Red Eye

Posted in FILM with tags , on November 22, 2014 by dcairns

yellow

Today I will mostly be hanging around airports, flying in the sky, and tracking down my accommodation in Paris. So this is just a reminder that the Late Movies Blogathon is nearly upon us, and an open invitation to interested parties to join the fun. I know it’s nicer to be specifically invited, but I hope lots of you will accept this more general invitation.

Image from (what else?) Michael Powell’s last fiction feature, THE BOY WHO TURNED YELLOW.

Night! Youth! Paris! And the moon!

Posted in FILM with tags , , , on November 21, 2014 by dcairns

paris

From tomorrow until Thursday I will be in Paris, France (pictured).

On Wednesday there will be a very special screening of NATAN at the French national film school, La Femis, which is housed in the Rue Francoeur film studios founded by Bernard Natan, but which has had no memorial to him — until now! In fact, so forgotten was the man who built the studio, that we were able to interview students at the school, none of whom knew who built it, and according to private information, even some of the staff were unaware of this part of its history.*

So there may be only light blogging this week — I had planned to prepare lots of stuff to post while away, but after a busy teaching week, I got nothing. And I will be racing to get stuff ready for the Late Show Late Movies Blogathon after that.

*Full disclosure: as a film lecturer, I knew only too well that only a tiny number of film students know any film history at all. You’re lucky if they know any history history. One student from a few years back began a presentation with “Since human civilisation began, two thousand years ago…”

Browned Off

Posted in FILM, Politics, Theatre with tags , , , , , on November 20, 2014 by dcairns

vlcsnap-2014-11-17-16h31m57s7

I used to think that Sidney Lumet’s THE OFFENCE was the brownest film of the seventies, where they took to pre-flashing the film to desaturate it and make it even more joyless and seventies-esque. But now I have a new winner, John Boorman’s LEO THE LAST, which has clearly tampered with its colour a bit in post-production, but also achieves a lot of its sombre palette by simply painting everything in sight shades of brown, grey, black and beige. Actually, a dark slate grey dominates. Surprisingly, perhaps, it’s extremely beautiful, but then I live in Edinburgh, a city which makes grey into a fetish.

Quite a problematic film, but a fascinating one — I write about it here.

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