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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