The Man with the Mondrian Wheels

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9 a.m. HER MAN (Tay Garnett). Proto-Wellesian tracking shots, and Phillips Holmes looking Greek-godly in a shredded sailor suit. “That was practically a bdsm costume,” said Meredith Brody.

11. a.m. BROADWAY (Pal Fejos, whose very credit drew applause). “You’re seeing all sorts of fresh-minted clichés,” observed Mark Fuller.

16.00 MAS ALLA DEL OLVIDO (BEYOND OBLIVION, 1955) Argentinian Gothic melodrama which draws from REBECCA and GASLIGHT while harking forward to VERTIGO and even THE HORRIBLE DR. HICHCOCK. See it if you ever get the chance.

21.45. THE HIGH SIGN (music by Donald Sosin), COPS (music by Timothy Brock) and THE KID (music by Charlie Chaplin adapted by Timothy Brock). Orchestral accompaniment. The Piazza Maggiore. Sublime.

A rare “golden” print of REFLECTIONS IN A GOLDEN EYE was displayed. Andrew Moor observed of the movie, “It’s a sort of mash-up of BILKO and EQUUS.”

Saw a man in a very cool wheelchair — it had Mondrian wheels. “We should compliment him on his chair!” Moving a little closer: “We should compliment him on his career!” Bernard Bertolucci, in the flesh. But the towering bodyguard maintaining his privacy as he chatted to Scott Foundas barred all compliments.

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3 Responses to “The Man with the Mondrian Wheels”

  1. I have a DVD of REFLECTIONS which offers the sepia/”golden” version, and at least once I’ve watched it on TCM as Huston intended it be seen. Is the print all that rare?

  2. As a 35mm print, I guess it is. Unfortunatelty, the gold wasn’t consistent, due to the effects of time and fading, or so I’m told. I didn’t make it to the screening alas. Would have been nice to see Angela Allen talk — though we did find ourselves standing next to her outside the Cinema Jolly, I was convinced. I noticed this lady listening intently to our conversation with a big grin…

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