 90 are unranked). The Top 10 Best Shot Films Of All Time are:
Lawrence of Arabia (1962), shot by Freddie Young, Bsc (Dir. David Lean) Blade Runner (1982), shot by Jordan Cronenweth, Asc (Dir. Ridley Scott) Apocalypse Now (1979), shot by Vittorio Storaro, Asc, Aic (Dir. Francis Ford Coppola) Citizen Kane (1941), shot by Gregg Toland,...
Asc says this is the first time a list like this has been compiled, at least by a group of pros who should know what they are talking about. The list culminates in a Top 10 (the other 90 are unranked). The Top 10 Best Shot Films Of All Time are:
Lawrence of Arabia (1962), shot by Freddie Young, Bsc (Dir. David Lean) Blade Runner (1982), shot by Jordan Cronenweth, Asc (Dir. Ridley Scott) Apocalypse Now (1979), shot by Vittorio Storaro, Asc, Aic (Dir. Francis Ford Coppola) Citizen Kane (1941), shot by Gregg Toland,...
- 1/8/2019
- by Pete Hammond
- Deadline Film + TV
The American Society of Cinematographers (Asc) celebrates its 100th anniversary on Tuesday by unveiling two lists devoted to 20th century visual achievements: the 100 Milestone Films and the top 10 Best-Shot Films, led by “Lawrence of Arabia” (1962), shot by Oscar-winning cinematographer Freddie Young.
The rest of the Top 10 list includes sci-fi classics “2001: A Space Odyssey” (1968), shot by Geoffrey Unsworth, and “Blade Runner” (1982), shot by Jordan Cronenweth; two from director Francis Ford Coppola: “The Godfather” (1972), shot by Gordon Willis, and “Apocalypse Now” (1979), shot by Oscar-winner Vittorio Storaro; two black-and-white entries: “Citizen Kane” (1941), shot by Gregg Toland, and “Raging Bull” (1980), shot by Michael Chapman; “Days of Heaven” (1978), shot by Oscar winner Néstor Almendros; and “The French Connection” (1971), shot by five-time Oscar nominee Owen Roizman.
Alas, there are no silent movies in the top 10. And there’s no representation of the ’30s; ‘the ’50s; or the ’90s.
The lists were voted on by...
The rest of the Top 10 list includes sci-fi classics “2001: A Space Odyssey” (1968), shot by Geoffrey Unsworth, and “Blade Runner” (1982), shot by Jordan Cronenweth; two from director Francis Ford Coppola: “The Godfather” (1972), shot by Gordon Willis, and “Apocalypse Now” (1979), shot by Oscar-winner Vittorio Storaro; two black-and-white entries: “Citizen Kane” (1941), shot by Gregg Toland, and “Raging Bull” (1980), shot by Michael Chapman; “Days of Heaven” (1978), shot by Oscar winner Néstor Almendros; and “The French Connection” (1971), shot by five-time Oscar nominee Owen Roizman.
Alas, there are no silent movies in the top 10. And there’s no representation of the ’30s; ‘the ’50s; or the ’90s.
The lists were voted on by...
- 1/8/2019
- by Bill Desowitz
- Indiewire
What didn’t go to Cannes is showing up at Venice, Telluride, Toronto and New York, along with a stack of would-be awards contenders from other festivals. That means fall moviegoers can sample a wide selection of riches, but not all will make the Oscar cut.
It’s clear that fall awards campaigners are making carefully calculated assessments of their movies’ strengths and weaknesses, and where to take their best shot. In today’s delicate marketplace, there’s no margin for error.
Truth is, at this stage the list of new movies with real Oscar potential is small. There’s a bunch no one has seen yet, from Adam McKay’s “Backseat” to Bob Zemeckis’ “Welcome to Marwen”. Some fall festival movies are still in the editing room, including Damien Chazelle’s follow-up to “La La Land,” Venice opener “First Man” (Universal).
Tiff announced Barry Jenkins’ anticipated period adaptation of...
It’s clear that fall awards campaigners are making carefully calculated assessments of their movies’ strengths and weaknesses, and where to take their best shot. In today’s delicate marketplace, there’s no margin for error.
Truth is, at this stage the list of new movies with real Oscar potential is small. There’s a bunch no one has seen yet, from Adam McKay’s “Backseat” to Bob Zemeckis’ “Welcome to Marwen”. Some fall festival movies are still in the editing room, including Damien Chazelle’s follow-up to “La La Land,” Venice opener “First Man” (Universal).
Tiff announced Barry Jenkins’ anticipated period adaptation of...
- 7/24/2018
- by Anne Thompson
- Thompson on Hollywood
What didn’t go to Cannes is showing up at Venice, Telluride, Toronto and New York, along with a stack of would-be awards contenders from other festivals. That means fall moviegoers can sample a wide selection of riches, but not all will make the Oscar cut.
It’s clear that fall awards campaigners are making carefully calculated assessments of their movies’ strengths and weaknesses, and where to take their best shot. In today’s delicate marketplace, there’s no margin for error.
Truth is, at this stage the list of new movies with real Oscar potential is small. There’s a bunch no one has seen yet, from Adam McKay’s “Backseat” to Bob Zemeckis’ “Welcome to Marwen”. Some fall festival movies are still in the editing room, including Damien Chazelle’s follow-up to “La La Land,” Venice opener “First Man” (Universal).
Tiff announced Barry Jenkins’ anticipated period adaptation of...
It’s clear that fall awards campaigners are making carefully calculated assessments of their movies’ strengths and weaknesses, and where to take their best shot. In today’s delicate marketplace, there’s no margin for error.
Truth is, at this stage the list of new movies with real Oscar potential is small. There’s a bunch no one has seen yet, from Adam McKay’s “Backseat” to Bob Zemeckis’ “Welcome to Marwen”. Some fall festival movies are still in the editing room, including Damien Chazelle’s follow-up to “La La Land,” Venice opener “First Man” (Universal).
Tiff announced Barry Jenkins’ anticipated period adaptation of...
- 7/24/2018
- by Anne Thompson
- Indiewire
Louise Brooks once said that the movies were invented to enable rich men to own desirable women. The Outlaw is the stuff of legend less for itself than for Howard Hughes’ creation of the sex star Jane Russell, and his battle with the censors and Hollywood itself. We’ve always gotten the impression that nobody has told the full story behind Hughes, Russell and this ultra-hyped notorious western.
The Outlaw
Blu-ray
Kl Studio Classics
1943 / B&W / 1:37 flat Academy / 116 min. / Street Date February 27, 2018 / available through Kino Lorber / 29.95
Starring: Jack Buetel, Jane Russell, Walter Huston, Thomas Mitchell, Mimi Aguglia, Joe Sawyer, Ben Johnson, Emory Parnell.
Cinematography: Gregg Toland
Film Editor: Wallace Grissell
Original Music: Victor Young
Written by Jules Furthman
Produced by Howard Hughes
Directed by Howard Hughes, Howard Hawks
“How’d you like to tussle with Russell?”
The most notorious film title in the censor debate of the 1940s is Howard Hughes’ The Outlaw,...
The Outlaw
Blu-ray
Kl Studio Classics
1943 / B&W / 1:37 flat Academy / 116 min. / Street Date February 27, 2018 / available through Kino Lorber / 29.95
Starring: Jack Buetel, Jane Russell, Walter Huston, Thomas Mitchell, Mimi Aguglia, Joe Sawyer, Ben Johnson, Emory Parnell.
Cinematography: Gregg Toland
Film Editor: Wallace Grissell
Original Music: Victor Young
Written by Jules Furthman
Produced by Howard Hughes
Directed by Howard Hughes, Howard Hawks
“How’d you like to tussle with Russell?”
The most notorious film title in the censor debate of the 1940s is Howard Hughes’ The Outlaw,...
- 2/27/2018
- by Glenn Erickson
- Trailers from Hell
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