Sunday, 21 May 2017
Wednesday, 26 April 2017
Sunday, 26 March 2017
Wednesday, 22 February 2017
Wednesday, 28 December 2016
The podcast returns with Tom and Mike White from the Projection Booth podcast discussing Sam Fullers Pickup on South Street. Enjoy!
From Masters of Cinema:
"If you refuse to cooperate you'll be as guilty as the traitors who gave Stalin the A-bomb." "Are you waving the flag at ME?!"
Samuel Fuller's sensational film noir casts a steely eye at America in the dawn of the Cold War, and brings 1950s New York City alive on the screen in a manner rarely equaled in the annals of film.
In one of his greatest roles, Richard Widmark plays Skip McCoy, a seasoned pickpocket who unknowingly filches some radioactive loot: microfilm of top-secret government documents. Soon after, Skip finds himself mixed up with federal agents, Commie agents, and a professional stoolpigeon by the name of Moe (played by Thelma Ritter in her finest role this side of Rear Window).
Monday, 31 October 2016
Its Halloween so what better way to celebrate with a look at Carl Dreyer's Vampyr! Joakim is joined by Adam Gonet from The Art Shelf to discuss this spooky classic. Enjoy.
From Masters of Cinema:
The first sound-film by one of the greatest of all filmmakers, Vampyr offers a sensual immediacy that few, if any, works of cinema can claim to match. Legendary director Carl Theodor Dreyer leads the viewer, as though guided in a trance, through a realm akin to a waking-dream, a zone positioned somewhere between reality and the supernatural.
Traveller Allan Gray (arrestingly depicted by Julian West, aka the secretive real-life Baron Nicolas de Gunzburg) arrives at a countryside inn seemingly beckoned by haunted forces. His growing acquaintance with the family who reside there soon opens up a network of uncanny associations between the dead and the living, of ghostly lore and demonology, which pull Gray ever deeper into an unsettling, and upsetting, mystery. At its core: troubled Gisèle, chaste daughter and sexual incarnation, portrayed by the great, cursed Sybille Schmitz (Diary of a Lost Girl, and inspiration for Fassbinder’s Veronika Voss.) Before the candles of Vampyr exhaust themselves, Allan Gray and the viewer alike come eye-to-eye with Fate — in the face of dear dying Sybille, in the blasphemed bodies of horrific bat-men, in the charged and mortal act of asphyxiation — eye-to-eye, then, with Death — the supreme vampire.
Deemed by Alfred Hitchcock ‘the only film worth watching… twice’, Vampyr’s influence has become, by now, incalculable.