Murder In The Cathedral (1952) – George Hoellering (BFI).

British cinema in the early 1950s appears to have been fond of experimenting with other art forms.  Powell and Pressburger were transplanting opera and dance into the form in their colour zoetrope Offenbach amalgamation, The Tales Of Hoffmann (1951) (and slightly earlier in The Red Shoes (1948)) whilst Laurence Olivier was continuing his melding of … Continue reading Murder In The Cathedral (1952) – George Hoellering (BFI).

Red Shift (Play For Today, 1978) – John Mackenzie (BFI).

A shifting sense of time, space, and place can bring huge advantages to fantastical works of fiction.  The feeling that time is a folded concept, repeating and resetting in a quasi-ritualistic ceremony of life adds a sheen of the monumental to even the smallest and most intimate of dramas.  This sheen is the absolute embodiment … Continue reading Red Shift (Play For Today, 1978) – John Mackenzie (BFI).

Classe Tous Risques (1960) – Claude Sautet (BFI)

In spite of working wearily outside of the French New Wave movement, Claude Sautet's debut feature, Classe Tous Risques (1960), cannot help but evoke the cinematic environment bursting forth around it.  While it may seem crass to spend time discussing more well known work in an article about a director whose work has been largely … Continue reading Classe Tous Risques (1960) – Claude Sautet (BFI)

The Stuart Hall Project – John Akomfrah (BFI).

From its opening declarations, John Akomfrah's documentary on Stuart Hall, The Stuart Hall Project (2013) explicitly acknowledges that it is going to be condensing fifty years of complex history and ideology into its relatively short running time.  Akomfrah achieves this in an unusual but extraordinary way by linking the ideas and history of the public … Continue reading The Stuart Hall Project – John Akomfrah (BFI).

2013 in Film.

In contrast to other cineastes that I follow online, I really don't get out that much. While so many excellent film writers seem to be able to see every relevant new release as it comes (even before if they're lucky enough to have time and money to get thoroughly into the festival circuit), it's actually … Continue reading 2013 in Film.

Village Green Repression in Film, Television and Philip Larkin.

Mythological Introduction by Philip Larkin. A white girl lay on the grass With her arms held out for love; her goldbrown hair fell down her face, And her two lips move: See, I am the whitest cloud that strays Through a deep sky: I am your senses' crossroads, where the four seasons lie. She rose … Continue reading Village Green Repression in Film, Television and Philip Larkin.