Rushes collects news, articles, images, videos and more for a weekly roundup of essential items from the world of film.When Directors CollideLeft: Emigre directors Ernst Lubitsch and Fritz Lang take a dip in the pool. Right: John Ford visits Sam Fuller's Shock Corridor set.Philippe Garrel Remembers Chantal AkermanThe essential read of the week is Craig Keller's translation of French filmmaker Philippe Garrel's reflections on Chantal Akerman, published in Cahiers du Cinéma in November:"We only ran into one another with finished films, not in the factory. It was always one film under our arms, one new film under our arms. We weren't at all jealous of one another; just the opposite. I was laughing, saying if Chantal hadn't liked women, I would have married her. I thought she was an extraordinary woman."Trailer for King Hu's A Touch of ZenA new trailer for the...
- 12/16/2015
- by Notebook
- MUBI
During his most productive years in American cinema, German director Douglas Sirk was derided by critics. Sirk began his work in America with inconsequential crime romances and comedies, but by the 1950s he finally hit his stride. Sirk, though, was a man ahead of his time. Much of his best work consisted of domestic melodramas centering around the decaying lives of the ultra-rich. He was scoffed at for focusing on women, and his films were reductively considered cinema for women, and thus were unimportant. It wasn’t until nearly a decade after his last film that Sirk’s work was reconsidered (first in France), and was found to substantial, emotional deconstructions of those languishing in excess. Read More: The Essentials: Douglas Sirk To pay proper tribute to Sirk, Film Society Lincoln Center has put together “Imitations Of Life: The Films Of Douglas Sirk,” a retrospective of 25 of his greatest...
- 12/10/2015
- by Gary Garrison
- The Playlist
There’s a whole lot of Douglas Sirk coming to New York during the holiday season. From December 23 – January 6, it’s “Imitations of Life: The Films of Douglas Sirk.” Check out the Film Society at Lincoln Center’s website for more info and the awesome lineup below: All I Desire Douglas Sirk, USA, 1953, 35mm, 79m Sirk excoriates small-town pettiness and provincialism in this slashing, incisive melodrama. A marvelous Barbara Stanwyck stars as washed-up vaudeville actress Naomi Murdoch, who travels back to the Wisconsin town where the husband and three children she abandoned 10 years earlier still reside. Her sudden reappearance sends shock waves through the community and pits her [ Read More ]
The post Spend the Holidays with the Films of Douglas Sirk at the Film Society at Lincoln Center appeared first on Shockya.com.
The post Spend the Holidays with the Films of Douglas Sirk at the Film Society at Lincoln Center appeared first on Shockya.com.
- 12/10/2015
- by Rudie Obias
- ShockYa
Imitations of Life: The Films of Douglas Sirk (December 23 – January 6) at the Film Society of Lincoln Center in New York gathers a substantial number of the German auteur's classic films together with more obscure titles, some of which may deserve elevation into the higher ranks of his oeuvre. Already, in the past few years, There's Always Tomorrow (1956) has crept up the league table of Sirkian melodrama, mainly because it became easier to see and people recognized that it could stand comparison with All That Heaven Allows (1955) and Imitation of Life (1959), or nearly so.Some Sirk movies will, however, never be quite respectable, but in a way I love them for that. His period movies often dive headlong into Hollywood kitsch in a way that his once-despised weepies mainly avoid. There's a trio of movies playing with George Sanders which exemplify this in their different ways. Summer Storm (1944) was Hollywood's...
- 12/10/2015
- by David Cairns
- MUBI
Imitations of Life: The Films of Douglas Sirk (December 23 – January 6) at the Film Society of Lincoln Center in New York gathers a substantial number of the German auteur's classic films together with more obscure titles, some of which may deserve elevation into the higher ranks of his oeuvre. Already, in the past few years, There's Always Tomorrow (1956) has crept up the league table of Sirkian melodrama, mainly because it became easier to see and people recognized that it could stand comparison with All That Heaven Allows (1955) and Imitation of Life (1959), or nearly so.Some Sirk movies will, however, never be quite respectable, but in a way I love them for that. His period movies often dive headlong into Hollywood kitsch in a way that his once-despised weepies mainly avoid. There's a trio of movies playing with George Sanders which exemplify this in their different ways. Summer Storm (1944) was Hollywood's...
- 12/10/2015
- by David Cairns
- MUBI
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