Seventy years ago, on April 11, 1947, Charles Chaplin — one of the central figures of world cinema and as influential to the art of moviemaking as to the establishment of the Hollywood film industry — premiered his latest film, Monsieur Verdoux (subtitled A Comedy of Murders) at the Broadway Theatre in New York City and at the Academy Award Theatre in Los Angeles. […]
Director Gregory La Cava introduced moviegoers to a host of energetic young women living together in a theatrical boarding house, struggling for survival and stardom on the New York stage, when his “Stage Door” premiered in San Francisco 80 years ago, on October 6, 1937. […]
MGM’s The Dirty Dozen, directed by Robert Aldrich, had its world premiere at Loew’s Capitol Theatre on Broadway in New York City 50 years ago, on June 15, 1967. Based on the novel by E.M. Nathanson, it depicts 12 court-martialed American soldiers sentenced to death or long-term prison sentences. […]
After 90 years, the premiere of Sergei Eisenstein’s October on November 7, 1927 at Leningrad’s Bolshoi Theatre still endures as the most famous screening of an unparalleled motion picture epic that was never shown publicly in its entirety. […]
In ‘The King of Comedy’ (1983), directed by Martin Scorsese from Newsweek film critic Paul D. Zimmerman’s script, fledgling comic Rupert Pupkin wants to be a star. Obsessed with celebrity itself, he emerges from the subculture of fandom to take a shot at fame by kidnapping late night talk show host Jerry Langford. […]
After 40 years, this manifesto of the emerging baby-boomer generation still holds its mystique. […]
Like in the Shangri-la it depicts, ‘Lost Horizon’ has proven ageless––and that is its legacy. […]
‘Last Year at Marienbad’ remains one of the most famous films made, perhaps because it is so elegant––and yet so infuriating. […]
Though Jack Sullivan won an Oscar for Best Assistant Director for ‘The Charge of the Light Brigade’, it is the breathtaking editing by George Amy of the charge that makes the film a classic. […]
‘Cabaret’ proved that a mainstream musical could feature avant-garde editing and design, and be sexually unconventional and political. […]
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