Centenário de Freddie Francis

Freddie Francis, um dos grandes cineastas que delinearam o cinema de horror inglês nas décadas de 60 e 70, revezando entre a Amicus e a Hammer. Além de cineasta, se notabilizou como diretor de fotografia de obras de grandes diretores. Top-5 como diretor: Top-5 como diretor de fotografia:

Edward Herrmann (1943 – 2014)

Top-dúzia, então: 1- A Rosa Púrpura do Cairo (The Purple Rose of Cairo, Woody Allen, 1985) 2- O Aviador (The Aviator, Martin Scorsese, 2004) 3- O Amor Custa Caro, Coen Brothers, 2003) 4- Reds (Warren Beaty, 1981) 5- O Grande Gatsby (The Great gatsby, Jack Clayton, 1974) 6- Os Garotos Perdidos (The Lost Boys, Joel

Leonardo DiCaprio 4.0

Top dúzia, então: 1- Prenda-me se for Capaz (Catch me if you can, Steven Spielberg, 2002) 2- A Ilha do Medo (Shutter Island, Martin Scorsese, 2010) 3- Romeo + Juliet (Baz Luhrmann, 1996) 4- O Lobo de Wall Street (The Wolf of Wall Street, Martin Scorsese, 2013) 5- Django Livre (Django Unchained, Quentin Tarantino, 2012)

Cem anos de Norman Lloyd

Ainda vivo! Top 5 como ator, então: 1- Luzes da Ribalta (Limelight, Charles Chaplin, 1952) 2- A Época da Inocência (The Age of Innocence, Martin Scorsese, 1993) 3- Quando Fala o Coração (Spellbound, Alfred Hitchcock, 1945) 4- Sabotador (Saboteur, Alfred Hitchcock, 1942) 5- Sociedade dos Poetas Mortos (Dead Poets Society, Peter Weir, 1989) Nota: Como

Matthew McConaughey 4.5

Top dúzia, então: 1- Matador de Aluguel (Killer Joe, William Friedkin, 2012) 2- A Estrela Solitária (Lone Star, John Sayles, 1996) 3- O Lobo de Wall Street (The Wolf of Wall Street, Martin Scorsese, 2013) 4- Jovens, Loucos e Rebeldes (Dazed and Confused, Richard Linklater, 1993) 5- Amor Bandido (Mud, Jeff Nichols, 2012) 6- Trovão

75 anos de Harvey Keitel

Top dúzia então: 1- Taxi Driver (Martin Scorsese, 1976) 2- A Última Tentação de Cristo (The Last Temptation of Christ, Martin Scorsese, 1988) 3- Cães de Aluguel (Reservoir Dogs, Quentin Tarantino, 1992) 4- Vício Frenético (Bad Lieutenant, Abel Ferrara, 1992) 5- Caminhso Perigosos (Mean Streets, Martin Scorsese, 1973) 6- Os Duelistas (The Duellists, Ridley Scott,

70 anos de Robert De Niro

Top-dúzia então!

Centenário de Catherine Scorsese

Em tempos de Os Bons Companheiros (Goodfellas, Martin Scorsese, 1990)

Centenário de Bernard Herrmann

Top 5 Hitchcock 1- Um Corpo que Cai (Vertigo, 1958) 2- Psicose (Psycho, 1960) 3- Intriga Internacional (North by Northwest, 1959) 4- O Homem Errado (The Wrong Man, 1956) 5- Confissões de uma Ladra (Marnie, 1964) Top-dúzia demais diretores. 1- Taxi Driver (Martin Scorsese, 1976) 2- Cidadão Kane (Citizen Kane, Orson Welles, 1941) 3- A

Professor Ed Avery’s Cortizone-Fueled, Bigger-Than-Life, Super Big Gulp-Sized Summer Movie Quiz

1) Depending on your mood, your favorite or least-loved movie cliché 2) Regardless of whether or not you eventually caught up with it, which film classic have you lied about seeing in the past? 3) Roland Young or Edward Everett Horton?Em toda sua lubitschiana glória 4) Second favorite Frank Tashlin movie 5) Clockwork Orange– yes

24 Frames: Anna Pavlova / The White Swan (1983)

Rootling through a charity shop some months ago, I found a DVD of a 1985 biopic entitled Anna Pavlova. I’d never heard of it but, being a diehard ballet fan, I couldn’t resist, especially as the box intriguingly proclaimed that it was directed by the great Michael Powell, with a cast including the unlikely combination

Wise Guys

*Scorsese on Scorsese (David Thompson & Ian Christie) Julia Judge: Thelma Schoonmaker’s husband died during the editing of GoodFellas — Michael Powell, who directed The Red Shoes and The Life and Death of Colonel Blimp. He was a lot older than Thelma, but it was like the love of her life. Thelma Schoonmaker: Michael Powell

Achado bloguístico do dia: Tenho Estado a Ler Whitman

Tenho Estado a Ler Whitman Concordo com a frase acima, talvez minhas entranhas tenham mais a ver com Heathcliff e Rochester do que com Colonel Brandon e Mr Darcy, embora esses dois últimos seriam mesmo opções melhores para uma pessoa sensata. As Brontë eram demasiado intensas para pessoas que passaram grande parte da vida enfurnadas

24 Frames: A Época da Inocência (The Age of Innocence, 1993)

Scorsese is sometimes accused of misogyny, but just as his use of violence reflects the shadow process of his characters (rather than a morbid fascination with barbarity on the director’s behalf), so his female characters and the attitude toward them mirror the anima process, the emotional state of his male characters, which is often unhealthy and infantile. Just like the antagonist often represents the materialized shadow, so Scorsese’s female characters frequently represent the materialized anima, and Scorsese’s women are generally more intelligent, sympathetic and independent than his men.
In the final analysis “the projection can only be dissolved,” Jung says, “when a son sees that in the realm of his psyche there is an image not only of the mother but of the daughter, the sister, the beloved, the heavenly goddess.” Newland in The Age of Innocence chooses the immature May over Ellen, the independent adult who is his equal. Paul Hackett is chased through Lower Manhattan by a whole pack of unruly women in After Hours. The philandering of Howard Hughes in The Aviator reaches epic proportions. The central character of Shutter Island sacrifices his sanity, indeed his very identity, rather than face the true nature of his wife and their relationship. Only in Bringing Out the Dead and Gangs of New York is harmony achieved at the end between the wounded male ego and the inner feminine power of the unconscious as well as the outer feminine aspect of a real woman.
…
Wharton’s novel is, in fact, a perfectly logical choice for Scorsese, and there are innumerable reasons it would appeal to him. Underneath the polished surface, the central themes of the book are similar to the recurring concerns in Scorsese’s films, and like so many of these, it states explicitly and repeatedly that it deals with “the inner devils.” Scorsese was fascinated by Wharton’s use of language, much of which is preserved in the film, spoken by a slightly ironic, omniscient voice-over narrator (Joanne Woodward). According to Jay Cocks, Scorsese was so intent on keeping Wharton’s wit and “sculpted perfection” that he “timed camera moves to the narration with hairsbreadth accuracy,” thus making language and voice-over narration exquisitely filmic narration, and attributing to to Wharton’s cadences the same all-important rhythmic function that he has always attributed to music.
Resonating with Scorsese’s metaphorical use of architectural elements, Edith Wharton once described the mind of a woman as a “great house full of rooms.” There are the rooms, Wharton says, where family and other people come and go on a daily basis, “But beyond that, far beyond, are other rooms, the handles of whose doors are never turned; no one knows the way to them, no one knows whither they lead; and in the innermost room, the holy of holies, the soul sits alone and waits for a footstep that never comes. The fact that Scorsese and screenwriter Jay Cocks chose to quote this intensely sad passage at the beginning of their book on the making of The Age of Innocence indicates that they, too, see it as an important connection between the works of Edith Wharton and those of Martin Scorsese. I cannot think of a fictional character who better fits Wharton’s description of the lonely inner space that nobody ever visits than the Countess Olenska, and she is indeed one of the central links between this and Scorsese’s other films.
Preposterous though it may sound, The Age of Innocence is closely connected with Mean Streets, GoodFellas, Casino and especially Cape Fear. Like Scorsese’s films on organized crime, The Age of Innocence concerns a “tribe” that lives by its own rules and rituals, an extended unit that calls itself a family. Through obscure conventions, unwritten rules and “arbitrary signs,” this family controls and terrorizes entire neighborhoods of New York, and like a live organism, it expels or kills off any foreign body: When collectively everyone decides to snub the Countess Olenska (Michelle Pfeiffer), it is referred to by the narrator as an “eradication.” “The savagery of this ritual,” says Thelma Schoonmaker, is “perhaps more savage than the ritual [Scorsese] grew up in.” Scorsese himself has said that over the years he has created a lot of violent and brutal characters, but that those in The Age of Innocence are the most brutal of them all.

Michael Gough (1917 – 2011)

Top-dúzia de cortar os pulsos por ter que deixar certos filmes de fora: Nota: E o cara está no elenco de um dos filmes que mais gostaria de ver, mas o dito ainda não me chegou às mãos e nem sequer sei se ainda existe cópia em algum lugar, o único verdadeiramente dirigido pelo Pressburger,

24 Frames: Kundun (Martin Scorsese, 1997)

I think I am a reflection, like the moon on water. When you see me, and I try to be a a good man, you see yourself.

Just like a dream experience, whatever things I enjoy will become a memory. Whatever is past will not be seen again.

Hugo Cabret

I’ve always liked 3D. I mean, we’re sitting here in 3D. We are in 3D. We see in 3D. So why not? Every shot is rethinking cinema, rethinking narrative – how to tell a story with a picture. Now, I’m not saying we have to keep throwing javelins at the camera, I’m not saying we use it as a gimmick, but it’s liberating. It’s literally a Rubik’s Cube every time you go out to design a shot, and work out a camera move, or a crane move. But it has a beauty to it also. People look like… like moving statues. They move like sculpture, as if sculpture is moving in a way. Like dancers.

Top-dúzia: Participações de 30 Rock (por enquanto)

12- As vozes de Martin Scorsese & Christopher Walken: Porque eles se deram o trabalho de gravar um telefonema

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

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