Eisenstein on the Breach

November 1, 2010

The Battleship Potemkin, or Potemkin as it is generally known, galvanized filmmakers around the world because of the audacity of its film editing––especially in the iconic Odessa Steps massacre. Its impact on editors and directors since its premiere in Moscow on Christmas Eve, 1925 is immeasurable. […]

Lost in Translation

September 1, 2010

Roberto Rossellini’s Open City (Roma, Cittá Aperta), which premiered in Italy 65 years ago in September 1945, revolutionized the perception and marketing of foreign films in America when it opened in New York just five months later. […]

Celebrity, Italian Style

January 1, 2010

La Dolce Vita. For 50 years, since the Federico Fellini movie was released in January 1960, those three words have been synonymous with delicious deca- dence among a jet-set mix of expatriate movie stars, high-society types and jaded Italian aristocrats based around Rome. […]

Frankly, Selznick Did Give a Damn

November 1, 2009

Why David O. Selznick feared a tombstone epitaph as the man who made Gone with the Wind (1939) is mysterious. This film was his Tara as much as it was Miss Scarlett’s. […]

Vive le Francois!

May 1, 2009

In 1959, the Nouvelle Vague, or New Wave, revolutionized the concept of film editing and scene construction in international film. […]

Fruitless ‘Aran’

March 1, 2009

Documentarian Robert J. Flaherty was regarded by the poet e.e. cummings as “a god among men,” an opinion echoed by Orson Welles, who compared Flaherty to the poets Walt Whitman and Henry David Thoreau. […]

‘Broadway’ Playback

January 1, 2009

Metro-Goldwyn-Mayer’s film legacy is its musicals. Perhaps because it was the most politically conservative of the major studios, MGM was more comfortable with melodramas and musicals than with social issues. […]

A ‘Lion’ For All Seasons

November 1, 2008

A medieval historical romp like The Lion in Winter was considered to be an old-fashioned project in the revolutionary political year 1968, especially after the success of such socially provocative films of 1967 as Bonnie and Clyde, The Graduate, In the Heat of the Night and even Guess Who’s Coming to Dinner?, which presaged the New Hollywood. […]

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