
Frankly, Selznick Did Give a Damn
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. […]
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. […]
Miloš Forman has focused on one theme: How society grinds down the individual and is basically corrupt and hypocritical. […]
Beneath its seemingly innocuous appearance, the story attacks the very structure of our society… The audience recognized this. The truth is that they recognized themselves. […]
In 1959, the Nouvelle Vague, or New Wave, revolutionized the concept of film editing and scene construction in international film. […]
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. […]
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. […]
‘The Lion in Winter’ is probably one of the few perennially popular films from 1968. […]
Since its premiere 60 years ago in September 1948, ‘The Red Shoes’ has been a part of our lives and is the ‘Gone with the Wind’ of dance films. […]
‘Dr. T’ reveals––as few others of its era did––the dysfunctional cracks in the post-war little box subdivisions that exploded in the 1960s […]
A fluffy musical with an innocuous title, Gold Diggers of 1933, contains a mother lode of social comment from characters who are thinly disguised call girls. […]
©2016-2021 Motion Picture Editors Guild