13 versions of Laurence Olivier’s screenplay for an adaptation of Macbeth, long thought lost, have been discovered. Steven Morris reports for the Guardian.
“From Movies To Moving,” Serge Daney, 1989.
Diagonal Thoughts posts a 2006 conversation between Pedro Costa and Thom Andersen about the work of Danièle Huillet and Jean-Marie Straub. Plus: Philippe Azoury‘s interview with Costa and Straub for Libération in 2001.
Catherine Grant‘s discovered nine freely accessible issue of Framework: The Journal of Cinema and Media, posted a guide to Queer Film Festival Studies, and notes that a new issue of InMedia is up, “Performing/Representing Male Bonds.”
James Marcus Tucker in One+One Filmmakers Journal: “The Failure to ‘Pass’ in Alfred Hitchcock’s Rope.”
Anthony Paletta in the Awl: “David Bowie’s Forgotten, Campy Berlin Gigolo Movie.”
Imogen Smith at the Chiseler: “Joan Blondell: Gold in a Penny Arcade.”
Glenn Kenny remembers seeing that ending Kubrick cut from The Shining that everyone’s rediscovering all over again.
“Why is the work of one of our greatest filmmakers—the director Alan Clarke—all but invisible?” asks John Wyver.
Michael Atkinson for In These Times: “Alongside Vibeke Løkkeberg’s 2012 Tears of Gaza, two Oscar-nominated documentaries—The Gatekeepers and 5 Broken Cameras—etch a hair-raising triptych of the dire state of affairs for Arabs in Gaza and the West Bank.”
Allison Anders is listening to Greta Garbo’s record collection.
In German: Ekkehard Knörer‘s History Tour.
Interviews. Everyone’s talking about Mary Kaye Schilling‘s interview with Steven Soderbergh for New York. For good reason, too.
Vanity Fair presents a brief oral history of the making of Pulp Fiction (1994).
Noir. “Anthony Mann is America’s hometown noir hero.” A big series happening now at Not Coming to a Theater Near You.
Michael Atkinson at Sundance NOW: “Simply, noirs are best considered as a whole, as a hive-mind bum’s rush, America whiskey-talking to itself after an innocence-torching war and during a social moment that was supposed to be bliss and was instead empty and scarred.”
Here in Keyframe, Marilyn Ferdinand spoke with Peggy Cummins about playing Annie Laurie Starr in Joseph H. Lewis’s Gun Crazy (1949) before Noir City 11 opened in San Francisco with a tribute to her. That happened on Friday, and Michael Guillén was there to document the evening.