Red Line 7000
Kl Studio Classics
1965 / Color / 1:85 widescreen / 110 min. / Street Date September 19, 2017 / available through Kino Lorber / 29.95
Starring: James Caan, Laura Devon, Gail Hire, Charlene Holt, John Robert Crawford, Marianna Hill, James (Skip) Ward, Norman Alden, George Takei, Diane Strom, Anthony Rogers, Robert Donner, Teri Garr.
Cinematography: Milton Krasner
Film Editors: Bill Brame, Stuart Gilmore
Original Music: Nelson Riddle
Written by George Kirgo story by Howard Hawks
Produced and Directed by Howard Hawks
Critics have been raking Howard Hawks’ stock car racing epic
His latest, Young & Beautiful, explores the world of Isabelle (Marine Vacth), a 17-year-old who loses her virginity and starts turning tricks a few months later. The film is organized in four sections, each tied to a season and ending with a Françoise Hardy song. In summer, Isabelle hangs out on the beach and has a casual fling with a German boy.
In autumn, she's suddenly become a prostitute, a leap made in so jarringly elliptical a manner it would make Maurice Pialat proud. In winter, she quits hooking after a tragic incident. On the surface, Ozon makes no judgments about his heroine, but th...
In Wes Anderson's 2001 film The Royal Tenenbaums, an insensitive father fails to appreciate his daughter's childhood attempt at writing and staging a play. There's no narrative, he complains, and as for characters, "What characters? It's a bunch of little kids dressed up in animal costumes." You might be tempted to dismiss Anderson's films in similar terms: the stories don't always add up to much, and while we know we're watching grownups (played by major Hollywood actors such as Bill Murray, Anjelica Huston and Ralph Fiennes), they often behave more like children dressed in their parents' clothes.
This quality of Anderson's cinema is captured in Max Dalton's paintings for a lavishly illustrated recent book,
It's nothing new for a celebrity to advertise a new product on telly, put their name to a range of cooking pans, or launch a perfume that reminds them of love, beauty and existential freedom – or of the incredible profit margins to be made on a small jar of scent. Indeed, there was even a 19th-century Pope, Leo Xiii, who put his face and name in newspapers to advertise a tonic wine called Vin Mariani (a drink he found particularly delicious and which it now transpires was laced with cocaine.) Ah, the celebrity hustle has always been with us.
Yet in 2014 the famouses will be taking this product endorsement one step further – they will be selling themselves as lifestyle gurus. In fact, it has already begun, with Gwyneth Paltrow
John Wizards – John Wizards
Disclosure – Settle
Paramore – Paramore
Hebronix – Unreal
Kanye West – Yeezus
Christopher Owens – Lysandre
Julia Holter – Loud City Song
Daft Punk – Random Access Memories
Sky Ferreira – Night Time, My Time
British Sea Power – From The Sea To The Land Beyond
Julia Holter – Hello Stranger
Miguel and Mariah Carey – #Beautiful
Drake – Hold On, We're Going Home
Sky Ferreira – You're Not the One
Justin Timberlake – Suit and Tie
Jeffrey Lewis – Wwprd
Paramore – Still Into You
Disclosure feat. AlunaGeorge – White Noise
The 1975 – Chocolate
Stylo G – Soundbwoy
15-60-75 The Numbers Band – Jimmy Bell's Still in Town
Meat Wave – Meat Wave
The Drones – I See Seaweed 4
White Fence – Live in San Francisco
Ooga Boogas – Ooga Boogas
Superchunk – I Hate Music
The whiff of fatuousness pervades François Ozon's film about "what it feels like to be 17" in which the grim subject of teenage prostitution is flirted with "to illustrate the questions of identity and sexuality raised by adolescence". Blithely quoting the poems of Rimbaud and the songs of Françoise Hardy, Ozon presents a four seasons portrait of "young and beautiful" Isabelle (Marine Vacth) who drifts listlessly from losing her virginity on a beach to selling her body in hotels.
Her motives are unclear. Beyond a disenchantment with people in general and sex in particular, there's no driving force (monetary, domestic) behind her actions. Inevitably, she ends up making a "connection" with an ageing client (Johan Leysen) with whom Ozon breezily imagines that her professional transactions are "tender, not at all mechanical", the tiredest of soft-soap cliches.
Recently, Alexa Chung , was reading interviews she gave when she was just starting out, to see whether she'd changed in the past few years. She came across a stand-out quote: "I don't want to be known for floating around and just going to parties," the Alexa of yesteryear stated.
"And yet," says Alexa today, with an awkward laugh, "that's kind of what's happened."
We are sitting in the garden of a large house in Dalston, east London, a few minutes from Chung's own home. She is relaxing with coffee and cigarettes after a long day of modelling and is about to head off to a red carpet party. So, yes, it does look as though Chung has become famous for floating around and going to parties.
Thank you for setting the stage with your lovely intro, my friend. Film festivals have always struck me as sci-fi experiences, a procession of visions that heighten the traveling cinephile’s dislocation, tossed from one flurry of images to the next with often very little time to process them. “Did I watch that, or dream it?” That’s the question I’ve been asking throughout my first day here at Tiff, as much for the inherently oneiric nature of cinema as for the fact that I’ve made my way through almost half a dozen screenings while running on about three hours of sleep.
Jet-lagged, perplexed, suspended between time zones—the ideal mood, in other words, to watch Only Lovers Left Alive. Jim Jarmusch’s characters dwell in the margins of the world, and the world here is all margins. Or maybe that
It was Jackie Stewart who gave the old Nürburgring a nickname: the Green Hell. He hated the 14-mile circuit in the Eifel mountains. But that wasn't good enough for Peter Morgan. When the writer of Frost/Nixon and The Queen came to create his screenplay for Rush, the new film about the rivalry between James Hunt and Niki Lauda, a more dramatic introduction was needed for the location of Lauda's terrible crash in 1976.
"In Formula One," a TV commentator announces in the film, setting the scene for the near-fatal weekend, "it is known as the Graveyard."
Well, no, it isn't. And it wasn't, even in 1976. Yes, five drivers died there during grand prix meetings. A terrible toll, of course. But at Monza, to take just one example, the equivalent
Little is known about 13-year-old Gilman except that he was born and raised in New Jersey and was 12 when he filmed the part of Sam Shakusky in "Moonrise Kingdom." When we sat down with this up-and-coming actor, we discovered a young man with a maturity beyond his years and a genuine respect for the moviemaking process. Read on to find out how he got to know his "Moonrise Kingdom" leading lady and how Bill Murray helped him overcome his fear of ties.
Among the varied ephemera in her survival kit are a selection of fantasy books, her record player, a Françoise Hardy album or two, rubber bands, left-handed scissors and her kitten.
Though Anderson, on the phone from Paris, never went to summer camp and admits the idea for Moonrise Kingdom came from the vivid emotions associated with "being a fifth-grader who thinks that he's fallen in love," he has plenty of experience planning an escape from the adult world.
"I remember making various attempts to run away. But for me, my older brother and I, we would set off on these things and we
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Wes Anderson's films – seven of them since his debut with Bottle Rocket in 1996 – constitute a consistent oeuvre. They're comedies tinged with a certain tragic sense of life. Various actors recur, most notably Jason Schwartzman as a geeky young man, Luke Wilson as a quirky thirtysomething and Bill Murray as a middle-aged curmudgeon. The films pursue groups of eccentric figures who make up families of a kind generally characterised as "dysfunctional", invariably attracting references to Tolstoy's dubious claim that happy families are all alike and unhappy families are unhappy in their different ways. They're also exquisitely composed and lit and accompanied by an interesting, often surprising choice of music.
Initially I had reservations over Anderson's whimsicality and wilful cultivation of the irrational. I was
Eventually, I had amassed a half a dozen of these soundtracks in various states of completion, and to host them somewhere I started The Playlist blog in 2007. It then became a place to discuss music in film, soundtracks, etc., and when that topic was outgrown slightly (after a while you tend to hit all the classic film and soundtrack bases
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