As our Godard retrospective opens, it’s time to consider the fact–Godard would surely agree–that everyone is (or should be) indebted to Raoul Walsh.
Over a decade in the making, the German synchronized sound version of Battleship Potemkin shows at the Film Museum. With composer Edmund Meisel’s truly striking score wedded to the images, this “Viennese Version” is an entirely new experience.
Or how we discovered another ending of Dino Risis’s Il segno di Venere (The Sign of Venus, 1955), starring Sophia Loren and Vittorio De Sica.
A popular and brilliant actor, Vittorio De Sica proved himself an outstanding director as well. Unfortunately, his reputation as a filmmaker is defined almost exclusively via his famous neorealist classics. Big mistake. A note on the dynamics on film history.
Four years ago today, Jean Rollin died. He was the poète maudit among those obsessive filmmakers who straddled a thin line between porn, exploitation, and personal expression during the 70’s. This Frenchman occupies a special place in film history–and in my heart.
A post to inaugurate a new series on this blog, dedicated to the undervalued filmography of the most noble of animals.
The poetic finale of The Searchers is one of the most famous scenes in film history. The actual shooting was a bit more prosaic.
The story of an unmade German television film based on a Peter Handke novel that famously features John Ford.
On the occasion of the Film Museum’s current Gregory J. Markopoulos retrospective, we are proud to present an excerpt from Mark Webber’s recently published, beautiful anthology “Film as Film: The Collected Writings of Gregory J. Markopoulos”: Towards a New Narrative Film Form.