October’s here and it’s time to get spooked. After last year’s superb “’70s Horror” lineup, the Criterion Channel commemorates October with a couple series: “Universal Horror,” which does what it says on the tin (with special notice to the Spanish-language Dracula), and “Home Invasion,” which runs the gamut from Romero to Oshima with Polanski and Haneke in the mix. Lest we disregard the programming of Cindy Sherman’s one feature, Office Killer, and Jennifer’s Body, whose lifespan has gone from gimmick to forgotten to Criterion Channel. And if you want to stretch ideas of genre just a hair, their “True Crime” selection gets at darker shades of human nature.
It’s not all chills and thrills, mind. October also boasts a Kirk Douglas repertoire, movies by Doris Wishman and Wayne Wang, plus Manoel de Oliveira’s rarely screened Porto of My Childhood. And Edgar Wright gets the “Adventures in Moviegoing” treatment,...
It’s not all chills and thrills, mind. October also boasts a Kirk Douglas repertoire, movies by Doris Wishman and Wayne Wang, plus Manoel de Oliveira’s rarely screened Porto of My Childhood. And Edgar Wright gets the “Adventures in Moviegoing” treatment,...
- 9/24/2021
- by Leonard Pearce
- The Film Stage
Brigitte Horney is not much remembered today, despite a long, distinguished career (films for Siodmak, Wegener, Fanck, the Nazi Baron Munchausen). Tarantino's name-checking of her during the pub games of Inglourious Basterds is probably her one star moment. Maybe the porn star name doesn't help: if Emil Jannings had been christened Emil Bigballs, he might not enjoy the status he currently has.Horney did not confine her activities to Germany: Secret Lives is a version of the Mata Hari history/legend produced in Britain with a French director, the versatile, some would say hacky, Edmond T. Gréville, whose most famous British creation was the 1960 camp classic Beat Girl (John Barry score; Gillian Hills; Christopher Lee; Oliver Reed; striptease and juvenile delinquency). But his '30s and '40s work, mostly in France, was generally slick and stylish.As a flagrant roman à clef treatment of the career of a celebrated seductress,...
- 9/21/2016
- MUBI
By Howard Hughes
(The following review is of the UK release of the film on Region 2 format.)
In Roy Ward Baker’s 1960s comedy-drama Two Left Feet, Michael Crawford plays Alan Crabbe, a clumsy and unlucky-in-love 19-year-old who begins dating ‘Eileen, the Teacup Queen’, a waitress at his local cafe. She lives in Camden Town and there are rumours that she’s married, but that doesn’t seem to alter her behavior. Alan and Eileen travel into London’s ‘Floride Club’, where the Storyville Jazzmen play trad for the groovers and shakers. Eileen turns out to be a ‘right little madam’, who is really just stringing Alan along. She’s the kind of girl who only dates to get into places and then starts chatting to randoms once inside. She takes up with ruffian Ronnie, while Alan meets a nice girl, Beth Crowley. But Eileen holds a strange hold over...
(The following review is of the UK release of the film on Region 2 format.)
In Roy Ward Baker’s 1960s comedy-drama Two Left Feet, Michael Crawford plays Alan Crabbe, a clumsy and unlucky-in-love 19-year-old who begins dating ‘Eileen, the Teacup Queen’, a waitress at his local cafe. She lives in Camden Town and there are rumours that she’s married, but that doesn’t seem to alter her behavior. Alan and Eileen travel into London’s ‘Floride Club’, where the Storyville Jazzmen play trad for the groovers and shakers. Eileen turns out to be a ‘right little madam’, who is really just stringing Alan along. She’s the kind of girl who only dates to get into places and then starts chatting to randoms once inside. She takes up with ruffian Ronnie, while Alan meets a nice girl, Beth Crowley. But Eileen holds a strange hold over...
- 10/5/2014
- by nospam@example.com (Cinema Retro)
- Cinemaretro.com
A smooth landing for the Star Trek sequel plus ongoing love for Iron Man 3 means cinematic coffers should live long and prosper
The winner
When the Next Generation cycle of Star Trek movies sputtered to an end in 2003, Nemesis closed out its run with a mediocre £4.8m in the UK, down from previous episode Insurrection's £7.7m. Paramount and Jj Abrams craftily reinvented the brand with the 2009 reboot, debuting with a tasty £5.95m (including £872,000 in previews), on its way to a total of £21.4m. Now comes the sequel, Into Darkness. Given the expanded fanbase established by the 2009 film, and the addition of Sherlock star Benedict Cumberbatch as the Star Fleet's formidable new foe, it's no big surprise to see numbers rise. Even so, Paramount will be more than happy with the achieved result: £8.43m including previews of £1.57m. That's a 42% rise on the debut last time around. Sequels do usually...
The winner
When the Next Generation cycle of Star Trek movies sputtered to an end in 2003, Nemesis closed out its run with a mediocre £4.8m in the UK, down from previous episode Insurrection's £7.7m. Paramount and Jj Abrams craftily reinvented the brand with the 2009 reboot, debuting with a tasty £5.95m (including £872,000 in previews), on its way to a total of £21.4m. Now comes the sequel, Into Darkness. Given the expanded fanbase established by the 2009 film, and the addition of Sherlock star Benedict Cumberbatch as the Star Fleet's formidable new foe, it's no big surprise to see numbers rise. Even so, Paramount will be more than happy with the achieved result: £8.43m including previews of £1.57m. That's a 42% rise on the debut last time around. Sequels do usually...
- 5/15/2013
- by Charles Gant
- The Guardian - Film News
Basil Dearden, recently celebrated with an Eclipse box set of his London crime dramas, was almost unique in the early part of his career (the forties and fifties) for trying to look at working-class life in Britain and examine the issues affecting it. Unlike the later "kitchen sink" realist films of the sixties, mainly adapted from plays and novels, Dearden tended to work from original screenplays, and he tended to use genre to sweeten the pill of social commentary.
Violent Playground (1958) is one of his best, and it shows both the strengths and weaknesses of Dearden's approach in great detail. One of the director's quirks, picked up at Ealing, was a fondness for films which interwove multiple storylines (Train of Events, Pool of London), rather like John Sayles, allowing a panoply of a particular time and place to emerge, but sadly limiting the development of each storyline. Fortunately, in Violent Playground,...
Violent Playground (1958) is one of his best, and it shows both the strengths and weaknesses of Dearden's approach in great detail. One of the director's quirks, picked up at Ealing, was a fondness for films which interwove multiple storylines (Train of Events, Pool of London), rather like John Sayles, allowing a panoply of a particular time and place to emerge, but sadly limiting the development of each storyline. Fortunately, in Violent Playground,...
- 8/2/2012
- MUBI
Dublin-based beActive has launched the world's first ever scripted series on Pinterest with its transmedia project 'Beat Girl'. Catriona Scott adapted Kallaly's novel for the web series, which was directed by Mirko Pincelli. Nuno Bernardo and Triona Campbell produced, while Enrico Tessarin was the line producer. Dania Lucas edited in post-production. BeActive has also developed the series into a feature film. Mairtin De Barra directed, working from a script written by Nuno Bernardo, Susana Tavares and Melanie Martinez. Bernardo and Campbell produced, with Ciara Whelan and De Barra the line producers on both productions. Anna Maria O'Flanagan will edit in post-production. English actress Louise Dylan (Emma) plays Heather in both the web and TV series.
- 7/6/2012
- IFTN
When only four percent of scripted TV shows feature Lgbt characters, what's a gay girl to do? Why, strap on your gay goggles and watch TV along with us, of course! Our handy appraisal scale is better than any old letter grade. Other sites A+. We say, "What about our lezzy-lady feelings?"
Hey, Captain Dean! Yeah, you, with the pilot's hat and that one self-congratulatory facial expression. Did you happen to see the note I wrote to Co-captain Ted last week? The one where I talked about how he should give the show back to the ladies due to my boredom? Well, I was going to write you a similar note this week, but by the second scene you were supposed to be carrying — ZZZzzzzz.
Oh, look at that: Just talking about your scenes triggers a narcoleptic reaction inside my brain. Weird.
Afterellen Bait
You guys, what the hell? Pan Am...
Hey, Captain Dean! Yeah, you, with the pilot's hat and that one self-congratulatory facial expression. Did you happen to see the note I wrote to Co-captain Ted last week? The one where I talked about how he should give the show back to the ladies due to my boredom? Well, I was going to write you a similar note this week, but by the second scene you were supposed to be carrying — ZZZzzzzz.
Oh, look at that: Just talking about your scenes triggers a narcoleptic reaction inside my brain. Weird.
Afterellen Bait
You guys, what the hell? Pan Am...
- 10/24/2011
- by Heather Hogan
- AfterEllen.com
Our detailed look back over the non-Bond scores of John Barry continues with a look at his work between the years 1968 to 1979…
In the third part of our John Barry retrospective, we enter the late 60s and a surge of activity that would typify the composer’s output for nearly two decades. Despite the exacting nature of his commissions, he continued to build on his reputation with a succession of quality scores that stockpiled brilliant and unexpected surprises on top of unprecedented new ground. But all the while, he continued to strive for authenticity of arrangement and sincerity of expression. This phase demonstrates his broadening outlook but also reflects, in a profound way, the diversity of his musical influences.
His early output took inspiration from both the rhythm and blues of The Barry Seven and the popular rhythms of the time, such as Gene Vincent and American guitarist Duane Eddy,...
In the third part of our John Barry retrospective, we enter the late 60s and a surge of activity that would typify the composer’s output for nearly two decades. Despite the exacting nature of his commissions, he continued to build on his reputation with a succession of quality scores that stockpiled brilliant and unexpected surprises on top of unprecedented new ground. But all the while, he continued to strive for authenticity of arrangement and sincerity of expression. This phase demonstrates his broadening outlook but also reflects, in a profound way, the diversity of his musical influences.
His early output took inspiration from both the rhythm and blues of The Barry Seven and the popular rhythms of the time, such as Gene Vincent and American guitarist Duane Eddy,...
- 8/8/2011
- Den of Geek
Our detailed look back over the non-Bond scores of John Barry continues with a look at his work between the years 1968 to 1979…
In the third part of our John Barry retrospective, we enter the late 60s and a surge of activity that would typify the composer’s output for nearly two decades. Despite the exacting nature of his commissions, he continued to build on his reputation with a succession of quality scores that stockpiled brilliant and unexpected surprises on top of unprecedented new ground. But all the while, he continued to strive for authenticity of arrangement and sincerity of expression. This phase demonstrates his broadening outlook but also reflects, in a profound way, the diversity of his musical influences.
His early output took inspiration from both the rhythm and blues of The Barry Seven and the popular rhythms of the time, such as Gene Vincent and American guitarist Duane Eddy,...
In the third part of our John Barry retrospective, we enter the late 60s and a surge of activity that would typify the composer’s output for nearly two decades. Despite the exacting nature of his commissions, he continued to build on his reputation with a succession of quality scores that stockpiled brilliant and unexpected surprises on top of unprecedented new ground. But all the while, he continued to strive for authenticity of arrangement and sincerity of expression. This phase demonstrates his broadening outlook but also reflects, in a profound way, the diversity of his musical influences.
His early output took inspiration from both the rhythm and blues of The Barry Seven and the popular rhythms of the time, such as Gene Vincent and American guitarist Duane Eddy,...
- 8/8/2011
- Den of Geek
Composer John Barry may be best known for his 007 scores, but we look beyond Bond for a detailed look at the rest of his extraordinary career...
Timeless, innovative, expansive and sensual, the music of John Barry Prendergast is a thought-provoking testament to a man who set the bar high and kept on raising it.
For many of us, the work of British composer, Barry, is synonymous with the Bond franchise, and there's no mistaking his contribution to that legacy. His work (along with that of Monty Norman) came to signify the arch, dangerously seductive swagger and cool, ambivalent melancholy that is the man behind the martini glass. He captured a world of intrigue, code and double meaning, of subterfuge, ambiguity, covert operation and sexuality. His was a trenchant and identifiable yet intriguingly elliptical and diverse musical sensibility that lassoed widely different vocalists from Louis Armstrong to Duran Duran, invariably producing something magnetic and memorable.
Timeless, innovative, expansive and sensual, the music of John Barry Prendergast is a thought-provoking testament to a man who set the bar high and kept on raising it.
For many of us, the work of British composer, Barry, is synonymous with the Bond franchise, and there's no mistaking his contribution to that legacy. His work (along with that of Monty Norman) came to signify the arch, dangerously seductive swagger and cool, ambivalent melancholy that is the man behind the martini glass. He captured a world of intrigue, code and double meaning, of subterfuge, ambiguity, covert operation and sexuality. His was a trenchant and identifiable yet intriguingly elliptical and diverse musical sensibility that lassoed widely different vocalists from Louis Armstrong to Duran Duran, invariably producing something magnetic and memorable.
- 7/25/2011
- Den of Geek
The Academy Award nominations are upon us, and leading the way with 12 is Tom Hooper’s historical melodrama The King’s Speech, which also happens to be the only one of the 10 Best Picture nominees we’ve yet to discuss on the show, so this seemed like as good an opening as we were going to get. We’ll review Hooper’s widely-lauded flick, along with some discussion of the nods and the Academy itself, and a breakdown on the Sundance Film Festival.
Here’s the Christopher Hitchens piece referenced in the King’s Speech review:
http://www.slate.com/id/2282194/
Please note that in this episode, we got a little carried away with exploiting the Sound on Sight Hoveryacht’s newfound freedoms. We apologize for any incurred sloppiness. Well, we kinda apologize.
listen here
Download in a new window
Playlist:
John Barry – Beat Girl, Themes From Roman Spring of Mrs.
Here’s the Christopher Hitchens piece referenced in the King’s Speech review:
http://www.slate.com/id/2282194/
Please note that in this episode, we got a little carried away with exploiting the Sound on Sight Hoveryacht’s newfound freedoms. We apologize for any incurred sloppiness. Well, we kinda apologize.
listen here
Download in a new window
Playlist:
John Barry – Beat Girl, Themes From Roman Spring of Mrs.
- 2/1/2011
- by Simon Howell
- SoundOnSight
Film composer John Barry, who died yesterday aged 77, remains an inspiration to many. We look at some of his finest work, from Beat Girl to Bond
Already a successful band leader, with the John Barry Seven, the movie world was introduced to the composer when he provided the music to Beat Girl, a movie starring his friend Adam Faith. The result was the first soundtrack album to warrant a UK release, the launch of a five times Oscar-winning film career for Barry, one of the first examples of rock music being incorporated into film scores and, best of all, a killer, world-class opening title sequence.
Barry won two Oscars for his astounding work on Born Free, one for the soundtrack and the other for his collaboration with lyricist Don Black for the classic Matt Monro title song. Amazingly, this signature tune, a chart topper even in cover versions by Roger Williams...
Already a successful band leader, with the John Barry Seven, the movie world was introduced to the composer when he provided the music to Beat Girl, a movie starring his friend Adam Faith. The result was the first soundtrack album to warrant a UK release, the launch of a five times Oscar-winning film career for Barry, one of the first examples of rock music being incorporated into film scores and, best of all, a killer, world-class opening title sequence.
Barry won two Oscars for his astounding work on Born Free, one for the soundtrack and the other for his collaboration with lyricist Don Black for the classic Matt Monro title song. Amazingly, this signature tune, a chart topper even in cover versions by Roger Williams...
- 2/1/2011
- by Phelim O'Neill
- The Guardian - Film News
Composer most closely associated with the golden age of James Bond but whose scores ranged from Midnight Cowboy to Dances With Wolves
John Barry, who has died aged 77 following a heart attack, will always be associated with the golden age of James Bond, but though much of his most famous music was written to accompany the outlandish adventures of 007, his work covered a huge variety of moods and styles. Barry wrote epic, sweeping film scores for Zulu (1964), Born Free (1966) and Out of Africa (1985), introduced blues and jazz themes into The Chase (1966) and The Cotton Club (1984), and conceived the shivery, sinister music for The Ipcress File (1965). He even became something of a pop star in his own right.
He was born Jonathan Barry Prender- gast in York, where his father ran a chain of cinemas. His mother was a talented musician, but had abandoned the attempt to establish herself as a concert pianist.
John Barry, who has died aged 77 following a heart attack, will always be associated with the golden age of James Bond, but though much of his most famous music was written to accompany the outlandish adventures of 007, his work covered a huge variety of moods and styles. Barry wrote epic, sweeping film scores for Zulu (1964), Born Free (1966) and Out of Africa (1985), introduced blues and jazz themes into The Chase (1966) and The Cotton Club (1984), and conceived the shivery, sinister music for The Ipcress File (1965). He even became something of a pop star in his own right.
He was born Jonathan Barry Prender- gast in York, where his father ran a chain of cinemas. His mother was a talented musician, but had abandoned the attempt to establish herself as a concert pianist.
- 2/1/2011
- by Adam Sweeting
- The Guardian - Film News
London — Five-time Oscar-winning composer John Barry, who wrote music for a dozen James Bond films, including "You Only Live Twice" and "Goldfinger" but couldn't persuade a jury that he composed the suave spy's theme music, has died. He was 77.
Barry died in New York, where he had lived for some time, on Sunday, his family said. The family did not release the cause of death.
Though his work on the Bond films is among his most famous, the English-born composer wrote a long list of scores, including for "Midnight Cowboy," "Dances with Wolves" and "Body Heat." He was proud of writing both for big action blockbusters and smaller films.
He won two Oscars for "Born Free" in 1966, for best score and best song. He also earned statuettes for the scores to "The Lion in Winter" (1968), "Out of Africa" (1985) and "Dances with Wolves" (1990).
His association with Agent 007 began with "Dr. No...
Barry died in New York, where he had lived for some time, on Sunday, his family said. The family did not release the cause of death.
Though his work on the Bond films is among his most famous, the English-born composer wrote a long list of scores, including for "Midnight Cowboy," "Dances with Wolves" and "Body Heat." He was proud of writing both for big action blockbusters and smaller films.
He won two Oscars for "Born Free" in 1966, for best score and best song. He also earned statuettes for the scores to "The Lion in Winter" (1968), "Out of Africa" (1985) and "Dances with Wolves" (1990).
His association with Agent 007 began with "Dr. No...
- 1/31/2011
- by AP
- Huffington Post
John Barry's soundtracks often outstripped the films for which they were written. And despite a prickly reputation, when I met him he was the perfect host
While it would be a little outlandish to say that John Barry lived a James Bond lifestyle, it wasn't hard to imagine him in the world of The Persuaders, driving an open-top E-type to the south of France, immaculately turned out, eloping with the au pair. He was, more than many familiar faces, a movie star.
The theme from The Persuaders was – ignoring the James Bond theme, which existed like air – my introduction to the John Barry sound. The opening notes of its electric harpsichord matched high-contrast screen images of Tony Curtis and Roger Moore and created great excitement. It was the soundtrack to many Sunday lunchtimes in the early-70s.
Theme from the Persuaders on the CBS label was one of the first records I owned,...
While it would be a little outlandish to say that John Barry lived a James Bond lifestyle, it wasn't hard to imagine him in the world of The Persuaders, driving an open-top E-type to the south of France, immaculately turned out, eloping with the au pair. He was, more than many familiar faces, a movie star.
The theme from The Persuaders was – ignoring the James Bond theme, which existed like air – my introduction to the John Barry sound. The opening notes of its electric harpsichord matched high-contrast screen images of Tony Curtis and Roger Moore and created great excitement. It was the soundtrack to many Sunday lunchtimes in the early-70s.
Theme from the Persuaders on the CBS label was one of the first records I owned,...
- 1/31/2011
- by Bob Stanley
- The Guardian - Film News
"Beat Girl" is the 1959 British indie film about late-fifties youth-rebellion, introducing actress Gillian Hills, who followed up with small roles in "Blowup" and "A Clockwork Orange.
The music was by a 7-piece jazz group led by composer John Barry.
Barry, who would later be revered for his "James Bond" soundtracks, was managing singer Adam Faith at the time. Barry's music for the film became the first movie soundtrack LP to be released in the UK.
"Beat Girl" was released in North America under the title "Wild for Kicks", featuring additional stripper scenes not in the British version, that was banned at the time, as well as additional music not on the soundtrack LP.
Thanks to SneakPeekTV, you can watch the entire "Beat Girl" feature below...
The music was by a 7-piece jazz group led by composer John Barry.
Barry, who would later be revered for his "James Bond" soundtracks, was managing singer Adam Faith at the time. Barry's music for the film became the first movie soundtrack LP to be released in the UK.
"Beat Girl" was released in North America under the title "Wild for Kicks", featuring additional stripper scenes not in the British version, that was banned at the time, as well as additional music not on the soundtrack LP.
Thanks to SneakPeekTV, you can watch the entire "Beat Girl" feature below...
- 12/14/2009
- by Michael Stevens
- SneakPeek
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