Cinema is littered with famously unfinished projects; ideas with varying degrees of entailing preparation that often violently suggest the question of “what if?”. It’s one of the few types of media that allow such situations, being one that relies on a certain level of monetary profit guaranteed in order to be made in the first place. Orson Welles nigh on made a career of trying … Continue reading Jodorowsky’s Dune (2013) – Frank Pavich.
It occurred one Saturday afternoon that my own deep and personal mourning for the innocent VHS had found a new low. When describing VHS to people who appear to be gradually younger and younger, it mimics those conversations witnessed with parents, explaining to their I-pod bound offspring what the big black thing is that’s playing a crackly, slightly warped version of Shine on You Crazy … Continue reading Graveyard of the VHS.
Like most films by Orson Welles, Chimes At Midnight (1965) sits uncomfortably in the shadow of his debut film; Citizen Kane. However this is a view often dismissed by viewers that actually take the time out to watch the rest of the Welles canon and a viewing of any number of his films will quash the ridiculous criticism of achieving success too early on. Chimes At Midnight is an … Continue reading Falstaff: Chimes At Midnight – Orson Welles (1965)
Every ten years, the most respected and articulate of film magazines, Sight and Sound, runs a poll voted for by the directors and critics of our time for their ten favourite films. This coalesces into a poll of fifty films and yesterday these were announced a long with a live tweet countdown of the apparent top ten greatest films of all time (at least for the next … Continue reading Sight & Sound Film Poll 2012 In Detail.
When whole continents of viewers believe you to have made your best and most accomplished film on your first go, two things can potentially happen. Arrogance can take a hold turning you into a useless artist or the burden or pressure to create something just as brilliant can cripple. For some reason though neither of these factors seem to have bothered Orson Welles too much … Continue reading F For Fake – Orson Welles (1973)
Film-Noir is a genre so confidently dominated by Hollywood that it takes a film of monumental brilliance to find success in the genre when made outside the valleys of oranges and glamour. France has Henri-Georges Clouzout’s Les Diaboliques, Germany has Fritz Lang’s M but here in the U.K. we have a Film-Noir that stands higher in the polls than all of the American efforts to grace the genre … Continue reading The Third Man – Carol Reed (1949)