Tail Pop
Fred Zinnemann’s ‘Member of the Wedding’ (1952)
Watching ‘Member of the Wedding’ made me aware for the first time of the art of editing. […]
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This Quarter in Film History
This Quarter in Film History: Dedicated Followers of Fascism
‘Cabaret’ proved that a mainstream musical could feature avant-garde editing and design, and be sexually unconventional and political. […]
This Quarter in Film History
This Quarter in Film History: ‘Napoléon’ Dynamite
Napoléon vu par Abel Gance has had as many comebacks as the conqueror it portrayed, yet has always remained Waterloo-proof. […]
Tail Pop
Charles Chaplin’s ‘City Lights’ (1931)
Chaplin’s on-screen mixture of humor, acrobatics and pathos has an almost magical ability to put a smile in one’s heart. […]
This Quarter in Film History
This Quarter in Film History: Shoot-Out at the Fantasy Factory
High Noon has often been interpreted as an anti-McCarthy era story of mass cowardice when confronted by evil. It is a moot point now because the story has multiple meanings as a personal epiphany. […]
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Mike Nichols’ ‘The Graduate’ (1967)
After seeing ‘The Graduate’, I realized that movies could be an art form. […]
This Quarter in Film History
This Quarter in Film History: Warning Shot
‘The Manchurian Candidate’ reveals how the two sides of extremism can destroy centrist politics. […]
Tail Pop
Carol Reed’s ‘The Third Man’ (1949)
‘The Third Man’ cleverly uses its Viennese locations to deepen the intrigue; the city itself becomes a character in the film. […]
This Quarter in Film History
This Quarter in Film History: Body and Soul
Body and Soul has remained one of the least dated, most influential films since its release 60 years ago. […]
This Quarter in Film History
This Quarter in Film History: Prêt-à-PORTER
Though not well known, Edwin S. Porter should be regarded as the father of film editing because the basic principles of the craft did not exist before he directed and edited ‘The Life of an American Fireman’. […]
