Not much is known about Herr Starr other than the fact that he’s the most feared man in The Grail. The popular villain made his debut in the Preacher #4 Standing Tall issue that was released in July of 1995. When you look up at the definition of evil, Herr Starr is the perfect representation of the four-letter word. The world got a taste of the villain throughout the live-action series Preacher; however, there should be more exploration on the man that stole the show every time he was onscreen. The show got a bit silly with its character in
Why Preacher’s Herr Starr Deserves A Spin-Off...
Why Preacher’s Herr Starr Deserves A Spin-Off...
- 4/8/2022
- by Jeffrey Bowie Jr.
- TVovermind.com
A couple of weeks ago, I interviewed Nathan Gelgud, an artist who has brought a wry comic book charm to the world of cinephilia. It seemed only natural that I should find out more about the art that has influenced him and so I asked him to select his personal top ten favorite movie posters. He was more than up for the challenge and decided to narrow the field to illustrated posters, which makes perfect sense. Here are his ten favorites, in no special order.1. (Above) Us one sheet for Five on the Black Hand Side (Oscar Williams, USA, 1973). Artist: Jack Davis.I love all the accouterments on the main figure—the hat, the cigar, the umbrella, suitcase, those things that go over the shoes. But even better is the way Davis has arranged all the characters around him, the way the jumping guy’s arm joins with the guy...
- 11/3/2017
- MUBI
Get in touch to send in cinephile news and discoveries. For daily updates follow us @NotebookMUBI.NEWSOver the weekend we lost two greats: Filmmaker George A. Romero, best known for inventing the modern version of all things zombie, and actor Martin Landau. Patton Oswalt has pointed out that a 19-year-old Romero worked as a pageboy on North by Northwest, Landau's second movie.The Academy of Motion Pictures Arts and Sciences has again added more names to its membership, and this latest batch includes even more unexpected additions from the world of international art cinema, including directors Pedro Costa, Lav Diaz, Ann Hui, Alejandro Jodorowsky, Kira Muratova, Johnnie To and Athina Rachel Tsangari.Did you see that the lineup of the Locarno Film Festival has been announced? With a huge retrospective devoted to Cat People director Jacques Tourneur and a competition including new films by Wang Bing, F.J. Ossang, Ben Russell,...
- 7/19/2017
- MUBI
Robert Bresson’s Lancelot Du Lac [pictured] included in deal.
French mini-major Gaumont and Eclair, the European cinema technologies specialists and part of Ymagis group, are joining forces to restore more than 100 feature films.
The films will be selected from Gaumont’s catalogue. The deal is an extension of a pre-existing partnership that has already seen Eclair restore a number of the company’s film library using digital technology.
In 2016, Eclair restored 25 Gaumont features, including Louis Malle’s My Dinner With André (1981), Maurice Tourneur’s Samson (1936) and André Barsacq’s Le Rideau Rouge (1952).
Titles selected for 2017 include Julien Duvivier’s Untel Père Et Fils (1945) and L’homme Du Jour (1937) Jacques Doillon’s La Femme Qui Pleure (1979) and Robert Bresson’s Lancelot Du Lac (1974).
Since Eclair launched its restoration division in 2000, more than 750 films have been restored by the company.
Yves Gringuillard heads up the restoration and preservation side of the business, which has a staff...
French mini-major Gaumont and Eclair, the European cinema technologies specialists and part of Ymagis group, are joining forces to restore more than 100 feature films.
The films will be selected from Gaumont’s catalogue. The deal is an extension of a pre-existing partnership that has already seen Eclair restore a number of the company’s film library using digital technology.
In 2016, Eclair restored 25 Gaumont features, including Louis Malle’s My Dinner With André (1981), Maurice Tourneur’s Samson (1936) and André Barsacq’s Le Rideau Rouge (1952).
Titles selected for 2017 include Julien Duvivier’s Untel Père Et Fils (1945) and L’homme Du Jour (1937) Jacques Doillon’s La Femme Qui Pleure (1979) and Robert Bresson’s Lancelot Du Lac (1974).
Since Eclair launched its restoration division in 2000, more than 750 films have been restored by the company.
Yves Gringuillard heads up the restoration and preservation side of the business, which has a staff...
- 5/26/2017
- by tom.grater@screendaily.com (Tom Grater)
- ScreenDaily
She could never be a saint, but she thought she could be a martyr if they killed her quick.—Flannery O’Connor The mist uncovers Japanese soldiers as well as the grim sight of severed heads by the side of the hot springs where Catholic priests are being tortured. A priest kneels down in horror, almost catatonic, unable to bring himself to believe in the evilness of these men, the men of the Inquisitor. Why are these priests, who came to this “swamp of Japan” to spread the Word of the Lord, suffering so immensely on the hands of these soldiers?To the modern, secular audience, the theme of Silence (2016) is of great irony: the all-powerful Catholic Church, the institution that spread terror across Europe for 700 years with her bonfires and witch hunts and enforcing an almost maddening outlook at faith and personal behavior, comes to an unconquerable land where...
- 3/28/2017
- MUBI
The Pythons return to the big screen with a 40th-anniversary rerelease that reminds us of their superb, anarchic daring
Just after Robert Bresson’s Lancelot of the Lake and before John Boorman’s Excalibur there was Monty Python and the Holy Grail (1975), the Pythons’ classic Arthurian hallucination. Now rereleased in cinemas on its 40th anniversary, the film was their bridgehead into international stardom. Watched again now on the big screen, it is eerie to see how, without the gags, much of its cinematography and imagery could actually be taken entirely seriously. (“Ingmar Bergman’s gonna be jealous of this one!” co-director Terry Gilliam told a BBC Film Night location reporter at the time.)
Continue reading...
Just after Robert Bresson’s Lancelot of the Lake and before John Boorman’s Excalibur there was Monty Python and the Holy Grail (1975), the Pythons’ classic Arthurian hallucination. Now rereleased in cinemas on its 40th anniversary, the film was their bridgehead into international stardom. Watched again now on the big screen, it is eerie to see how, without the gags, much of its cinematography and imagery could actually be taken entirely seriously. (“Ingmar Bergman’s gonna be jealous of this one!” co-director Terry Gilliam told a BBC Film Night location reporter at the time.)
Continue reading...
- 10/15/2015
- by Peter Bradshaw
- The Guardian - Film News
The Pythons return to the big screen with a 40th-anniversary rerelease that reminds us of their superb, anarchic daring
Just after Robert Bresson’s Lancelot of the Lake and before John Boorman’s Excalibur there was Monty Python and the Holy Grail (1975), the Pythons’ classic Arthurian hallucination. Now rereleased in cinemas on its 40th anniversary, the film was their bridgehead into international stardom. Watched again now on the big screen, it is eerie to see how, without the gags, much of its cinematography and imagery could actually be taken entirely seriously. (“Ingmar Bergman’s gonna be jealous of this one!” co-director Terry Gilliam told a BBC Film Night location reporter at the time.)
Continue reading...
Just after Robert Bresson’s Lancelot of the Lake and before John Boorman’s Excalibur there was Monty Python and the Holy Grail (1975), the Pythons’ classic Arthurian hallucination. Now rereleased in cinemas on its 40th anniversary, the film was their bridgehead into international stardom. Watched again now on the big screen, it is eerie to see how, without the gags, much of its cinematography and imagery could actually be taken entirely seriously. (“Ingmar Bergman’s gonna be jealous of this one!” co-director Terry Gilliam told a BBC Film Night location reporter at the time.)
Continue reading...
- 10/15/2015
- by Peter Bradshaw
- The Guardian - Film News
The late Francesco Rosi's answer to The Godfather is an authentic, didactic and pugnacious odyssey through post-war Italian and American politics and gangsterism. It avoids any sense of an epic family saga and instead evinces the filmmaker's life-long interest in social systems, in this case the way organized crime and government walk hand in hand. While Coppola's saga focused on family dynamics, leaving the critique of capitalism to be inferred by the viewer, in Lucky Luciano (1973) the sights are set squarely on the mechanisms of power in the western world.
Gian Maria Volonte is very impressive indeed in this, suggesting the creep of old age with little more than some grey hair and a stooping posture, and being utterly convincing at every stage. He seems without vanity and with no need to be loved by the audience, so he embraces the vileness of the character (as in the masterful...
Gian Maria Volonte is very impressive indeed in this, suggesting the creep of old age with little more than some grey hair and a stooping posture, and being utterly convincing at every stage. He seems without vanity and with no need to be loved by the audience, so he embraces the vileness of the character (as in the masterful...
- 1/29/2015
- by David Cairns
- MUBI
Above: Lancelot du Lac (Robert Bresson, France, 1974).
One of France’s most beloved and recognizable poster designers, Raymond Savignac (1907-2002) created some 600 posters over a 50 year career, working almost exclusively in advertising. His simple, whimsical, colorful designs, reminiscent of children’s book illustrations, famously promoted Dunlop, Bic, Perrier, Air France, Cinzano and many other companies with an ineffable charm and wit. As far as I can tell, he designed only ten movie posters during his career, all of which I have gathered here. Five of them were created for the director Yves Robert (best known for The Tall Blond Man with One Black Shoe, the poster for which was designed by Savignac’s friend and peer Hervé Moran) and three for the later films of Robert Bresson. In fact one of Savignac’s final works was for a retrospective of Bresson in 2000.
A protegé of the great designer A.M.
One of France’s most beloved and recognizable poster designers, Raymond Savignac (1907-2002) created some 600 posters over a 50 year career, working almost exclusively in advertising. His simple, whimsical, colorful designs, reminiscent of children’s book illustrations, famously promoted Dunlop, Bic, Perrier, Air France, Cinzano and many other companies with an ineffable charm and wit. As far as I can tell, he designed only ten movie posters during his career, all of which I have gathered here. Five of them were created for the director Yves Robert (best known for The Tall Blond Man with One Black Shoe, the poster for which was designed by Savignac’s friend and peer Hervé Moran) and three for the later films of Robert Bresson. In fact one of Savignac’s final works was for a retrospective of Bresson in 2000.
A protegé of the great designer A.M.
- 1/10/2015
- by Adrian Curry
- MUBI
The clue to the right was included in Criterion's most recent newsletter, hinting at an upcoming title they will be releasing. I am terrible at these things and can never get them right, but I took it to Twitter and guesses began flooding in including Paul Robeson's Jericho (1937) and Robert Bresson's Lancelot of the Lake (1974), but it seems the folks over at Criterion Forum may have been onto something guessing Frank Capra's It Happened One Night (1934) starring Clark Gable and Claudette Colbert with the image referring to Gable's character's reference to the "Walls of Jericho" as he walks in to see Ellie (Colbert) has erected a sheet between their two beds: Oh thisc Well, I like privacy when I retire. Yes, I'm very delicate in that respect. Prying eyes annoy me. Behold the walls of Jericho! Uh, maybe not as thick as the ones that Joshua blew down with his trumpet,...
- 7/10/2014
- by Brad Brevet
- Rope of Silicon
John Pierson, the producer of Slacker and several other early features by notable directors of the American independent filmmaking renaissance of the ‘80s and ‘90s, once described Richard Linklater as the voice of a generation that wasn’t part of it: an art film brat who found himself at the center of a microbudget filmmaking movement who would “much rather talk about Robert Bresson’s Lancelot du Lac than either Jaws or The Brady Bunch.” Yet Linklater’s filmography suggests that he’s just as comfortable with ascetic French minimalism as he is with American broadcast television. His career covers everything from no-budget chamber dramas like Tape to studio-backed kids’ movies like School of Rock to cult classics like Dazed and Confused and animated experiments like Waking Life. While Linklater is notably comfortable making movies in his native Texas (he arguably defined Austin’s filmmaking and twentysomething scene without overtly seeking to instigate or capture either), as...
- 6/5/2013
- by Landon Palmer
- FilmSchoolRejects.com
“We are still coming to terms with Robert Bresson, and the peculiar power and beauty of his films,” Martin Scorsese said in the 2010 book “A Passion For Film,” describing the often overlooked French filmmaker as “one of the cinema’s greatest artists.”
But while he may be revered by some as the finest French filmmaker bar Jean Renoir, outside hardcore cinephile circles he and his films are virtually unknown (perhaps regarded as too opaque or nebulous). Just consider the fact that almost every definitive book on the elusive director was published during the aughts to feel the full truth of Scorsese's statement about how we're still in the process of appreciating and understanding his life and work. Even Bresson’s actual birthdate is contested, adding further the ambiguities surrounding the director.
“Make visible what, without you, might perhaps never have been seen,” the meticulous Bresson once famously said, hinting at...
But while he may be revered by some as the finest French filmmaker bar Jean Renoir, outside hardcore cinephile circles he and his films are virtually unknown (perhaps regarded as too opaque or nebulous). Just consider the fact that almost every definitive book on the elusive director was published during the aughts to feel the full truth of Scorsese's statement about how we're still in the process of appreciating and understanding his life and work. Even Bresson’s actual birthdate is contested, adding further the ambiguities surrounding the director.
“Make visible what, without you, might perhaps never have been seen,” the meticulous Bresson once famously said, hinting at...
- 4/18/2012
- by The Playlist
- The Playlist
Robert Bresson: The Over-Plenty of Life is a series we've been running in conjunction with the complete retrospective of Bresson's work that'll be touring North America through May. I thought I'd supplement Ignatiy Vishnevetsky's essays, Daniel Kasman's observations and Adrian Curry's collection of posters with a roundup of pointers to pieces on Bresson that have appeared over the past month or two. One of the occasions of the series, as I mentioned in the entry on the initial announcement (with its basic schedule of cities and dates) is the publication of an expanded and illustrated edition of series curator James Quandt's collection, Robert Bresson (Revised), so let's open this go round with notes on another book, Tony Pipolo's Robert Bresson: A Passion for Film. Jonathan Rosenbaum's posted his review for the Summer 2010 issue of Cineaste, in which he calls it…
one of the most careful and...
one of the most careful and...
- 2/7/2012
- MUBI
Asked by Sight & Sound to name the ten greatest films of all time, Robert Bresson submitted the following, somewhat notorious list:
1. City Lights
2. City Lights
3. The Gold Rush
4.
5.
6.
7.
8.
9.
10.
There are two ways in which Robert Bresson is rarely spoken about: as a comic filmmaker (though, as the above demonstrates, he could be pretty damn funny) and as someone whose work displays the influence of other directors.
Let's begin with that second point. Going back to some of the earliest defenses—as well as the earliest dismissals—of his work, Bresson has largely been described as a filmmaker "without precedent;" his detractors from the 1940s to the 1960s complained that his films didn't work the way movies were supposed to, and his supporters were more than happy to praise his films for the exact same reasons (Jacques Becker, for one, took the pages of L'Écran français to defend the poorly-received Les dames du Bois de Boulogne...
1. City Lights
2. City Lights
3. The Gold Rush
4.
5.
6.
7.
8.
9.
10.
There are two ways in which Robert Bresson is rarely spoken about: as a comic filmmaker (though, as the above demonstrates, he could be pretty damn funny) and as someone whose work displays the influence of other directors.
Let's begin with that second point. Going back to some of the earliest defenses—as well as the earliest dismissals—of his work, Bresson has largely been described as a filmmaker "without precedent;" his detractors from the 1940s to the 1960s complained that his films didn't work the way movies were supposed to, and his supporters were more than happy to praise his films for the exact same reasons (Jacques Becker, for one, took the pages of L'Écran français to defend the poorly-received Les dames du Bois de Boulogne...
- 1/13/2012
- MUBI
A tonic for the New Year: for the next two weeks Film Forum is running a near-complete retrospective of the films of Robert Bresson programmed by the Tiff Cinematheque. The posters for Bresson’s films are a fascinating grab-bag of styles, verging from melodrama to minimalism to symbolism to the wildly inappropriate (see the Italian Mouchette), as designers tried to express and occasionally subvert Bresson’s celebrated and increasing austerity. My favorite may well be this lovely, witty French grande for Pickpocket, illustrated by the great Christian Broutin (best known for his iconic Jules and Jim posters). But there are plenty of other standouts, most especially Raymond Savignac’s series of playful cartoons for Bresson’s final three films: Lancelot du Lac, The Devil, Probably and L’Argent, and the stunning Czech surrealism for Une femme douce.
I present my favorite Bresson posters, a couple per film if possible, in chronological order.
I present my favorite Bresson posters, a couple per film if possible, in chronological order.
- 1/6/2012
- MUBI
Producer of Pier Paolo Pasolini's early films
Though an enterprising film producer, often ahead of his times, Alfredo Bini, who has died aged 83, is best remembered for having given the poet Pier Paolo Pasolini the chance to make his debut as a film-maker with Accattone (1960), when no other film company was prepared to back it. Bini produced more than 40 films, including all the features made by Pasolini up until 1967, including Il Vangelo Secondo Matteo (The Gospel According to St Matthew, 1964). Among his other films were many starring his wife, Rosanna Schiaffino.
Bini was born in Livorno, Tuscany, and, during the second world war, ran away from home to join the army. He was wounded and got a medal, but went back to finish his studies in biology. He soon gave up the idea of a scientific career and in 1945 moved to Rome, where, after taking on various jobs, he managed a theatre group.
Though an enterprising film producer, often ahead of his times, Alfredo Bini, who has died aged 83, is best remembered for having given the poet Pier Paolo Pasolini the chance to make his debut as a film-maker with Accattone (1960), when no other film company was prepared to back it. Bini produced more than 40 films, including all the features made by Pasolini up until 1967, including Il Vangelo Secondo Matteo (The Gospel According to St Matthew, 1964). Among his other films were many starring his wife, Rosanna Schiaffino.
Bini was born in Livorno, Tuscany, and, during the second world war, ran away from home to join the army. He was wounded and got a medal, but went back to finish his studies in biology. He soon gave up the idea of a scientific career and in 1945 moved to Rome, where, after taking on various jobs, he managed a theatre group.
- 11/2/2010
- by John Francis Lane
- The Guardian - Film News
Modern reality is all very well but why not let art lead you to other places and times – in the way an escapist novel or film might
Critics are always praising works of art for being urgent, challenging, disturbing, provocative and so forth. But is that what people actually want from the arts? Is it what I, personally, require?
Apparently not, or not always, because I've recently watched the following films: La Reine Margot, The New World, Jeanne la Pucelle and Lancelot du Lac. What they have in common is that they are escapist historical romances, far removed from 21st-century life. Like most people, I don't want art to only rub my nose in modern reality. I want it to take me to other places and times, from the lurid Renaissance world of Queen Margot to the fabulous futures of science fiction.
This is also how people read novels: Hilary...
Critics are always praising works of art for being urgent, challenging, disturbing, provocative and so forth. But is that what people actually want from the arts? Is it what I, personally, require?
Apparently not, or not always, because I've recently watched the following films: La Reine Margot, The New World, Jeanne la Pucelle and Lancelot du Lac. What they have in common is that they are escapist historical romances, far removed from 21st-century life. Like most people, I don't want art to only rub my nose in modern reality. I want it to take me to other places and times, from the lurid Renaissance world of Queen Margot to the fabulous futures of science fiction.
This is also how people read novels: Hilary...
- 3/26/2010
- by Jonathan Jones
- The Guardian - Film News
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