John Barry (1933 – 2011)

  Top-dúzia trilhas favoritas: 1- A Fúria de um Bravo (Never Let Go, John Guillermin, 1960) 2- Ipcress – O Arquivo Confidencial (The Ipcress File, Sidney J. Furie, 1965) 3- James Bond series 4- The Cotton Club (Francis Ford Coppola, 1984) 5- Petulia (Richard Lester, 1968) 6- Caçada Humana (The Chase, Arthur Penn, 1966) 7-

Hugh Marlowe

Aparentemente… se trata de strip chess.

Com o currículo do McAvoy em biblitotecas (sobre a cópula dos pássaros com a Anne Hathaway em Becoming Jane? A pegada fortíssima na Keira Knightley em Atonement?) é mesmo um perigo ficar sozinho com ele numa delas.

24 Frames: The Last Temptation of Christ (Martin Scorsese, 1988)

If you, who are organized by Divine Providence for spiritual communion, refuse, and bury your talent in the earth, even though you should want natural bread, sorrow and desperation pursue you through life, and after death shame and confusion of face to eternity. William Blake Martin Scorsese once said that Michael Powell, his late friend

Estudando Huxley (e Isherwood!) com Tom Ford

*Direito de Amar (A Single Man, Tom Ford, 2009) Se um aluno depois de ter lido um livro do Huxley me perguntasse se este era anti-semita, juro que não jogaria nenhum apagador e nem pediria elegantemente para tal estudante enfiar o livro no cu, simplesmente sairia da sala em silêncio e nunca mais voltaria. Bem

The Red and the Black: Swan – Narcissus – Shoes

Yet Black Swan doesn’t just inspire thoughts of Aronofsky’s previous pictures, it also calls to mind Michael Powell and Emeric Pressburger’s The Red Shoes (1948). That film, like this one, is about the obsessiveness of ballet dancing and the influence of love on performance, albeit from a different angle: In Black Swan, Thomas wants Nina

Bernd Eichinger (1949 – 2011)

O homem me apresentou Til Schweiger no auge da forma física (na época d’O Homem Mais que Desejado), oras.

Michael Powell – Ken Russell

Mum and Dad kept pushing him to sell shoes, but Russell preferred to wander about the war-ravaged Southampton streets, catching a movie or two at the few cinemas that survived the bombs. He even considered going into the movie industry and made several trips to London, knocking on the doors of such studios as Ealing,

Professor Hubert Farnsworth’s Only Slightly Futuristic Holiday Movie Quiz

1) Best Movie of 2010 2) Second-favorite Roman Polanski Movie 3) Jason Statham or Dwayne “The Rock” Johnson 4) Favorite movie that could be classified as a genre hybrid 5) How important is foreknowledge of a film’s production history? Should it factor into one’s reaction to a film? 6) William Powell & Myrna Loy or

Tales of Hoffmann por Cornell Capa

24 Frames: Sebastiane (Derek Jarman/Paul Humfress, 1976)

Ou feliz dia de São Sebastião. Losing his religion: Saint Sebastian as contemporary gay martyr ‘My dear, I’ve done some pieces which will delight you… They’re a new departure, newish anyway, and rather religious and full of feeling. One’s a kind of sacra coversazione between Saint Sebastian and John the Baptist. The young man who

Ismail Merchant, James Ivory & Ruth Prawer Jhabvala

It is a strange marriage we have at Merchant Ivory… I am an Indian Muslim, Ruth is a German Jew, and Jim is a Protestant American. Someone once described us as a three-headed god. Maybe they should have called us a three-headed monster! Ismail Merchant

The Queer Aesthete, The Diva, And The Red Shoes

Out Takes: Essays on Queer Theory and Film – Alexander Doty Related articles British Queer Cinema: A Canterbury Tale

Guinness. Sempre.

Isso é uma excelente associação de imagens, pois o apreciador de cervejas sabe que no quesito custo/benefício um pint de Guinness provoca maior satisfação do que dez doses de qualquer cerveja usual.

24 Frames: Dance of the Hours (Fantasia, Norman Ferguson / T. Hee, 1940)

Isso é o que acontece quando resolve fazer uma sequência em animação de Gold Diggers of 1935 do Busby Berkeley com o Ballet Russo de Monte Carlo. “We’re are caricature,” said Walt Disney at another story conference. Indeed, he called his animated films “a caricature of life,” and he explained, “Animation is different from the

The Powell and Pressburger Mystery – Raymond Durgnat

Rich and strange are the movies of Michael Powell and Emeric Pressburger. Masterpiece or misfire, stunning or disappointing, they bristle with odd angles, they hook and tease the mind. Underappreciated by critics in their day, their Hollywood admirers ranged from Cecil B. De Mille to Billy Wilder. Paramount used I Know Where I’m Going to

Masayuki Mori

*Em tempos de Rashomon (Akira Kurosawa, 1950)

The Princess and the Golden Shoes

Me intrigava o fato de Moira Shearer usar sapatos dourados em Peeping Tom e Michael Powell fazer questão de enquadrá-los, costumava pensar que era algum tipo de toque auto-referente sobre a personagem de Moira em Red Shoes (o que não se anula com a presente referência), atté que encontrei este conto folclórico escocês, uma variação

A Nova Safra

Deveras interessante. Sobretudo, Aaron Johnson.

The Vertigo-Narcissus Connection

Note in particular the many similarities to the climax of Alfred Hitchcock’s Vertigo made almost a dozen years later – the moving camera P.O.V. shots, the nuns, the chapel, the vertiginous wooden staircase, the church bell that dominates the composition of the last few frames, and the suspense created when we realize that one or