Spotlight on a Murderer
Blu-ray + DVD
Arrow Academy USA
1961 / Color / 1:37 full frame (1:66 widescreen?) / 92 min. / Street Date May 30, 2017 / Available from Arrow Video.
Starring: Pierre Brasseur, Pascale Audret, Marianne Koch, Jean-Louis Trintignant, Dany Saval, Jean Babilée,
Georges Rollin, Gérard Buhr, Maryse Martin, Serge Marquand, Philippe Leroy.
Cinematography: Marcel Fredetal
Film Editor: Gilbert Natot
Original Music: Maurice Jarre
Written by Pierre Boileau, Thomas Narcejac, Georges Franju, Robert Thomas
Produced by Jules Borkon
Directed by Georges Franju
Until a few years ago most U.S. fans knew of Georges Franju solely through the great
The Laughing Woman (1969)
It’s no secret that the horror film is often accused of being misogynistic. There are examples in nearly every sub-genre that certainly can validate that argument. The scantily-clad women murdered at the gloved hands of a killer in Giallos, the big breasted nympho victims of the Slashers, the
Reviewed by Glenn Erickson
Imagine that -- a Jean-Luc Godard film not primarily organized around destructing film language. By 1964 Godard had taken apart the conventions of film editing and structure. He'd plumbed new depths in genre autopsies and blended moving pictures
The fest is annually highlighted by significant restorations, and we’re especially pleased to present Jacques Rivette’s long-unavailable epic Out 1: Spectre Additional restoration highlights include Jean-Luc Godard’s A Married Woman and Max Ophüls’ too-little-seen From Mayerling To Sarajevo. Both Ophüls’ film and Louis Malle’s Elevator To The Gallows – with a jazz score by St. Louis-area native Miles Davis — screen from 35mm prints. All films will screen at Webster University’s Moore Auditorium (47- E. Lockwood)
Music fans will further delight in the Rats & People Motion Picture Orchestra’s accompaniment and original score for Carl Th. Dreyer’s
One of the things I love about Arrow Video releases is the ability they give me to extend my exposure to movies that are harder to find, especially world cinema releases. Fernando Di Leo’s Milano Calibro 9 is the latest Italian gangster film to be released by the company and brings on the gritty ultra-violence to the gangster movie.
When Ugo Piazza (Gastone Moschin) is released from jail he looks to lead a straight, the last thing he wants is to return to his life of crime. This is soon out of the question though when psychopathic hoodlum Rocco (Mario Adorf) informs him his former boss wants to see him. With $300,000 missing from a previous job all
Antonio Sobato (father of soap star Antonio Sobato Jr.) is a produce vendor who moonlights as Milan’s most influential pimp, Toto Cangemi. A staunchly proud Sicilian, Toto doesn’t take too kindly to French gangster and drug lord Roger Daverty, aka La Capitaine (Philippe Leroy), who makes an aggressive offer to unite their crime fronts. If Toto’s girls also sell La Capitaine’s goods, they’ll be rolling in the dough. But nobody couches on Toto’s turf, and the rival powers are soon going head to head.
My problem with the misogyny that runs through the giallo genre is not so much that it's there, but that it's so often unexamined. At least Sam Peckinpah's films seem to tell me something about the demons of insecurity, paranoia and loathing infesting his mind. I'm frustrated, for instance, that Dario Argento has portrayed the graphic mutilation-murder of women in his films so frequently (his own leather-gloved hands doubling for those of the killer), without ever seeming to take much interest in why this subject seems to obsess him. "I love women," he has said, "therefore I would rather show a beautiful woman being killed than an ugly man." Is it just me, or does that statement open up questions, and even paradoxes? For a former critic, Argento seems disinclined to analyze things.
Not only do the films not actively interrogate their own violence,
The project will be Riley's break-out role in America following a series of British TV hits and series creator David Goyer insists he's got the right guy.
He tells Deadline.com, "Given that da Vinci was the model for the Renaissance Man, these were incredibly large shoes to fill. Leonardo had to be smart, witty, and incredibly confident - without coming across as arrogant.
"He also had to be tormented, because, as a true visionary and polymath, he was ostracised for his ideas as much as he was celebrated. Tom came in and was able to effortlessly combine all of those elements. As soon as he finished his audition, we knew we'd found our man."
Riley joins Mark Rylance, Philippe LeRoy and Nick Roberts among the actors who have portrayed Da Vinci.
Une Femme Mariée lets us peek into the life of Charlotte and her relationship with her husband and her lover, respectively. Macha Méril, whose delicate features and lack of emotional expression quickly establish her as only mildly
The International (Sony) An Interpol agent (Clive Owen) joins forces with a Manhattan D.A. (Naomi Watts) to bring down an arms dealing ring and a corrupt global banking cartel that’s funding them. Superlative thriller was oddly ignored by critics and audiences alike, but expertly blends intelligence (courtesy screenwriter Eric Warren Singer’s masterfully-crafted script) and full-throttle action (director Tom Tykwer stages one of the great film shoot-outs in New York’s iconic Guggenheim Museum), making this dynamite thriller reminiscent of the best work from masters such as John Frankenheimer and Robert Aldrich. Armin Mueller-Stahl is wonderful as a world-weary covert op. Bonuses: Extended scene; Featurettes; Trailer. Widescreen. Dolby 5.1 surround.
The Jack Lemmon Film Collection(Sony) Five films from the two-time Oscar winning actor, focusing on his early career: Phfft! is a zippy comedy from 1954, one of Lemmon’s earliest films, in which
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