AUTUMN/WINTER 2019 EDITORIAL
In one of those quirks of Fate that Life is oh so good
at, I found myself in London recently. Reading The
Metro on the train back, a review of the new
film Monos caught my eye. "A largely
non-professional teen cast" are words that automatically
spark my interest. I love working with unprofessionals,
and bright young actors are just the best thing. I shall
be looking out for Monos with interest, and add
it to the ever-growing list of films that I wouldn't
mind seeing.
SUMMER 2019 EDITORIAL
Well, The Here And Now is finally now
finished- and will have its premiere screening in the
not-too-distant future. Needless to say, I'm really
grateful to my lovely cast and crew- all of whom I'd
work with again.
The whole film proved harder than I thought it would be
to complete, but we got there- and I can now start
planning the next one! I hope it will be a creative and
enjoyable Summer, as I'm working again with Jack Spence
(he of Talk To Me fame- see my last editorial!-
on HIS second feature, and I feel priviliged to be doing
so. He's also been involved in my film and helping me
stay optimistic- so my thanks to him for that! Talking
of The Here And Now ....check out the official
trailer for the film
here
SPRING 2019 EDITORIAL
I feel honoured to have been a part of a new feature
film which finished shooting in the last week. Talk
To Me tackles a number of sensitive and
emotionally-charged topics, so it's all the more
remarkable that its writer and director, Jack Spence (lower
left), is still only 18. He also ended up taking
up one of the central roles when one of the actors was
forced to pull out at the eleventh hour, making his
achievement all the greater. Oh yes, and he shot AND
edited the film himself...in just four days. Having
seen a rough cut of the finished product, I feel
extremely proud to have been involved. Not only was it
colossal fun to be on set, the finished film has
depth, style and beauty which are exactly what the
British film industry needs. Forget trying to emulate
Hollywood- original films like this are the real deal.
So, look out for the film Talk To Me in the
press, and, if you get the chance to see it, I'd
recommend that you do so. As for the multi-talented
Jack Spence, he is definitely one to watch.
JANUARY 2019 EDITORIAL
2019 sees many music-related anniversaries, but one
musical one is that of Woodstock- which took place 50
years ago. Late last year I found myself dipping into
Michael Wadleigh's marvellous film of the festival
which made such an impact on me as a teenager when it
was screened on TV much later. It's one of those rare
films which is audacious yet hugely pleasing,
emotional yet fulfilling, and beautiful. The music is
unbeatable- and I feel fortunate indeed to have
interviewed some of the performers. I shall be
thinking of the festival again this year, and at some
point re-watching Wadleigh's film in homage.
SUMMER 2018 EDITORIAL
I thought I'd share with you a poster for a film I
saw recently on what I call "my favourite channel"-
Talking Pictures TV (Sky channel 328, Freeview 81,
Freesat 306 and Virgin 445). If you've never come
across the channel before, give it a try! They do
everything film-wise the BBC seem to have given up on,
and show films that enable you to discover little gems
like this. Oh yes, and I'd LOVE the poster on my wall!
JANUARY 2018 EDITORIAL
I had planned to write some concise comments about
the first film I saw in 2018. But, this became a mini
essay of celebration- and you can read it
here
SUMMER/ AUTUMN 2017 EDITORIAL
I often write about directors, but I feel very lucky
indeed to know some terrific actors. One of the things
they have in common is not realising just how good they
are- making a film is creative and artistic, but it is
also FUN- and the actors I know make the whole process
such a blast I can't wait for the next time around!
Here's one of the talented actors I know in a still from
a short film I'm currently editing...
SUMMER 2017 EDITORIAL
It's funny that, despite all the technological advances,
the rising stars and the appearance of new directors, I
tend to return to the old masters- the ones that
inspired me in the first place. Visconti. Rossellini,
Antonioni. Hmmm...three Italian directors. It's always
been the Arthouse cinema for me - the independent over
the mainstream, Kenneth Anger, beauty over convention,
aestheticism over the mundane. I've increased my work so
much in the last few years, and have found that I love
it more as a result. The still below is from a short
film I finished earlier this year which is now on the
film festival circuit. It is called To Whom It May
Concern.
SPRING 2017 EDITORIAL
I know very few people for whom 2016 was a good year.
But, it is time to banish it to the past and move
forward. Lots of exciting things on the agenda for 2017-
not least planning my first feature, moving house and
finally making some shorts that have been in my mind
(and actually ON my mind) for ages!
It is perhaps apt that this year marks 90 years since
the release of Abel Gance's epic Napoleon. I was
lucky enough to see some of this magnificent work when
studying History at college, as our teacher had recorded
the film on its first (and to date last) screening on
British television. I was captivated, and look forward
to renewing my acquaintance with the film as soon as is
possible. (There's a particularly good trailer- the link
is below).
Talking of anniversaries, warm birthday wishes to Olivia
De Havilland and Kirk Douglas- who both turned 100 last
year. Back to this year- and have a great one. Keep in
touch via social media, and there will be more films and
news coming very soon. Whatever the future holds, we
hope that it is good. Napoleon
trailer
AUTUMN 2016 EDITORIAL
Sorting through some film memorabilia recently I came
across this fan-club letter from Monty Banks. Whether
this was written by Monty himself is doubtful (he was
born in Italy, and at the time this would have been
written was still not fully au fait with
English), but its sentiments are nevertheless very
worthy ones. Banks came to the USA in 1918, and worked
on a number of films directed by and starring Roscoe
"Fatty" Arbuckle. Sadly, the survival rate of these
films is so poor that Banks' skill cannot be easily
assessed, but he WAS successful enough to form his own
production company and direct himself in a few films.
When sound came to Hollywood in the late 1920s, Banks,
along with many other non-native English speaking
actors, found himself cast aside. He moved to England,
and turned to directing. Monty Banks was responsible for
films starring George Formby, Gracie Fields (who was to
become Banks' second wife in 1940), and, in his last
directorial outing, Laurel and Hardy's Great Guns .
Nine years later, while on a train in Italy, he secumbed
to a fatal heart attack. In Cesena, his home town, a
foundation ensures his name will live on- for it
promotes the creation of moving images from local boys.
SPRING 2016 EDITORIAL
( Gabriel Dell, Huntz Hall, Billy Halop, Bernard
Punsly, Bobby Jordan & Leo Gorcey)
The Dead End Kids were something else. They had that
ability- not even given to some Oscar Winners or
celebrated "stars" throughout cinema history- of being
able to lift the films they appeared in, to make the
productions even better for their presence. Although
Dead End marked their debut as an ensemble, and
Angels With Dirty Faces is their best known film
together, the other five movies are less familiar. One
of these, They Made Me A Criminal was made in
1939- and involves the cream of Hollywood talent, making
its relative obscurity even more surprising. Not content
with being directed by the maestro of the musical Busby
Berkeley, the film was shot by ten time Oscar nominee
James Wong Howe (he did actually win twice). The music
by Max Steiner sets a suitable backdrop to the detailed
yet comprehendable plot which also stars John Garfield,
Claude Rains, Ann Southern, May Robson- and even
features minor roles for character actors like Ward Bond
and Arthur Housman. In common with all but Dead End,
the film was made and distributed under the auspices of
Warner Brothers , making it all the remarkable (and
lamentable) that DVD releases have been limited to
public domain ones. They Made Me A Criminal
packs more into its 92 minute running time than most
movies twice its length, and, though setting up the plot
proper seems a little rushed, the Dead End Kids'
appearance settles things down. Like their other more
celebrated films, They Made Me A Criminal
contains almost every conceivable emotion from drama to
pathos, and (perhaps more importantly) the film is
utterly unpredictable. It also has important lessons to
teach us all in how to be human, and it is this, above
all, which makes it worthy of remastering and issuing on
DVD as part of a proper box set of Dead End Kids titles
to acknowledge their unique place in Hollywood history.
OLD-FORMAT EDITORIALS. No words have
been changed- these are exactly as written at the
time.
EDITORIAL FOR JANUARY 2008
BRAD RENFRO
25th July 1982- 15th January 2008.
Whatever else the month may hold, it should be
remembered for the passing of another young Hollywood
actor, Brad Renfro, well before his time. I happened to
catch a glance of the ominous MSN news headline 'US
actor found dead' as I was about to log off in the early
hours of 17th January. Feeling sure it would be someone
I'd not have heard of, I clicked the article and was
additionally stunned when Renfro's name appeared. A
River Phoenix for the generation of 1990s film-goers,
Renfro's most famous role was in the thriller The
Client but he also put in memorable performances
in The Cure and Apt Pupil among others.
A sad day indeed for cinema.
EDITORIAL FOR FEBRUARY 2008
There's a revolution happening in Canada. A cinematic
revolution anyway. The forthcoming release of Juno
directed by talented Canadian Jason Reitman is yet
another example of the quirky, 'Indy' film that the
Canadians (and the Americans for that matter) do so
well. In fact, the Canadian 'coming-of-age' movie could
almost be considered a sub-genre in its own right: from
the emotionally draining Sugar(dir. John Palmer,
2004) to Jean-Marc Vallee's C.R.A.Z.Y.(2005),
such films are marked by soundtracks that mix the
offbeat with the mainstream, central characters who are
subject to the vagaries of Life, stunning locations and
a reluctance to outstay their welcome. Many, many words
could be written about these stunning films and others
besides, but Juno is another in a long line of
charmingly idiosyncratic films to emanate from Canada.
Vive la Revolution!
EDITORIAL FOR MARCH 2008
In the 2007 film Into The Wild, there is a
moment when Chris McCandless (Emile Hirsch) tells a
large red apple just how tasty it is. Then, after two
jump cuts, he stares at, then leans toward, the camera.
Little did Hirsch know that this particular moment would
be singled out for IMDB analysis and debate. A very
minor moment in what is a very long film, this sort of
conjecture surrounding his interaction with the camera
marks the shift away from considered critical reflection
toward an almost immediate response on behalf of- well-
anyone. Now, no sooner than a movie's credits
have laboured their way up the screen, there are private
analysts trainspotting the flaws, moments of stretched
credibility and downright plot holes ready for their
sixty seconds of fame when they point it out to the
whole world on IMDB. In this case, it is interesting to
note that director Sean Penn initially refused to let
Hirsch ad-lib the idea of talking to the apple (Penn's
lack of good judgement characterising most of the film)-
that Hirsch persuaded Penn to film the moment is a
credit to the actor, and to those who have the patience
to trawl through IMDB looking for a discussion of a
moment such as this.
EDITORIAL FOR APRIL 2008
In this modern world where, it is said, young people
don’t have heroes anymore, the passing of Hollywood
legend Charlton Heston should evoke in many more than a
touch of sadness. For many cinema-going youngsters
throughout the 1940s, 1950s and even the 1960s Heston
was a true celluloid icon, for he made the legends of
history real, believable and almost tangible. Those who
criticise his involvement with the N.R.A. miss the
point- Charlton Heston should be revered for exactly
what he was- a legend where there are no legends, a
giant where there are no giants, and a hero where there
are, it seems, no heroes. God Bless you “Chuck”.
EDITORIAL FOR MAY 2008
In one of my Film lectures a year or two ago, I
described Gus Van Sant as ‘the greatest living American
director’ (possibly a result of seeing My Own
Private Idaho and Elephant in consecutive
weeks). Since then, I have reflected on this rather
spontaneous outburst with a certain amount of humour- he
is unquestionably a brilliant director, but that
good? Van Sant’s latest film Paranoid Park,
stylishly shot yet strikingly down-to-earth, is another
remarkable experience from a man who knows how to make
films that are just, well, amazing. As the film
finished, I once more thought back to that day when the
students grinned at my sudden declaration of enthusiasm,
and decided that perhaps I hadn’t been that shy of the
mark after all.
EDITORIAL FOR JUNE 2008
The actor Gerald Harper hasn't made many films. It
wasn't until I did some research that I found this out-
it was a fact that rather shocked me, as he really is an
excellent actor. I had the good fortune to meet Mr.
Harper at the stage door during his recent appearance in
Agatha Christie's And Then There Were None, and
he is one of the nicest people I have ever met. I asked
him if he had any future projects planned, and was
rewarded with a wonderful amused chuckle... apart from
another run of the play, he hadn't. True, Mr. Harper has
done much television work (most famously in the
brilliant Adam Adamant Lives!- a series which
should be the official definition of 'cult' in the
dictionary) but little film. If his appearance in the
play is anything to go by he can still turn on the
style- and that is often what films in this day and age
are missing.
EDITORIAL FOR JULY 2008
You might recognise the image, but I’d be very surprised
if you’ve seen the full version of the film…until now
maybe. Metropolis is one of the most famous
works of European cinema but exists in many different
length versions. Premiered at 210 minutes back in 1927,
the film has been available in prints lasting anything
from 80 minutes (the Moroder version) to the most recent
2 ½ hour restoration. Now, with the aid of a battered
film discovered in Buenos Aires, the true Metropolis
can hopefully be reconstructed and be a lasting
testimony to the genius of Fritz Lang.
You can read more about this amazing "find" on my links
page.
EDITORIAL FOR AUGUST 2008
With the Summer, and the invariably capricious weather
that season brings, my thoughts turned yet again to
those 1960s ‘Beach’ movies (which in turn invariably
starred Frankie Avalon and Annette Funicello). Often
panned by the critics, these movies can hopefully now be
re-evaluated both in terms of their cultural
significance (as indelibly linked to the 1960s as
Italian Neorealism is to the 1940s) and for their use of
icons of popular culture (from Buster Keaton to Mickey
Rooney). Ultimately, these movies did not aim at a
profound political statement- they cashed in on the
surfing craze and, in doing so, provided entertainment
not only for those who rode the California surf but
those who would like to.
EDITORIAL FOR SEPTEMBER 2008
The passing of Anita Page at the age of 98 severs yet
one more link with cinema's silent past. Ironically for
an actress who retired in 1936, Page's final film (Frankenstein
Rising) is not yet released, although it is one of
just six she made since that self-imposed exile from the
silver screen. It is both enticing (and now frustrating)
to consider that Miss Page was part of that magic world
and knew the people who have become motion picture
legends. Despite her somewhat limited film career, Miss
Page deserves to be remembered as they all do- for
theirs was the pioneering spirit that established the
form of cinematic production which is still largely in
use to this day.
EDITORIAL FOR OCTOBER 2008
Just when you thought it was safe to start saving up for
Christmas Alfred Hitchcock makes an appearance...or
rather, some of his films do, as part of the remastered
two-disc Legacy Series. One such title is Rear
Window. I already have the film on DVD- and it has
extras. So, why should I buy this new release? Two
reasons- the further improved picture quality and the
host of extras (including- at last- a feature length
commentary). I suppose you'd have to be a keen Hitchcock
fan to purchase this film again, but I am a keen
Hitchcock fan. Christmas will have to wait.
EDITORIAL FOR NOVEMBER 2008
Listening to The Film Programme on BBC Radio 4
on 17th October this year I was shocked to hear that
films are still decaying in vaults all over the world
through lack of money. Call me old fashioned, but, with
the absurd sums being thrown around left, right and
centre in today's celebrity culture, that's something
very wrong. There are also films which are preserved but
not yet released- one that has always held a fascination
for me is Glorifying The American Girl. Made in
1929, and therefore pre- Hays code, it is notable for
being an early musical, its last section being shot in
early technicolor and for its spectacular sets. That
this film survives in the vaults at the UCLA is
commendable, that it seems to languish there is less
commendable. Film preservation needs action- and fast,
not only to preserve our rich cultural heritage but to
ensure that it lives and breathes again.
EDITORIAL FOR DECEMBER 2008
On the surface, Ingrid Bergman seems to have little to
do with BBC Radio. Actually, she may well feature in an
edition of Radio 4’s Archive Hour on 20th December at
8.00 p.m. The programme- entitled ‘Home-Recorded
Voices’- takes as its premise the “domestic” recordings
made by people using the new technology of magnetic reel
to reel tape to record themselves for posterity. The
majority of recordings you will hear come from my own
archive. One of the voices (belonging to a Lorna Butler
of Reading, Berks.) is represented several times in my
collection- once giving a superbly detailed description
of her meeting with Ingrid Bergman (above). Whether it
will make the final cut is uncertain- but what is
certain is that the exploration of my audio archive hits
UK airwaves on the last Saturday before Christmas.
EDITORIAL FOR JANUARY 2009
It's that time of year again- Oscar nomination time. For
once, I care about the Oscars. One film I think will be
rewarded is the charming WALL-E, but I also hope
that Gus Van Sant is recognised for his film Milk.
Van Sant's films are always interesting, and often
simply mind-blowing. It's time this was recognised in a
more public arena than fan sites and forums, so I send
him good luck too. I may even stay up in the hopes that
both my prediction and my wish come true.
EDITORIAL FOR FEBRUARY 2009
Despite the sale of films on DVD reaching its early
teens it is astonishing to note those films that (for
some strange reason) have vanished from (or have never
appeared on) the radar. If it was just a case of
Darwinian natural selection, and only the best/most
interesting were released for public consumption and
adulation I could perhaps understand it. But it isn't.
Thus, one can buy any mindless movie fairly readily
(even in most high street stores!) but other titles
remain frustratingly elusive. A case in point is
'Zabriskie Point' (Antonioni, 1970), unavailable on DVD
in both the UK (unsurprisingly) and in America
(amazingly). Without resorting to some dubious imported
version one's only option- it seems- is to await the
occasional screening of the film on TCM, avec logo and
mit adverts. I've wanted to see this film for years, and
now have the sensation of being aware that I soon won't
be able to wait any longer. It is this situation that
the film companies should be aware of, as if the release
is delayed to the point of its audience seeking out the
movie elsewhere (such as a transfer from an old VHS
video or recording it from a channel like TCM), the very
people who may be responsible for sales will hold back-
for the short term at least. If I had to name three
titles I'd like to see on DVD in the near future they'd
be the aforementioned Zabriskie Point, Gance's
1927 classic Napoleon and the 1980 Brownlow/Gill
TV series Hollywood. Let's hope that whoever has
to be listening IS listening.
EDITORIAL FOR MARCH 2009
One of the indisputably great things about British
cinema of a certain era was its preponderance of
character actors who would suddenly turn up in a film of
seemingly any genre. One such example is Cecil Parker,
who appeared in The Admirable Crichton (1957)
on television recently and popped up in a film I caught
tonight, 1965's A Study In Terror. Usually
reminiscant of a slightly quavering but agreeable Uncle,
Cecil Parker also appears in one of my all-time
favourite films The Court Jester(1955), but it
is worth noting that in his 36 year career he appeared
in films directed by some of cinema's greatest-
including his memorable appearance in The Lady
Vanishes(1938). Cecil Parker is one of those
special actors whose presence can make even the worst
film bearable, but my delight is in seeing him whatever
he is in. Truly, we will never see his like again.
EDITORIAL FOR APRIL 2009
One very good thing about the school holidays is the
replacement of the usual run-of-the-mill dross
(mindnumbing daytime television or live golf coverage)
with films. I hadn't intended to watch one particular
film- Tron by name- out of an odd sort of fear
that it wouldn't live up to my memories of seeing it as
a small child back in the early 1980s. I need not have
worried. Despite a slightly incoherent narrative,
Tron still looks stunning, its visual style unique
in a world where many things billed as "unique" aren't.
I hear a remake of the film is on the cards. 'Nuff said.
EDITORIAL FOR MAY 2009
Perhaps the biggest compliment one can have is to have a
biopic made about one's life. I suspect the closest I'll
get to this exalted position is a short film (made by
some of my students) entitled R7HARRIS which is
based on me and my love of film. Continually
interesting, it is one of many superb shorts I have been
proud to observe taking shape over the last two months
as studies move towards their close. Despite using both
my voice and some direct interview footage, R7HARRIS
demonstrates the typically inventive modern student
mind- the host of visionary ideas each year produces
never ceases to amaze and delight me.
EDITORIAL FOR JUNE 2009
It's nice to know that the future of Britain's film
industry is in safe hands. This particular image adorns
the British Film Council's short films page with the
grace and dignity that a hare has in a butchers shop
window. I'd go so far as to say that I'm as sure as eggs
are bacon that these no doubt worthy individuals will
offer as much to the short film as to the feature film
in this country. Francois Truffaut once famously
remarked that 'British' and 'cinema' were slightly
incompatible...I wonder what he might make of things
now.
EDITORIAL FOR JULY 2009
I was intrigued recently to read what on the surface
looked like a wholesale endorsement for my constant
argument that your average mainstream, run-of-the-mill
movie need not outstay its welcome. The author of the
article, however, after namechecking some recent
Hollywood Blockbusters, comments thus: 'these sorts of
movies would have skirted close to the 90 minute mark a
decade or so ago. Look at the first 'Star Wars' and
'Indiana Jones' movies – they are lean, fast paced and
endlessly re-watchable. Now look at the new ones.' What
is happening here is a confusion between length
and quality. The first Star Wars film
(1977) runs 121 minutes (125 if you count the special
edition), Raiders of the Lost Ark 119.
Therefore, they're not really that close to 90 minutes.
I do get his point though: of the three 'prequels' to
George Lucas' saga, The Phantom Menace runs for
133 minutes, Attack of the Clones 142, and Revenge
of the Sith 140. What all this boils down to is
that if a movie is really good (as opposed to
'O.K.') it can run a little longer. What I, he and no
doubt most of the public out there don't want is
pretentiously long films whose content does not merit
their running time.
EDITORIAL FOR AUGUST 2009
I don't know what this month's editorial would have been
had I not heard of the lamentably early death of John
Hughes a couple of days ago. Although he directed a mere
8 films, two of those are classics in their field- The
Breakfast Club and Ferris Bueller's Day Off.
I saw the latter again about three years ago after a gap
of almost 20 years. To be honest, I'd avoided going back
to it, fearing that what I'd found so entrancing as a
boy would now seem puerile and childishly silly. I need
not have worried. If anything, I enjoyed it more the
second time around- it was uplifting and different in
the way that so few films these days seem to be. Now I
work in education, I enjoyed watching the teachers
almost as much as I did Ferris himself. John Hughes was
not a one-trick pony: he wrote, produced and directed,
and was still doing so until the end. His death, at the
early age of 59, is to be mourned- if you want to pay
tribute to him in the best way possible put on Ferris
Bueller's Day Off and enjoy.
EDITORIAL FOR SEPTEMBER 2009
It seems almost inconceivable that 28th September 2009
marks the 75th birthday of the legendary French actress
Brigitte Bardot. Her reclusive lifestyle (only disturbed
by valiant outbursts against animal cruelty) means her
iconic status is assured- her image is frozen in time as
the sex kitten that took the world by storm in the late
1950s.
EDITORIAL FOR OCTOBER 2009
It's surprising what prompts research to take place.
Looking through a beautiful Columbia Pictures Exhibition
Book from 1930-31 in my collection I was particularly
impressed by a striking full page advert for The
Flood, a film now barely remembered.
Interestingly, the advert attempts to sell the film
through its spectacle rather than its stars (Eleanor
Boardman and Monte Blue- both big names in the silent
era) or its director (James Tinling, not, with the
greatest respect, a notable name), although it does hype
them up in the written blurb that accompanies the main
image. Given its hype, it's a shame that The Flood
probably exists in a dusty vault somewhere, waiting,
like "the mad surging torrents of Hell", to break
loose...
EDITORIAL FOR NOVEMBER 2009
It doesn’t seem that much has happened in the film world
in recent months. There are lots of people who’d
probably disagree. My (rather reactionary) response to
this is to turn back to the acknowledged masters of the
past. Thus, as the Winter evenings begin to make
venturing out a decidedly unappetising occupation, I
return to Truffaut, Godard, Antonioni- those people who
guarantee to uplift the spirits. Speaking of Godard, I
was reminded only yesterday just how quotable he was
(and probably still is). ‘Cinema is truth’, the great
man once remarked, ‘twenty-four frames a second’.
EDITORIAL FOR DECEMBER 2009
Well, it's that time of year again. I marked the
occasion by a special screening of It's A Wonderful
Life where the film worked its magic once more. As
I watched, I wondered if it really was my
favourite film- it's been my pat answer to the
'favourite movie?' question for years. The evidence-
Donna Reed's finest hour, an incredible performance from
James Stewart that soars through the range of emotions,
a complex narrative web which sees itself resolved, and
what is for me a final sequence of utterly unbearable
intensity. Mere words cannot do the affective power of
this justice, but what I do know is that it
tipped the balance in favour of Capra's film on this
occasion. A Happy Christmas to you all...
EDITORIAL FOR JANUARY 2010
The mark of a true star, an actor or actress who will be
remembered in years to come and define their generation,
is that they can still be great even if the movie they
are in isn't. Few stars have made universally great
films, but having the knack to still be a class act in a
film that most definitely isn't is the touch of genius.
Watching 17 Again recently my assertion seemed
truer than ever. It is not, by any stretch of the
imagination, a great film. That said, its main star is
great in it. It is his performance alone that makes the
film watchable, and, consequently, Zac Efron is one of
the true stars of his generation- one of the finest
talents Hollywood currently has to offer.
EDITORIAL FOR FEBRUARY 2010
2010 has, so far, not been kind to the great and the
good. In January Jean Simmons passed away, as did Eric
Rohmer. This month has already seen the loss of Ian
Carmichael, one of the mainstays of 1950s and 1960s
British cinema. What was refreshing about Carmichael was
his quintessential Britishness, his often
bewildered fresh-face being seen in a plethora of films
(often comedies). One of my favourite Carmichael
performances is Left Right and Centre (1959)
where he plays a Tory candidate who erroneously reveals
his tactics and biography to his political rival.
Carmichael's death severs yet another link with 1950s
British cinema, and we must honour the surviving stars
while there is yet time.
EDITORIAL FOR MARCH 2010
I clasped my hands to my face and repeated ‘no, no, no…’
in a monotonous chant, almost hypnotised by the bad news
I had just read. I then got up and unsteadily crossed
the room, barely keeping my emotions in check. If the
telephone hadn’t rung at that moment I think I would
have fallen apart. It must have looked like a scene from
a movie…but it wasn’t. It was real. I had just read of
the death of Corey Haim. Intense sadness, guilt, anger-
all these emotions passed through me soon after. I was
angry for the way the Hollywood machine will grind on
regardless, guilty that I hadn’t written to him to say I
appreciated his work, but above all I was (and still am)
sad. Corey Haim was one of THE symbols of the 1980s teen
movie. With his passing, in an odd way, a little of me
died too.
Corey Haim 23/10/1971-10/3/2010
EDITORIAL FOR APRIL 2010
Life is not quite as sunny in Hollywood as it once was.
The reason? The financial cost involved in preserving
the sign proclaiming a name now synonymous with the
movies themselves. Erected in 1923, the sign’s chequered
history (Peg Entwistle jumping to her death from its
first letter for example) and gradual weathering led to
the removal of the original suffix ‘land’ from the sign.
Now, another problem rears its ugly head- several ugly
heads to be precise- those of “investors” (= cultural
highwaymen) whose future actions will be a result of
their palms being crossed (or not) by £2 Million
(approx. $3.5 Million). Moral bickering aside, it’s time
to get real. Avatar cost $500 Million. The sign
needs $3.5 Million. With movie salaries and budgets
rising higher than a skyrocket on acid it’s time to act.
Should today’s multi-million dollar celebrities give up
some small change to save this landmark sign? I’d say
yes- for it was probably the very magic the sign
inspired that helped motivate them to get where they are
today.
(Photo credit: Thomas Wolf, www.foto-tw.de / Wikimedia
Commons / CC BY-SA 3.0 )
EDITORIAL FOR MAY 2010
James Stewart and Margaret Sullivan stand amazed. This
is not the result of a straw poll to discover who
thought the recent version of Clash of the Titans
was the original (check out the 1981 Desmond
Davis classic if you, dear reader, would also raise your
hand). Instead, it is a show of support for the Nazis
who have suddenly come to power- and upset the status
quo as a result. The film is The Mortal Storm
and I have only recently been reunited with this 1940
Frank Borzage classic after seeing it getting on for 15
years ago at a cinema in the South of England. It made a
profound impression on me then, and (I was pleased to
discover) weaved its magic again recently when I
acquired it on DVD as part of the ‘Warner Archive’
series. For those not acquainted with this particular
strand, the studio has decided to produce “no frills”
versions of some niche market interest titles and burns
them to order as orders come in. Thus, it really is a
personalised service, and, apart from the many joys of
the film itself, there is something deeply satisfying in
this.
EDITORIAL FOR JUNE 2010
I have to confess that I don’t have a vast experience of
Australian films. Those I have seen include The
Piano (which bored me so much at the time I’ve not
been back to it), but I’m very keen to see Wake In
Fright (1971) whose remarkable story I came across
on one of my random web surfs. In short, the director of
the film, whilst on a quest for a watchable copy of the
film, followed up lead after lead which took him to
Pittsburgh- where he came across the original reels
about to be destroyed! Luckily, this story does have a
happy ending- and the film is now out on DVD.
EDITORIAL FOR JULY 2010
The 15th San Francisco Silent Film Festival takes place
between 15th and 18th July, and a mouthwatering
programme is in prospect. If it were not enough to be
showcasing the magnificent John Ford epic The Iron
Horse the Festival is screening the recovered (and
reconstituted) version of Metropolis, which, at
148 minutes, is as close to Lang's original cut as we're
likely to get...for now! Looking across the other films
that are showing, my biggest complaint is that, due to
pressure of work, I am unable to be there. Maybe next
year.
EDITORIAL FOR AUGUST 2010
As a passionate cineaste, I would have suspected that
the recent demise of the UK Film Council would have
filled me with greater horror/ shock/ outrage than it
actually did. True, it funded many successful films
(even if some were a million lightyears away from past
glories- Bend It Like Beckham is one film
that springs readily to mind as endorsing Truffaut’s
famous statement about the British and cinema). On the
negative side, I’m not sure it did much for films at a
grass roots level- preferring to farm out such niceties
as funding to regional agencies (who seem to have the
same dubious politics as their parent). My biggest
question is not ‘why was it abolished?’ but, to weave in
a line from Spike Milligan’s feted Q programmes,
‘what are we going to do now?’
EDITORIAL FOR SEPTEMBER 2010
It is inevitable, one supposes, that with the passing of
time the old masters, the legends of the Arts, will pass
away. The world of cinema that tonight mourns the French
auteur Claude Chabrol has suffered the loss of
four such major figures in the last few years- namely
Fellini, Antonioni, Rohmer and now Chabrol. The last two
are significant in that they leave only Rivette (now 82)
and Godard (80) as survivers of the Cahiers
critics who initiated the Nouvelle Vague. What
else is there to say? For once, I am not quite sure.
EDITORIAL FOR OCTOBER 2010
The latter part of 2010 has not been kind to cinema
greats. Hard on the heels of the passing of Claude
Chabrol (the subject of last month's editorial), we
mourn Tony Curtis and now the British comedy legend
Norman Wisdom. Curtis' legacy is relatively assured,
thanks to his more famous movies, but it will be
interesting to see how the films of Norman Wisdom are
now viewed. I have always argued that his films are
unpretentious, gentle and actually often very clever-
blending in sentimentality with a very British wit.
Newspaper reviews have, though, felt otherwise. Given
the hypocrisy of certain so-called film critics, I shall
watch with curiosity whether his passing signifies a
timely re-evaluation of his cinematic output.
EDITORIAL FOR NOVEMBER 2010
One of the aspects of my lectures is getting over to
students the necessity of research, and the foolishness
of making unsubstantiated, vacuous statements.
Unfortunately, their success in avoiding these is not
shared with the Radio Times, whose standard of
film reviewing has plummeted in quality (ironically, in
step with the decline in the screenings of interesting
films- perhaps there’s a link there?). In a recent
issue, criticism of the 1950 Treasure Island was
confined to Bobby Driscoll ‘the worst sort of precocious
American child star’, making me wonder whether the
so-called critic had actually watched the film- for
Driscoll is undeniably excellent throughout in his
open-eyed wonderment. It would be cruel to single out
this one (presumably inexperienced) hack writer (but
step forward Adrian Turner- for This Is Your Moment) for
his puzzling statement. Even if Driscoll were
“precocious” (the evidence is, obviously, not
forthcoming in Turner’s piece), this epithet could be
applied to virtually every child star (American
or not!) at some point. I have three pieces of advice
for Mr. Turner- that he read even one of several child
star books (as well as my own research), that he think
carefully what he says before saying it in future, and
that he avoids the films of Shirley Temple- another who
might fit his dubiously named clock of ‘the worst sort
of precocious American child star’.
EDITORIAL FOR DECEMBER 2010
The end of the year is here- and with it a bizarrely
large amount of self-publicity. To begin with, the
letter in Radio Times (which created interest
among my fellow lecturers!). Then, my longest film (God
Given Right) was completed. Finally, more projects
are reaching some sort of tangible form- 2011 promises
to be a hectic, but hopefully satisfying, year. In the
meantime, may you and your loved ones remain safe and
happy this Christmas.
EDITORIAL FOR JANUARY/FEBRUARY 2011
I can't remember a busier start to a year. Bizarrely,
given the general state of chaos, I've found time to
look forward to the latest offering from Gus Van Sant, Restless,
due for release later this year. In the meantime,
everything else is continuing- and, with luck, other
matters will calm down in order for me to get round to
seeing Restless before too long.
EDITORIAL FOR MARCH 2011
The one and only compensation for the passing of Jane
Russell- a legendary name of the fast-dwindling
surviving stars of the so-called 'Classical Hollywood
Cinema'- was that the BBC might screen The Outlaw.
Although probably Russell's most iconic role, the film
has previously only been available in poor quality
transfers and "dupes" of 16mm. prints. In the tribute to
the actress on BBC News, several clips were shown from
the film, suggesting it had been remastered.
Unfortunately, when it was screened I was out on a film
shoot. Fortunately, the DVD recorder seems to have done
its job- and I shall be able to comment further on the
visual quality when I find time to watch The Outlaw.
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