There's never been a director quite like Nicholas Ray, whose strange, difficult career and weird give-and-take relationship with Hollywood we profiled a little while ago. But though we very much recommend that you check out our version of his story, here's another one well worth experiencing: that of Dennis Hopper, who worked with Ray on his most famous film, “Rebel Without A Cause,” and on the white whale of his final days, the strange experimental project “We Can't Go Home Again.” Hopper's 5 minutes of poetic musings and archival clips, compiled for TCM in the '90s, features the actor reminiscing about Ray showing up at his house unannounced in the '70s and staying for 5 months, running up huge bills trying to get another movie off the ground. But Hopper also remembers his time, aged just 18, on the set of 'Rebel,' learning how a great director worked to create great performances.
- 4/29/2014
- by Ben Brock
- The Playlist
Above: A 35mm still image from We Can't Go Home Again.
Mubi is currently showing throughout most of the world two wonderful Nicholas Ray films. One is his final film, uncompleted but beautifully restored and reconstructed, We Can't Go Home Again (1973). The other is a new documentary by Susan Ray, the filmmaker's widow, Don't Expect Too Much, that is a companion piece to this wildly experimental, collaborative feature. We are showing these two features to celebrate Ray and bring attention to The Nicholas Ray Foundation's Kickstarter project funding a new documentary on the filmmaker, Action! Master Class with Nicholas Ray.
Update: After not making the previous project goal, a new Kickstarter projection for Action! can be found here. We highly encourage you to donate your support. From the project's description:
"In Action! you'll encounter Nick's charismatic presence as he shares his knowledge of what he called "the cathedral of the arts.
Mubi is currently showing throughout most of the world two wonderful Nicholas Ray films. One is his final film, uncompleted but beautifully restored and reconstructed, We Can't Go Home Again (1973). The other is a new documentary by Susan Ray, the filmmaker's widow, Don't Expect Too Much, that is a companion piece to this wildly experimental, collaborative feature. We are showing these two features to celebrate Ray and bring attention to The Nicholas Ray Foundation's Kickstarter project funding a new documentary on the filmmaker, Action! Master Class with Nicholas Ray.
Update: After not making the previous project goal, a new Kickstarter projection for Action! can be found here. We highly encourage you to donate your support. From the project's description:
"In Action! you'll encounter Nick's charismatic presence as he shares his knowledge of what he called "the cathedral of the arts.
- 1/8/2013
- by Notebook
- MUBI
News.
The great Manoel de Oliveira turned 104 yesterday! (For more on his most recent feature, see Boris Nelepo's article.) Issue 65 of Senses of Cinema is now online, featuring a piece on Koji Wakamatsu, a conversation with Nicolas Rey, and a look at Marcel Hanoun's Une simple histoire. The resolute Susan Ray has turned to Kickstarter to help fund Action!, a documentary featuring Nicholas Ray's insights into filmmaking that "will be edited mostly from Nick’s film, video, and audio archive—tens of thousands of feet of picture, and hundreds of hours of audio recordings of interviews, classes, lectures, private conversations, journal entries, and an oral history—with supplementary footage licensed from the studios or acquired through research." Susan needs to raise $35 000 by January 2nd, so, if you're able, give generously (it's tax deductible!) so we can see this project realized. There are some impressive goodies available to backers: posters,...
The great Manoel de Oliveira turned 104 yesterday! (For more on his most recent feature, see Boris Nelepo's article.) Issue 65 of Senses of Cinema is now online, featuring a piece on Koji Wakamatsu, a conversation with Nicolas Rey, and a look at Marcel Hanoun's Une simple histoire. The resolute Susan Ray has turned to Kickstarter to help fund Action!, a documentary featuring Nicholas Ray's insights into filmmaking that "will be edited mostly from Nick’s film, video, and audio archive—tens of thousands of feet of picture, and hundreds of hours of audio recordings of interviews, classes, lectures, private conversations, journal entries, and an oral history—with supplementary footage licensed from the studios or acquired through research." Susan needs to raise $35 000 by January 2nd, so, if you're able, give generously (it's tax deductible!) so we can see this project realized. There are some impressive goodies available to backers: posters,...
- 12/12/2012
- by Adam Cook
- MUBI
News.
The Rome Film Festival has come to a close and the awards have been handed out. David Hudson has the details at Keyframe. The big winner? Larry Clark's Marfa Girl, which as of today has been independently released online. The Berlin Film Festival has announced its retrospective for February, and it's a particularly inspired choice: "The Weimar Touch," which is "devoted to how cinema from the Weimar Republic influenced international filmmaking after 1933. It will focus on continuities, mutual effects and transformations in the films of German-speaking emigrants up into the 1950s." A welcome surprise in casting news: Viggo Mortensen has signed up for Lisandro Alonso's next feature, on which he will also serve as producer.
Finds.
Above: via Three Colors, Jean-Luc Godard on the set of his next film, Adieu au langage. On the very left is cinematographer Fabrice Aragno, whom I interviewed here in the Notebook.
The Rome Film Festival has come to a close and the awards have been handed out. David Hudson has the details at Keyframe. The big winner? Larry Clark's Marfa Girl, which as of today has been independently released online. The Berlin Film Festival has announced its retrospective for February, and it's a particularly inspired choice: "The Weimar Touch," which is "devoted to how cinema from the Weimar Republic influenced international filmmaking after 1933. It will focus on continuities, mutual effects and transformations in the films of German-speaking emigrants up into the 1950s." A welcome surprise in casting news: Viggo Mortensen has signed up for Lisandro Alonso's next feature, on which he will also serve as producer.
Finds.
Above: via Three Colors, Jean-Luc Godard on the set of his next film, Adieu au langage. On the very left is cinematographer Fabrice Aragno, whom I interviewed here in the Notebook.
- 11/21/2012
- by Adam Cook
- MUBI
Well, hello, 2012 — and a new issue of the multilingual film journal La Furia Umana. At its center are two substantial packages, one featuring Brazilian filmmaker Júlio Bressane (image above), the other, more or less introduced by Jonathan Rosenbaum, on Joe Dante. Interviews, essays by and about, the works. Also, from David Phelps, "Visions of the Blind. Raúl Ruiz: A Users Guide and Pedagogy." Ken Jacobs on Dziga Vertov. The Celluloid Liberation Front on "Science-Fictional Realism in the Virtual Age." Claudio Mazzatenta on Nicholas Ray's We Can't Go Home Again (1973). Steve Mayhew on John Ford and Harry Carey's Universal years (1917 - 1921). And Noel Lawrence: "The complicated friendship of Terry Southern of Jx Williams goes way back, back to the salt-and-pepper pompadour, the black briefcase, and beyond…"
Lists. "The most startling cut I saw in a movie last year occurred not in a high-tech action or horror film, but...
Lists. "The most startling cut I saw in a movie last year occurred not in a high-tech action or horror film, but...
- 1/1/2012
- MUBI
Berlin's festival of American independent film, Unknown Pleasures, runs from January 1 through 15 at the Babylon, and co-programmers Hannes Brühwiler and Andrew Grant have put together a lineup for this fourth edition that's a little more adventurous that the first three:
Dustin Guy Defa's Bad Fever Sean Durkin's Martha Marcy May Marlene Todd Haynes's Mildred Pierce Monty Hellman's Road to Nowhere Azazel Jacobs's Terri Aaron Katz's Cold Weather Laurel Nakadate's The Wolf Knife Mike Ott's Littlerock Tristan Patterson's Dragonslayer Matt Porterfield's Putty Hill Peter Bo Rappmund's Psychohydrography Lee Anne Schmitt's The Last Buffalo Hunt Joe Swanberg's Silver Bullets Sophia Takel's Green Frederick Wiseman's Boxing Gym Zach Weintraub's Bummer Summer
There are also two special programs, one highlighting Martin Scorsese's recent documentaries (George Harrison: Living in the Material World, A Letter to Elia and Public Speaking). And for the other,...
Dustin Guy Defa's Bad Fever Sean Durkin's Martha Marcy May Marlene Todd Haynes's Mildred Pierce Monty Hellman's Road to Nowhere Azazel Jacobs's Terri Aaron Katz's Cold Weather Laurel Nakadate's The Wolf Knife Mike Ott's Littlerock Tristan Patterson's Dragonslayer Matt Porterfield's Putty Hill Peter Bo Rappmund's Psychohydrography Lee Anne Schmitt's The Last Buffalo Hunt Joe Swanberg's Silver Bullets Sophia Takel's Green Frederick Wiseman's Boxing Gym Zach Weintraub's Bummer Summer
There are also two special programs, one highlighting Martin Scorsese's recent documentaries (George Harrison: Living in the Material World, A Letter to Elia and Public Speaking). And for the other,...
- 12/22/2011
- MUBI
I can't be the only one thrilled to hear the Association of Moving Image Archivists (Amia) is holding its 2011 conference in Austin this week. If you're not thrilled, you don't know what this means: Fascinating and well-restored movies screening at the Paramount, all free to the public. The last time Amia held its annual conference here was 2005, and for me it was as though the circus was in town. In fact I was tempted to run away with them and become an archivist myself, except a) I don't want to go back to school, b) I don't think I'd be good at it and c) it's not a profession with many job opportunities in Austin. (As opposed to film criticism? Well ...)
The fun kicks off tonight at Alamo Drafthouse Ritz, with the Amia "Reels of Steel" competition at 11:30 pm. Film buffs and archivists will be bringing all kinds of...
The fun kicks off tonight at Alamo Drafthouse Ritz, with the Amia "Reels of Steel" competition at 11:30 pm. Film buffs and archivists will be bringing all kinds of...
- 11/16/2011
- by Jette Kernion
- Slackerwood
Bilge Ebiri in the Nashville Scene previewing the Nicholas Ray Centenary opening tomorrow at the Belcourt and running through December 6: "To think of this director in stark formalist terms — to try and shoehorn his filmography into the realms of the strictly visual and plastic — would be a mistake. What Ray understood better than any other director was the importance of the privileged moment: that one poetic fusion of performer, emotion, script and image, however fleeting, could justify an entire movie. And key to that formula was the actor — not just the actor as the trained deliverer of scripted lines, but the actor as a physical, living being." Related: David Phelps and two roundups on Ray and We Can't Go Home Again.
Gus Van Sant's "career has been distinguished as much by the divergence of his films as by the coherence of his style." A primer from James Franco,...
Gus Van Sant's "career has been distinguished as much by the divergence of his films as by the coherence of his style." A primer from James Franco,...
- 11/11/2011
- MUBI
This year's New York Film Festival seems to have fulfilled its brief so well you have to wonder what the programmers will come up with for its 50th anniversary edition next year. 2012 will also mark Richard Peña's 25th year as programming director of the Film Society of Lincoln Center and chairman of the Nyff selection committee — and, as he's just announced, his last. "It's been a terrific ride," he told the New York Times' Larry Rohter on Saturday, "but I've had other interests, and it got to the point where I got to thinking about what I want to do with the rest of my working life. It's a good thing for me personally, and also for the organization, because change is good, and it will be good for the organization to have fresh eyes and ideas and new ways of doing things."
For now, though, the 49th edition.
For now, though, the 49th edition.
- 10/17/2011
- MUBI
You'd think that Team Cinema Scope, having just covered Toronto 2011 more extensively — surely! — than any other single publication has ever covered a film festival in the histories of films and festivals combined, would take a month or two off to recover. But no, here's Issue 48, solid as any other.
Of Thom Andersen's 30 "Random Notes on a Projection of The Clock by Christian Marclay," here's the first: "The Clock is certainly dumb: a 24-hour movie made entirely from other movies in which the depicted screen time corresponds precisely to the actual time of the screening with plenty of clock inserts and shots in which clocks appear, sometimes incidentally. I'm sure I'm not the first to ask, why didn't I think of that? But is The Clock dumb enough?" Marclay, at any rate, is smart enough to have made not one, not two, but six editions of the piece, the last...
Of Thom Andersen's 30 "Random Notes on a Projection of The Clock by Christian Marclay," here's the first: "The Clock is certainly dumb: a 24-hour movie made entirely from other movies in which the depicted screen time corresponds precisely to the actual time of the screening with plenty of clock inserts and shots in which clocks appear, sometimes incidentally. I'm sure I'm not the first to ask, why didn't I think of that? But is The Clock dumb enough?" Marclay, at any rate, is smart enough to have made not one, not two, but six editions of the piece, the last...
- 10/4/2011
- MUBI
"Sunday night at 9, the place to be is the New York Film Festival to see Nicholas Ray's film We Can't Go Home Again," declares the New Yorker's Richard Brody. At the top of its roundup, Alt Screen notes that "Ray himself worked on the film from its premiere in 1973, to his death in 1979; this restoration was undertaken by his widow, Susan Ray. Susan presents Don't Expect Too Much, her own film on Nick's life and work on Monday, Oct 3 at 8:30." Both films will return to the City for a single evening at Film Forum on Oct 17. Start with the Alt Screen roundup, then swing by the one from Venice. Here's a quick sampling of a few of the reviews that have appeared since both of them.
"Eight years after essentially collapsing on the set of 1963's 55 Days at Peking and long after having exhausted studio goodwill with his drug use and erratic reliability,...
"Eight years after essentially collapsing on the set of 1963's 55 Days at Peking and long after having exhausted studio goodwill with his drug use and erratic reliability,...
- 10/3/2011
- MUBI
In 1971 Nicholas Ray, former Hollywood director of "Rebel Without a Cause" and "Bigger Than Life," accepted a teaching position at Harpur College of Arts and Sciences at Suny Binghamton University in upstate New York. At the time the university was seen as the epicenter of experimental and avant-garde art (the film program at Binghamton having been started by renowned experimental filmmaker Ken Jacobs). At some point during his two-year tenure, Ray moved into a house off campus with a group of his students and began collaborating on "We Can't Go Home Again," a project that would screen at Cannes…...
- 10/2/2011
- The Playlist
In a slight but almost certainly self-explanatory change to previous festival index formats, clicking on the directors' names and film titles will take you to their respective pages, while clicking "Roundup" will take you to the coverage of the coverage. Names of our contributors (in this case, almost always Daniel Kasman) will take you to our original reviews.
The index will be updated, of course, as more roundups and reviews appear, for days and possibly even weeks after this year's Venice Film Festival wraps.
Competition
Tomas Alfredson's Tinker, Tailor, Soldier, Spy. Roundup.
Andrea Arnold's Wuthering Heights. Roundup.
George Clooney's The Ides of March. Roundup.
Emauele Crialese's Terraferma. Roundup.
David Cronenberg's A Dangerous Method. Roundup. Daniel Kasman.
Abel Ferrara's 4:44 Last Day on Earth. Daniel Kasman.
Philippe Garrel's That Summer. Roundup. Daniel Kasman.
Ann Hui's A Simple Life. Roundup. Daniel Kasman.
Giorgos Lanthimos's Alps.
The index will be updated, of course, as more roundups and reviews appear, for days and possibly even weeks after this year's Venice Film Festival wraps.
Competition
Tomas Alfredson's Tinker, Tailor, Soldier, Spy. Roundup.
Andrea Arnold's Wuthering Heights. Roundup.
George Clooney's The Ides of March. Roundup.
Emauele Crialese's Terraferma. Roundup.
David Cronenberg's A Dangerous Method. Roundup. Daniel Kasman.
Abel Ferrara's 4:44 Last Day on Earth. Daniel Kasman.
Philippe Garrel's That Summer. Roundup. Daniel Kasman.
Ann Hui's A Simple Life. Roundup. Daniel Kasman.
Giorgos Lanthimos's Alps.
- 9/10/2011
- MUBI
Where does a maverick film-maker such as Nicholas Ray go after directing Rebel Without a Cause? Back to school, says Geoffrey Macnab
Nicholas Ray wasn't the sort of film-maker ever to go quietly into retirement. The maverick director behind Rebel Without a Cause, Johnny Guitar and Bigger Than Life possessed a notoriously cussed temperament and, despite being one of Hollywood's best-paid directors in the 1950s, was perennially broke. Dogged by financial and health problems until his death in 1979, the last few years of his life were especially turbulent. Nonetheless, as a world premiere of the restored version of his experimental film, We Can't Go Home Again, at the Venice film festival has made clear, the 1970s were far from a lost decade for Ray. In fact, amid the chaos, he undertook some of his most radical and adventurous work.
We Can't Go Home Again is just what you would expect...
Nicholas Ray wasn't the sort of film-maker ever to go quietly into retirement. The maverick director behind Rebel Without a Cause, Johnny Guitar and Bigger Than Life possessed a notoriously cussed temperament and, despite being one of Hollywood's best-paid directors in the 1950s, was perennially broke. Dogged by financial and health problems until his death in 1979, the last few years of his life were especially turbulent. Nonetheless, as a world premiere of the restored version of his experimental film, We Can't Go Home Again, at the Venice film festival has made clear, the 1970s were far from a lost decade for Ray. In fact, amid the chaos, he undertook some of his most radical and adventurous work.
We Can't Go Home Again is just what you would expect...
- 9/8/2011
- by Geoffrey Macnab
- The Guardian - Film News
The Venice film festival comes to a close having showcased a fine selection of new British drama. Meanwhile Toronto makes its pitch with a big hitter: Brad Pitt baseball drama, Moneyball
The big story
As the Venice film festival staggers to its close, the baton has been handed over to Toronto – so it's say hello to Catherine Shoard, and wave goodbye to Xan Brooks. Catherine is our reporter on the... what, exactly? Toronto doesn't have a Croisette, or a Lido – but it does have a venue called the Lightbox, which sounds pretty good. So, Catherine is our reporter in the Lightbox, and you can watch her first video report from the 36th Tiff here; she'll also be delivering a stream of reviews and news and interviews over the next week, starting with a review of Brad Pitt baseball mittfest Moneyball, which will be on guardian.co.uk/film at around 10pm BST.
The big story
As the Venice film festival staggers to its close, the baton has been handed over to Toronto – so it's say hello to Catherine Shoard, and wave goodbye to Xan Brooks. Catherine is our reporter on the... what, exactly? Toronto doesn't have a Croisette, or a Lido – but it does have a venue called the Lightbox, which sounds pretty good. So, Catherine is our reporter in the Lightbox, and you can watch her first video report from the 36th Tiff here; she'll also be delivering a stream of reviews and news and interviews over the next week, starting with a review of Brad Pitt baseball mittfest Moneyball, which will be on guardian.co.uk/film at around 10pm BST.
- 9/8/2011
- by Andrew Pulver, Henry Barnes
- The Guardian - Film News
A month ago today, an announcement appeared that had Twitter all aflutter: "On the occasion of the centennial of the birth of acclaimed film director and Hollywood legend Nicholas Ray (Galesville, 7 August 1911 - New York, 16 June 1979), the Venice Film Festival announces the world premiere screening on Sunday 4 September at the Lido of the restored/reconstructed copy of We Can't Go Home Again, the definitive version that is faithful to the original idea of Ray's posthumous masterpiece." A panel followed yesterday's screening, "with the participation of American director and actor James Franco and Spanish director Victor Erice, author with Jos Oliver of the book Nicholas Ray y su tiempo (Madrid, 1986). Also invited at the panel are the acclaimed visual artist and filmmaker Douglas Gordon, and Henry Hopper — the son of Dennis Hopper, who starred in Rebel Without a Cause (1955) and accompanied Nicholas Ray in several of his subsequent artistic endeavors. Henry Hopper...
- 9/6/2011
- MUBI
Oscilloscope has picked up North American rights to the 1972 Nicholas Ray film and will show it in a retrospective showcase at the New York Film Festival, reports Variety. They aren't stopping there. The distributor is also releasing a new documentary called Don't Expect Too Much about Ray which is wife Susan directed. We Can't Go Home Again is an experimental feature helmed by Ray in collaboration with his film students at Suny Binghamton where Ray and the students all play fictionalized versions of themselves. This project took up the majority of the last ten years of Nicholas Ray's life and was continuously re-edited by collaborators...
- 9/1/2011
- Upcoming-Movies.com
Oscilloscope has picked up North American rights to the 1972 Nicholas Ray film and will show it in a retrospective showcase at the New York Film Festival, reports Variety. They aren't stopping there. The distributor is also releasing a new documentary called Don't Expect Too Much about Ray which is wife Susan directed. We Can't Go Home Again is an experimental feature helmed by Ray in collaboration with his film students at Suny Binghamton where Ray and the students all play fictionalized versions of themselves. This project took up the majority of the last ten years of Nicholas Ray's life and was continuously re-edited by collaborators...
- 9/1/2011
- Upcoming-Movies.com
New Distribution Deals Nicholas Ray, the man who directed Rebel Without a Cause, In a Lonely Place, Johnny Guitar, and Bigger Than Life, passed away in 1979, but a restored version of We Can't Go Home Again, his last, experimental film, will have its world premiere at the Venice International Film Festival on Sunday, September 4, followed by a screening at the New York Film Festival. And now Oscillope Laboratories has acquired the film for distribution, as reported by indieWIRE. Ray made We Can't Go Home Again in collaboration with his students at Suny Binghamton in New York. and it was shown as a work-in-progress at Cannes in 1973, where film critic Jonathan Rosenbaum saw it. Rosenbaum later viewed an unfinished workprint and wrote about it for The...
Read More...
Read More...
- 9/1/2011
- by Peter Martin
- Movies.com
North American rights to Nicholas Ray's final film, "We Can't Go Home Again" have been picked up by Oscilloscope Laboratories ahead of the late director's centenary of his birth. A restored/reconstructed version of the film will debut at the Venice Film Festival followed by the New York Film Festival in October. Along with the film, Oscilloscope will release a new doc titled, "Don't Expect Too Much," Directed by Nicholas Ray's ...
- 8/31/2011
- Indiewire
Suggestions from readers have led to backstage murmurs, which, in turn, have evolved into a new mini-feature: the Daily Briefing. The nail that neither the Daily entries nor @thedailyMUBI hit quite on the head is an answer to the question, "What's happened in the past 24 hours or so that any self-respecting cinephile needs to know about?" And that answer shouldn't be longer than a single paragraph, the length of which will vary only slightly, depending on how eventful things have been since the last Briefing. In short, I'll be winging it. Here's a first swing, culled from notes going back just a few days:
"Unseen Films," a dossier from Screen Machine … Cinema Scope is previewing its 48th issue with reviews and interviews related to films slated for Toronto … Catherine Grant's latest roundup of serious links to hot topics … Steven Shaviro on Mattias Stork's video essay, Chaos Cinema … Resnais and...
"Unseen Films," a dossier from Screen Machine … Cinema Scope is previewing its 48th issue with reviews and interviews related to films slated for Toronto … Catherine Grant's latest roundup of serious links to hot topics … Steven Shaviro on Mattias Stork's video essay, Chaos Cinema … Resnais and...
- 8/31/2011
- MUBI
On Friday, the Film Society of Lincoln Center's Eugene Hernandez summed up what was known so far about one of the major highlights of this year's New York Film Festival, running from September 30 through October 16:
"Jodie Foster, Kate Winslet, Christoph Waltz and John C Reilly will open Nyff in Polanski's New York story [Carnage], an adaptation of Yasmina Reza's acclaimed play, God of Carnage. Set in a Brooklyn apartment, the film will be direct from the Venice Film Festival earlier in the month. Also already announced for this year's festival are the world premiere of Simon Curtis's My Week With Marilyn as well as a retrospective that will be quite popular this year. Velvet Bullets and Steel Kisses: Celebrating the Centennial of Nikkatsu Corporation at the Nyff will present a 37 film tribute to the famed 100 year old Japanese film studio before the series travels to the Cinémathèque Française...
"Jodie Foster, Kate Winslet, Christoph Waltz and John C Reilly will open Nyff in Polanski's New York story [Carnage], an adaptation of Yasmina Reza's acclaimed play, God of Carnage. Set in a Brooklyn apartment, the film will be direct from the Venice Film Festival earlier in the month. Also already announced for this year's festival are the world premiere of Simon Curtis's My Week With Marilyn as well as a retrospective that will be quite popular this year. Velvet Bullets and Steel Kisses: Celebrating the Centennial of Nikkatsu Corporation at the Nyff will present a 37 film tribute to the famed 100 year old Japanese film studio before the series travels to the Cinémathèque Française...
- 8/22/2011
- MUBI
Michelle Williams-starring biopic about phenomenal actress-singer Marilyn Monroe, "My Week with Marilyn", is set to be premiered at the New York Film Festival. The Film Society of Lincoln Center has announced on Thursday, August 4 that the movie will have its special screening on Sunday, October 9 during the event.
On why they chose to include "Marilyn" in the prestigious festival, Richard Pena, selection committee chair and program director of the society explained, "After seeing Marilyn Monroe so often portrayed in films as a caricature, it is a pleasure to see this complex personality and unique on-screen presence portrayed so well by such a talented actress Michelle Williams."
Directed by Simon Curtis, "My Week with Marilyn" is based on Colin Clark's diaries, in which he documented the interaction between Monroe and Sir Laurence Olivier during the making of 1956's movie "The Prince and the Showgirl". The film chronicles a week...
On why they chose to include "Marilyn" in the prestigious festival, Richard Pena, selection committee chair and program director of the society explained, "After seeing Marilyn Monroe so often portrayed in films as a caricature, it is a pleasure to see this complex personality and unique on-screen presence portrayed so well by such a talented actress Michelle Williams."
Directed by Simon Curtis, "My Week with Marilyn" is based on Colin Clark's diaries, in which he documented the interaction between Monroe and Sir Laurence Olivier during the making of 1956's movie "The Prince and the Showgirl". The film chronicles a week...
- 8/5/2011
- by AceShowbiz.com
- Aceshowbiz
News continues to trickle in about this year's New York Film Festival, the 49th (September 30th through October 16th). So, yes, expect 2012's festival to pull out all the stops to honor its own 50th birthday. We always cover this festival since its the easiest for The Film Experience, being NYC based, but this year we're aiming to do thrice the amount of our usual coverage. Stay tuned.
Here's what we know so far.
Opening Night ~ Roman Polanski's Carnage
Centerpiece ~ Simon Curtis's My Week With Marilyn (World Premiere)
Closing Night & Lineup In General ~ Tba... though it's usually selections that previously debuted at Cannes or Toronto. The Skin I Live In is frequently rumored.
The Burmese Harp (1956)Masterworks ~ This is the section where they show old films, rare prints and retrospectives.
This year they'll be screening a restored and aspect-ratio corrected print of William Wyler's much-Oscar'ed Epic Ben-hur...
Here's what we know so far.
Opening Night ~ Roman Polanski's Carnage
Centerpiece ~ Simon Curtis's My Week With Marilyn (World Premiere)
Closing Night & Lineup In General ~ Tba... though it's usually selections that previously debuted at Cannes or Toronto. The Skin I Live In is frequently rumored.
The Burmese Harp (1956)Masterworks ~ This is the section where they show old films, rare prints and retrospectives.
This year they'll be screening a restored and aspect-ratio corrected print of William Wyler's much-Oscar'ed Epic Ben-hur...
- 8/4/2011
- by NATHANIEL R
- FilmExperience
The 49th Annual New York Film Festival has been slowly dolloping out the line-up for their September 30th -October 16th run, just recently announcing the opening night film, Roman Polanksi's Carnage, and today setting the showbiz diary inspired My Week With Marilyn as the centerpiece. The other news that came today though should be far more exciting to the Twitch readership. In addition to screenings of Billy Wyler's Ben-Hur and Nicholas Ray's We Can't Go Home Again in their Masterworks presentation the festival will present a 37 film retrospective of Japanese super studio Nikkatsu. Yup 37 films from the company's nearly 100 year history. Ambitious? You bet. A smart move? Absolutely. Outside of their recent partnership with Nyaff, The Film Society of Lincoln Center usually...
- 8/4/2011
- Screen Anarchy
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