Month: September 2013
Mr E Man Noir Style, Uncategorized Academy of Motion Pictures Arts and Sciences, Another Dawn, Autumn Days, Captain Phillips, Diego Rivera, film noir, Gabriel Figueroa, Golden Age of Mexican Cinema, Gregg Toland, John Ford, John Huston, Julio Bracho, LACMA, Luis Buñuel, Manohla Dargis, New York Film Festival, Roberto Gavaldón, The New York Times, Under the Mexican Sky: Gabriel Figueroa—Art and Film
I am greatly looking forward to seeing the LA County Museum of Art (LACMA) exhibition and film program Under the Mexican Sky: Gabriel Figueroa—Art and Film.
Mexico was home to a vibrant, commercially stable film industry in the early 1930s through the 1950s. The Golden Age of Mexican Cinema series will explore Figueroa’s contributions as a groundbreaking cinematographer, a master of light and contrast.
Figueroa spent time on the set of Soviet master Sergei Eisenstein’s “¡Que Viva México!,” had an apprenticeship with Hollywood cinematographer Gregg Toland, and was friends with painters such as Diego Rivera. (The series is co-presented by the Academy of Motion Pictures Arts and Sciences.)
This weekend, two film noir delights are screening: “Dias de Otoño” (Autumn Days, 1963, Roberto Gavaldón) and “Distinto Amanecer” (Another Dawn, 1941, Julio Bracho). You can read the museum’s synopses here.
Upcoming film series will highlight Figueroa’s work with Spanish surrealist Luis Buñuel, the Hollywood films that the cinematographer shot over his 50-year career for directors such as John Huston and John Ford, the films of the early 1930s that spurred Figueroa, and contemporary Mexican filmmakers whose work invokes Figueroa’s legacy.
Meanwhile, the New York Film Festival opened today with “Captain Phillips.” Manohla Dargis of the New York Times gives her assessment here.
Mr E Man Noir Style, Uncategorized Chinatown, Christine Mulholland, David Ulin, film noir, Los Angeles, Los Angeles Aqueduct, Natural History Museum, neo noir, Robert Towne, Roman Polanski, Sandra Tsing Loh, William Deverell
The Natural History Museum in downtown Los Angeles will mark the 100th anniversary of the Los Angeles Aqueduct by hosting a screening of the neo-noir masterpiece “Chinatown,” directed by Roman Polanski and written by Robert Towne. Doors open at 6 p.m. Friday, Sept. 27; the screening starts at 7 p.m.
David Ulin, book critic of the Los Angeles Times, will moderate a brief panel discussion with history professor William Deverell, cultural commentator Sandra Tsing Loh and Christine Mulholland. They will discuss the facts and fiction in Polanski and Towne’s iconic look at greed, power, lust and the rise of modern Los Angeles. This event is free, but space is limited. RSVP HERE. Use the Exposition entrance. You can bring a picnic or buy dinner from on-site food trucks.
Mr E Man Noir Stuff beauty, Bond. No. 9, Chanel, Chanel No. 5, Curly Girl, Dior, fall 2013, film noir, Guerlain, Jo Malone, Kate Winslet, Lancôme, Laura Mercier, Life Daily Fix Foot Cream, Lipstick Queen, Lorraine Massey, Marilyn Monroe, neo noir, Poppy King, Space NK, Tory Burch, yoga
Prisoners/2013/Warner Bros./153 min.
Tense and absorbing, “Prisoners” ranks as a solid three-star flick. When two 6-year-old girls go missing, one of the fathers – a carpenter and hunter named Keller Dover (Hugh Jackman) – quickly reveals himself to be a brutal vigilante, intent on beating information out of a mentally disabled man brought in for questioning and then released (Paul Dano).
Jake Gyllenhaal, as the obsessive cop assigned to the case, pursues another suspect and eventually Jackman chases yet another – all of the suspects, we learn, share a shattering connection. Terrence Howard, Viola Davis, Maria Bello and Melissa Leo round out the cast. Aaron Guzikowski wrote the screenplay.
Québec-born director Denis Villeneuve thoughtfully tells a complex, Hitchcockian tale and elicits memorable performances from the cast, especially from Gyllenhaal (perhaps his best work since “Zodiac.”)
On the downside, there are some rather drafty plot holes, the pacing is slightly off and, while Jackman is very watchable, the script’s characterization of Keller Dover proves more facile than fascinating. Still, it’s engrossing enough that you might feel like watching it twice to catch all the clues. And the ending is superb.