SXSW dispatches are on the way, but as I’m still in the thick of it, let’s have an overdue round of news and views. First up, the new issue of Senses of Cinema is up, featuring Hamish Ford, Dan Edwards, Theodore Price and Antony Sellers on Antonioni, Daniel Fairfax, Rolando Caputo and Tim O’Farrell on Paul Thomas Anderson, Yaron Dahan on Terrence Malick’s Knight of Cups, Brigitta Wagner‘s interview with Alex Ross Perry—and more.
In the new desistfilm: Adrian Martin on Isidore Isou, Claudia Siefen and Jaime Grijalba on Hitchcock, Victor Bruno on De Palma, Alejandro Bachmann and Daniel Fitzpatrick on Peter Tscherkassky, Michael Robinson and David OReilly—and yes, more.
Martin Scorsese for the Hollywood Reporter on John Ford‘s The Searchers: “Like all great works of art, it’s uncomfortable. The core of the movie is deeply painful. Every time I watch it—and I’ve seen it many, many times since its first run in 1956—it haunts and troubles me. The character of Ethan Edwards is one of the most unsettling in American cinema.”
At the Chiseler, Daniel Riccuito looks back on the career of Ernie “Sunshine Sammy” Morrison, the “First Motion Picture Child Star.”
The Guardian‘s Andrew Pulver talks with Terence Stamp, who “had a fantastic 1960s, during which he starred in a handful of imperishable classics (Billy Budd, Ken Loach’s Poor Cow, Pasolini’s Theorem) and consorted with some of the era’s most beautiful women (Julie Christie, Jean Shrimpton, Brigitte Bardot)…. Retro fetishism started in 1999 with the Steven Soderbergh-directed The Limey, in which Stamp played a Get Carter-ish avenging gangster, and has continued to the present day, with Stamp currently lionized by another 60s-fetishizing film-maker, Tim Burton, with roles in Big Eyes (as a snooty art critic) and the yet-to-be-completed Miss Peregrine’s Home for Peculiar Children.”
The Muriels are less an awards countdown than a march through the past year with essays on the films that have made the list. Vern on Inherent Vice, for example, or Dennis Cozzalio on Timothy Spall—the list runs far and wide.
Time Out lists the “50 best gangster movies of all time.”
IN OTHER NEWS
“Jia Zhangke will receive the Carrosse d’Or, set to be handed out by the Society of Film Directors (SRF) during the opening ceremony of the 47th Directors’ Fortnight, which will take place from 14-24 May 2015 as part of the 68th Cannes Film Festival,” reports Cineuropa‘s Fabien Lemercier.
The San Francisco International Film Festival, whose 58th edition runs from April 23 through May 7, has announced the lineups for its narrative and documentary competitions.
“Jean-Luc Godard’s Goodbye to Language will be the opening film on April 15 at the 17th Annual Roger Ebert Film Festival, also known as Ebertfest,” reports Variety‘s Dave McNary. And the film’ll be out on Blu-ray and DVD from Kino Lorber on April 14.
New York. The Film Society of Lincoln Center has announced that Eric Rohmer‘s six-film Comedies and Proverbs cycle will screen from April 17 through 30, “coinciding with a two-week exclusive run of a new digital restoration of the director’s 1984 film, Full Moon in Paris.”
Kent Jones for Criterion
Required Viewing: Mad Men‘s Movie Influences, the series at the Museum of the Moving Image mentioned earlier this month, is now on through April 26, while the exhibition Matthew Weiner’s Mad Men is open through June 14. For Reverse Shot co-editor Michael Koresky, “Mad Men has, to these eyes, remained television’s most supple, consistently surprising series.”
Vienna. The Austrian Film Museum presents new restorations of work by Alfred Kaiser from tomorrow through Sunday.
IN THE WORKS
At Cineuropa, Fabien Lemercier has early word on Bruno Dumont‘s Ma loute, set “in the Slack estuary in 1910. Eighteen-year-old Ma Loute Bréfort is a mussel picker, fisherman and ferryman on the River Slack, where he lives with his family—a family in which, mysteriously, all of the males are cannibals.” Also, Mia Hansen-Løve’s L’avenir is a “portrait of a philosophy teacher played by Isabelle Huppert.”
“Cristian Mungiu is gearing up to shoot his new film inspired by his own life and the implications of fatherhood,” reports Screen‘s Melanie Goodfellow. Mungiu may begin shooting Fotografii de familie in about half a year.
At Twitch, James Marsh has the latest on Zhang Yimou’s The Great Wall: “Matt Damon and Andy Lau head an all-star cast that also includes Willem Dafoe and Games of Thrones scene-stealer Pedro Pascal, as well as Chinese star performers Zhang Hanyu (The Taking of Tiger Mountain), Eddie Peng (Unbeatable, Rise of the Legend), Jing Tian (Special ID, From Vegas to Macau), boy band idol Lu Han and a host of others, including Lin Gengxin, Zheng Kai, Chen Xuedong, Huang Xuan, Wang Junkai, Yu Xintian and Liu Qiong. Set in the 15th Century, The Great Wall is the story of an elite force of soldiers who must defend the titular battlement—and the Earth—from an attack by giant mythical creatures.”
“Richard Glatzer, who has died of motor neurone disease aged 63, was in physical decline throughout the shoot of his final and now most widely seen film, Still Alice,” the Telegraph‘s Tim Robey wrote last week. “That picture is a small marvel, made with an unmistakably personal touch. Narrating the story of an early-onset Alzheimer’s sufferer became a means for Richard, along with his husband and co-director Wash Westmoreland, to grapple conceptually with the stage-by-stage shutdown of Richard’s own body.” Filmmaker‘s posted a moving remembrance from Craig Chester.
Trailer for the new restoration of Eric Rohmer’s Full Moon in Paris (1984)
In the Guardian, Frank Cottrell Boyce remembers Terry Pratchett, who passed away last week at the age of 66: “He wasn’t imagining an alternative universe; he was reimagining ours. His fantasies sit alongside – and are the equals of – those of Rabelais, Voltaire, Swift, Kurt Vonnegut and Douglas Adams. He’s surely our most quotable writer after Shakespeare and Wilde.” The Hollywood Reporter‘s Alex Ritman: “But despite more than 70 books to his name and sales estimated at well over 80 million, not a single novel of his made it to the big screen, even though his creation, Discworld—a vast, farcical land littered with protagonists—would appear, at first glance, like ideal cinema universe fodder.”
From Karina Longworth, You Must Remember This #26: Errol Flynn (42’53”).