History – FilmBuffOnline http://www.filmbuffonline.com/FBOLNewsreel/wordpress For The Complete Movie Fan Sun, 22 Apr 2018 02:42:41 +0000 en-US hourly 1 https://wordpress.org/?v=4.9.5 http://www.filmbuffonline.com/FBOLNewsreel/wordpress/wp-content/uploads/2015/11/REELCOLOR.jpg History – FilmBuffOnline http://www.filmbuffonline.com/FBOLNewsreel/wordpress 32 32 Film news doesn't happen in a vacuum. We take a look at what is happening now in Hollywood and beyond and place some historical perspective on it. History – FilmBuffOnline clean episodic History – FilmBuffOnline rich@filmbuffonline.com rich@filmbuffonline.com (History – FilmBuffOnline) Film news, reviews and comentary all put into perspective History – FilmBuffOnline http://www.filmbuffonline.com/FBOLNewsreel/wordpress/wp-content/uploads/2018/02/FilmCanisters.jpg http://www.filmbuffonline.com/FBOLNewsreel/wordpress/category/features/history/ A Pair Of New Looks At George Miller’s JUSTICE LEAGUE: MORTAL - History – FilmBuffOnline http://www.filmbuffonline.com/FBOLNewsreel/wordpress/2018/03/22/a-pair-of-new-looks-at-george-millers-justice-league-mortal/ http://www.filmbuffonline.com/FBOLNewsreel/wordpress/2018/03/22/a-pair-of-new-looks-at-george-millers-justice-league-mortal/#respond Thu, 22 Mar 2018 11:30:49 +0000 http://www.filmbuffonline.com/FBOLNewsreel/wordpress/?p=43320 In late 2007, Mad Max director George Miller was in Australia prepping to shoot Justice League: Mortal, a superhero team-up film that was just the team-up. No extended cinematic universe. No multiple film franchises colliding [click for more]

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In late 2007, Mad Max director George Miller was in Australia prepping to shoot Justice League: Mortal, a superhero team-up film that was just the team-up. No extended cinematic universe. No multiple film franchises colliding together. Just a straight up story of a bunch of people who come together to stop a world-shattering crisis who also just happen to have super powers.

But then a real life crisis derailed the project – the Australian government refused to give Warner Brothers a promised 40% tax rebate incentive, citing the fact that despite having an all Australian crew, the production wasn’t employing enough Australian actors. Never mind the fact that Miller had Australians Megan Gale, Teresa Palmer and Hugh Keays-Bryne in the cast as Wonder Woman, Talia al Ghul and Martian Manhunter respectively. With the film’s budget so negatively impacted, Warners ultimately shut the project down and it would be years before they attempted to build up to something like a Justice League movie again.

For a long time, the project has been fairly shrouded in mystery. The screenplay by Michele and Kieran Mulroney surfaced online several years back. But very little was known about the film’s visual look outside of the leaking of a few pieces of a few concept art until photographer Mark Rogers released two photos of actress Megan Gale in her costume for Wonder Woman in November 2015. Since that time, fans have wondered what the rest of the cast would have looked like in their superhero costumes.

Now we have that look, sort of.

Yesterday, a photo of actor DJ Cotrona in his costume as Superman appeared online. It certainly eschewed the classic “underpants on the outside” look and marks the first time that the trunk-less look would have appeared in any media – either in the comics, animation or live-action. Cotrona has a somewhat slight build here, with which I don’t have too much of a problem. It seems that sometimes people forget that Superman comes from a world with a much heavier gravity and that is why he is so strong here. There’s no need to show him all jacked up the way the character is often portrayed.


Not to be outdone later in the day, on Collider’s Heroes YouTube show, John Schnepp unveiled a low-res picture of the costumes for all the members of the Justice League. Now, it should be noted that the only cast members present for this picture are Megan Gale as Wonder Woman and Hugh Keays-Byrne as Martian Manhunter, as they were relatively close enough to the studio to come by and suit up for the photograph. The remainder of the costumes were being worn by some stand-ins at WETA Studios where the costumes were being built.


We have been able to confirm that this photo was also taken by Rogers, the photographer of the previously released Wonder Woman photos. Of course, with such low resolution we can’t dig to deeply into the look of the costumes, though I do like how the colors pop more and seem much more authenticate to their comic book origins than the dreary, washed out, armored look that dominated Zac Snyder’s work with these characters.

In addition to Cortona, Gale, Palmer and Keays-Bryne, Justice League: Mortal would have starred Armie Hammer as Batman, Adam Brody as Bruce Wayne/Batman, rapper Common as Green Lantern John Stewart, Santiago Cabrera as Aquaman, Anton Yelchin as Wally West/Kid Flash and Jay Baruchel as lead villain Maxwell Lord.

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Sphinx From DeMille’s 1923 TEN COMMANDMENTS Unearthed - History – FilmBuffOnline http://www.filmbuffonline.com/FBOLNewsreel/wordpress/2017/12/03/sphinx-demilles-1923-ten-commandments-unearthed/ http://www.filmbuffonline.com/FBOLNewsreel/wordpress/2017/12/03/sphinx-demilles-1923-ten-commandments-unearthed/#respond Sun, 03 Dec 2017 17:39:48 +0000 http://www.filmbuffonline.com/FBOLNewsreel/wordpress/?p=42122 The third of 21 statues created for the silent Biblical epic has been uncovered by archaeologists. [click for more]

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Director Cecil B DeMille was known for doing things on a grand scale. For his 1923 film The Ten Commandments he had a large outdoor set built at the Guadalupe-Nipomo Dunes in California’s northern Santa Barbara County and when he was finished had the entire thing buried in the sands lest another filmmaker come along and use it. Now, nine decades later, the head from one of the 21 plaster sphinx statues has been recovered.

Deadline reports –

Made from Plaster of Paris and weighing approximately 300 pounds, the head was surprisingly in tact after nearly a century buried in the sand.

“Given that these objects have lasted 94 years, even though they were only built to last for two months during filming it really speaks to the craftsmanship and the level of skill that the artisans could build,” said Doug Jenzen, executive director of the Guadalupe-Nipomo Dunes Center.

This is not the first sphinx statue to be unearthed at the Guadalupe-Nipomo Dunes. In 2012, archaeologists uncovered the first sphinx head to be found at the site. When they returned in 2014 to recover the rest of the statue’s body, they found that it had deteriorated too much to be salvageable. That expedition did find a second, more recoverable, sphinx head nearby.

Shot for the then astronomical budget of $750,000, The Ten Commandments‘s set was designed by one of the founders of the Art Deco movement, Paul Iribe. The set featured four 35-foot-tall statues of Ramses II flanking a 110-foot gate with the 21 sphinxes, each weighing approximately five tons, lining ane avenue leading up to the entrance. It took 1,500 workman approximately six weeks to construct.

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Oscar’s Greatest Mistakes: THE BAD AND THE BEAUTIFUL And Lana Turner - History – FilmBuffOnline http://www.filmbuffonline.com/FBOLNewsreel/wordpress/2017/02/12/oscars-greatest-mistakes-bad-beautiful-lana-turner/ http://www.filmbuffonline.com/FBOLNewsreel/wordpress/2017/02/12/oscars-greatest-mistakes-bad-beautiful-lana-turner/#respond Sun, 12 Feb 2017 22:49:30 +0000 http://www.filmbuffonline.com/FBOLNewsreel/wordpress/?p=39894 Hollywood loves to mythologize itself. An obvious statement given that since the movie industry has carefully controlled its public image so meticulously that that control naturally extended to movies about the movie business. And that’s [click for more]

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Hollywood loves to mythologize itself. An obvious statement given that since the movie industry has carefully controlled its public image so meticulously that that control naturally extended to movies about the movie business. And that’s what made 1952’s The Bad And The Beautiful such an unusual film, in that its tale of an ambitious movie producer played by Kirk Douglas who alienates friends and loved ones is not a flattering portrait of the business in the least. Despite that, the film was embraced by the industry to such a point that it won five of the six Academy Awards it was nominated for.

Nothing was controversial about five of those six nomination the film received. But then there was the one the film received for Best Supporting Actress for Gloria Graham. As the wife of a best-selling author (Dick Powell) lured to Hollywood to pen the big screen adaption of his novel, Graham had only nine and a half minutes of screen time. And when her nomination was announced, it got her into the Oscar history books for being the shortest performance to be giving a nod. And her snaring the gold statuette that year also secured her a second place in history for having the shortest performance to win an Oscar up until that time.

But the record breaking length aside, many at the time and since, have questioned why Grahame even got the nomination at all when Lana Turner’s performance in the film was considered so much better?

In Bad And The Beautiful, Turner is a former starlet whose has risen as high as she will in Hollywood, thanks in part to a big break given to her by Douglas’s producer character, Jonathan Shields. Faced with her inevitable downward career trajectory, she has slid into alcoholism and is grasping to get her stardom. It has been reported by some that director Vincent Minnelli was unsure that Turner could handle the role, though the actress states in her autobiography The Lady, The Legend, The Truth: Lana states that Minnelli and the film’s producer John Houseman both wanted her for the part.

Turner may have been receiving top billing with Douglas for the film, but her character’s storyline is only just one of three that show Douglas’ producer destroying lives while simultaneously making those people successful. As such, Turner shares the supporting load for the film with Powell and Barry Sullivan who play the other two characters whose lives are simultaneously destroyed and enriched by Shields. It is speculated that her reputation of being a party girl and for being more than a bit of a man eater – She was on the third of her seven marriages at the time – may have informed Turner’s performance. For her part, Turner stated she felt a definite kinship with the character.

When the script reached me I knew right away I understood the character – a film star who is seen at first as a soggy mess and then is resuscitated by an unscrupulous producer. Moreover the screenplay was a much better one than those I usually received. The atmosphere of the film was totally familiar to me. The sets were the very sound stages where I had spent so much of my working life. The conferences in executive offices, the nerve-wracking sneak previews – all of them had a familiar ring. Even the Hollywood party scenes were true to life.

Contemporary reviews praised Turners’ performance, with several pointing out a scene in which her character drives through the rain after discovering that Douglas’s Johnathan had betrayed her. The scene plays out with no dialogue, just turner sobbing. While it may seem melodramtic, or even over-the-top by today’s standards, but it packed a wallop for contemporary audiences.

This would be the second time that Turner was clearly snubbed by the Academy. The first was when her work as the icy Cora in 1946’s noir The Post Man Always Rings Twice, which many consider one of her best performances. Turner didn’t seem that much bothered by being overlooked, stating in her autobiography –

[T]hat didn’t surprise me or bother me. The studio had never regarded me as an actress, and they made no effort to “sell” me to the Academy membership.

Just like they do now, back in the golden age of Hollywood, studios campaigned hard to get their films nominated for Oscars and MGM just couldn’t be bothered to put their considerable weight and muscle behind a push to get a nomination for Turner.

But such snubs can often seem ephemeral in hindsight. While she would never win an Oscar, Turner would receive an Academy Award nomination for her role in 1957’s Peyton Place, though she would lose out to Joanne Woodward. Grahame would hold onto the record for shortest nominated performance only for a few years until Anthony Quinn received a nomination for Best Supporting Actor for his eight minutes of screen-time as post-Impressionist painter Paul Gauguin in 1956’s Lust For Life. (Ironically, that film too starred Douglas.) She held onto the record for shortest Oscar-winning performance until 1977, when Network‘s Beatrice Straight won the statuette for on-screen work that totaled just under six minutes.

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Rebellion Highlights Numerous National Film Registry Pics - History – FilmBuffOnline http://www.filmbuffonline.com/FBOLNewsreel/wordpress/2016/12/15/2016-national-film-registry-pics/ http://www.filmbuffonline.com/FBOLNewsreel/wordpress/2016/12/15/2016-national-film-registry-pics/#respond Thu, 15 Dec 2016 18:27:57 +0000 http://www.filmbuffonline.com/FBOLNewsreel/wordpress/?p=39639 Films about standing up to societal norms like THE BREAKFAST CLUB, THE DECLINE OF WESTERN CIVILIZATION and PUTNEY SWOPE have all made the list of annual additions to the Library of Congress. [click for more]

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If one were to look at the twenty-five films named yesterday to the National Film Registry at the Library of Congress, perhaps the one thing that jumps out about many of the titles is that they explore the theme of rebellion.

Founded in 1988 under the terms of the National Film Preservation Act with the first films being inducted in 1989, the National Film Registry names twenty-five films every year that carry a “culturally, historically or aesthetically” significance. These films can range from short experimental films shot in the earliest days of motion pictures like Edison’s Dickson Experimental Sound Film from 1894/95 to more modern fare like Star Wars, Saving Private Ryan or The Matrix. This year’s group brings the total number of films on the list to 700. This years films span the last century from 1903’s The Life Of An American Fireman to director Wes Anderson’s 1998 breakout comedy Rushmore.

In this year’s group of films, teenage rebellion is well represented with Blackboard Jungle (1955), East of Eden (1955), The Breakfast Club (1985) and Rushmore all making the list. Raging against societal norms and expectations are also covered with Ridley Scott’s feminist manifesto Thelma & Louise (1991) and Penelope Spheeris’ classic documentary about the Los Angeles punk-rock scene, The Decline of Western Civilization (1981). Robert Downey Sr’s counter-culture classic Putney Swope (1969), features a group of militant African Americans who take over a Madison Avenue advertising firm with hilarious and satirical results. Even Alfred Hitchcock’s The Birds (1963) can be viewed as nature rebelling against the abuses done to it by man.

Other films making the list this year range from 1916’s 20,000 Leagues Under The Sea, the first adaption of the Jules Verne novel to the Howard Hawks screwball comedy Ball of Fire (1941)and the Barbara Streisand hit Funny Girl (1968) to the classic blend of live action and animation Who Framed Roger Rabbit? (1988). Documentaries are represented by The Atomic Cafe (1988) a compilation of archival footage from the post-World War II era that centered on the newly evolving threat of nuclear war and 1990’s Paris Is Burning, which examines New York’s LGBT scene in the late 1980s.

Here is a complete list of the twenty-five films inducted this year –

  • Life of an American Fireman (1903)
  • Musketeers of Pig Alley (1912)
  • 20,000 Leagues Under the Sea (1916)
  • Solomon Sir Jones films (1924-28)
  • Steamboat Bill, Jr. (1928)
  • Lost Horizon (1937)
  • Ball of Fire (1941)
  • The Beau Brummels (1928)
  • A Walk in the Sun (1945)
  • Blackboard Jungle (1955)
  • East of Eden (1955)
  • The Birds (1963)
  • Point Blank (1967)
  • Funny Girl (1968)
  • Putney Swope (1969)
  • The Decline of Western Civilization (1981)
  • The Atomic Cafe (1982)
  • Suzanne, Suzanne (1982)
  • The Breakfast Club (1985)
  • The Princess Bride (1987)
  • Who Framed Roger Rabbit (1988)
  • Paris Is Burning (1990)
  • Thelma & Louise (1991)
  • The Lion King (1994)
  • Rushmore (1998)

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Lost SON OF FRANKENSTEIN Trailer Rediscovered - History – FilmBuffOnline http://www.filmbuffonline.com/FBOLNewsreel/wordpress/2016/10/25/lost-son-frankenstein-trailer-rediscovered/ http://www.filmbuffonline.com/FBOLNewsreel/wordpress/2016/10/25/lost-son-frankenstein-trailer-rediscovered/#comments Wed, 26 Oct 2016 01:35:54 +0000 http://www.filmbuffonline.com/FBOLNewsreel/wordpress/?p=39428 The trailer offers some alternate takes and deleted scenes that didn't appear in the final film. [click for more]

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You hear a lot about how many films from the early days of cinema have been lost to history due to various reasons. But you don’t really hear so much about the trailers for many early films also disappearing into the mists of time. Often considered just advertising ephemera, there seems to be very little emphasis in restoring, archiving and preserving trailers. Which makes the new announcement that a long-thought lost trailer for 1939’s Son Of Frankenstein has been discovered surprising and exciting.

What makes the discovery remarkable for fans and scholars of Universal’s early cycle of horror films is that the trailer contains alternate takes of scenes that are in the final film as well as glimpses at scenes that were deleted from the final cut.

Directed by Rowland V. Lee, Son Of Frankenstein was the third entry in Universal’s popular series about the mad scientist (and now his offspring) and the monster created out of parts of cadavers of the freshly dead. The film featured Boris Karloff once again returning to his iconic role as the Monster with Basil Rathbone being brought in as the young scion of the mad scientist family. Coming over from the studio’s Dracula series is star Bela Lugosi to co-star as Frankenstein’s hunchbacked lab assistant Ygor. The film also features Lionel Atwill in the role that Kenneth Mars was spoofing in Mel Brooks’ Young Frankenstein. The film was a success for the studio, though they took three years until they followed it up with Ghost Of Frankenstein in 1942. That film would feature Lon Chaney, Jr. in the role of the Monster as Karloff had elected to move on.

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Lost Méliès Film Rediscovered In Czech Archive - History – FilmBuffOnline http://www.filmbuffonline.com/FBOLNewsreel/wordpress/2016/10/13/lost-melies-film-rediscovered-czech-archive/ http://www.filmbuffonline.com/FBOLNewsreel/wordpress/2016/10/13/lost-melies-film-rediscovered-czech-archive/#comments Thu, 13 Oct 2016 14:26:37 +0000 http://www.filmbuffonline.com/FBOLNewsreel/wordpress/?p=39353 The two minute short is another example of Georges Méliès' pioneering work with visual effects. [click for more]

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A previously believed lost film by cinema pioneer Georges Méliès has been discovered in the Czech national film archives.

Titled Match Fe Prestidigitation or Conjuring Contest, the two minute film from 1904 was discovered on a reel of short films anonymously donated to the archives. The reel had been mislabeled with the title of another Méliès film.

According to archives spokeswoman Jana Ulipova –

The reel was titled ‘Les Transmutations Imperceptibles’, which is the name of another work by Méliès. But our specialist immediately realized it was another film… Based on detailed analysis and research at the national library of France, among other places, we can say with certainty that it is Match de Prestidigitation, up to now considered lost.

The film features a stage magician who splits in two who then proceed to take turns performing magic tricks before merging back into one person.

Méliès was himself a stage magician before he discovered the burgeoning art of filmmaking. Between the years of 1896 and 1913 he made over 500 short films that are now regarded as not only helping define the language of cinema but for pioneering the art of special visual effects. His most famous work is 1902’s Le Voyage dans la Lune (A Trip to the Moon).

Via The Guardian

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DGA Celebrates 80th Anniversary With List Of The 80 Best Directed Films - History – FilmBuffOnline http://www.filmbuffonline.com/FBOLNewsreel/wordpress/2016/05/03/dga-80-films/ http://www.filmbuffonline.com/FBOLNewsreel/wordpress/2016/05/03/dga-80-films/#comments Wed, 04 May 2016 03:05:21 +0000 http://www.filmbuffonline.com/FBOLNewsreel/wordpress/?p=38462 How many of these films have you seen? [click for more]

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To celebrate its 80th anniversary, the Directors Guild of America has gone all Buzzfeed and published a list of what they consider the best-directed movies made since 1936, the year that the guild was founded.

While I doubt that there is anyone who would argue that a number of these films don’t belong on such a list, the real discussion among film fans is going to be the ordering. Personally, I would swap The Godfather and The Godfather, Part II‘s position at numbers 1 and 6, putting the sequel at the top, as well as bumping up personal favorite Brazil from director Terry Gilliam to a spot higher than #70. Plus I would swap out the original Star Wars for its first sequel. The Empire Strikes Back.

But beyond serving as a spark for discussion this list is also a good starting place for those wishing to expand their film horizons beyond just the blockbusters that play at their local cineplexes. I am proud to say that I have seen 79 of the 80 films on this list. (Kubrick’s Barry Lyndon is the one I have yet to see, if you must know.) How many have you seen?

Here is the DGA’s complete list –

1. The Godfather Francis Ford Coppola 1972
2. Citizen Kane Orson Welles 1941
3. Lawrence of Arabia David Lean 1962
4. 2001: A Space Odyssey Stanley Kubrick 1968
5. Casablanca Michael Curtiz 1942
6. The Godfather: Part II Francis Ford Coppola 1974
7. Apocalypse Now Francis Ford Coppola 1979
8. Schindler’s List Steven Spielberg 1993
9. Gone With the Wind Victor Fleming 1939
10. Goodfellas Martin Scorsese 1990
11. Chinatown Roman Polanski 1974
12. The Wizard of Oz Victor Fleming 1939
13. Raging Bull Martin Scorsese 1980
14. Jaws Steven Spielberg 1975
15. It’s a Wonderful Life Frank Capra 1946
16. Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb Stanley Kubrick 1964
17. The Shawshank Redemption Frank Darabont 1994
18. The Graduate Mike Nichols 1967
19. Star Wars: Episode IV — A New Hope George Lucas 1977
20. Blade Runner Ridley Scott 1982
21. On the Waterfront Elia Kazan 1954
22. Pulp Fiction Quentin Tarantino 1994
23. E.T. The Extra-Terrestrial Steven Spielberg 1982
24. Annie Hall Woody Allen 1977
25. Saving Private Ryan Steven Spielberg 1998
26. Seven Samurai Akira Kurosawa 1954
27. A Clockwork Orange Stanley Kubrick 1971
28. Raiders of the Lost Ark Steven Spielberg 1981
29. Vertigo Alfred Hitchcock 1958
30. Sunset Boulevard Billy Wilder 1950
31. To Kill A Mockingbird Robert Mulligan 1962
32. Psycho Alfred Hitchcock 1960
33. The Searchers John Ford 1956
34. Forrest Gump Robert Zemeckis 1994
35. Singin’ in the Rain Stanley Donen, Gene Kelly 1952
36. 8 ½ Federico Fellini 1963
37. The Third Man Carol Reed 1949
38. The Best Years of Our Lives William Wyler 1946
39. Rear Window Alfred Hitchcock 1954
40. The Bridge on the River Kwai David Lean 1957
41. North by Northwest Alfred Hitchcock 1959
42. One Flew Over the Cuckoo’s Nest Miloš Forman 1975
43. The Sound of Music Robert Wise 1965
44. Taxi Driver Martin Scorsese 1976
45. Titanic James Cameron 1997
46. The Shining Stanley Kubrick 1980
47. Amadeus Miloš Forman 1984
48. Doctor Zhivago David Lean 1965
49. West Side Story Jerome Robbins, Robert Wise 1961
50. Some Like it Hot Billy Wilder 1959
51. Ben-Hur William Wyler 1959
52. Fargo Ethan Coen, Joel Coen 1996
53. The Silence of the Lambs Jonathan Demme 1991
54. The Apartment Billy Wilder 1960
55. Avatar James Cameron 2009
56. The Hurt Locker Kathryn Bigelow 2008
57. The Treasure of the Sierra Madre John Huston 1948
58. Birdman or (The Unexpected Virtue of Ignorance) Alejandro G. Iñárritu 2014
59. All About Eve Joseph L. Mankiewicz 1950
60. The Deer Hunter Michael Cimino 1978
61. There Will Be Blood Paul Thomas Anderson 2007
62. The Sting George Roy Hill 1973
63. The Wild Bunch Sam Peckinpah 1969
64. Alien Ridley Scott 1979
65. Rocky John G. Avildsen 1976
66. The Conformist Bernardo Bertolucci 1970
67. Gandhi Richard Attenborough 1982
68. The Bicycle Thief Vittorio De Sica 1948
69. Cinema Paradiso Giuseppe Tornatore 1988
70. Brazil Terry Gilliam 1985
71. The Grapes of Wrath John Ford 1940
72. All the President’s Men Alan J. Pakula 1976
73. Barry Lyndon Stanley Kubrick 1975
74. Touch of Evil Orson Welles 1958
75. Once Upon a Time in America Sergio Leone 1984
76. Unforgiven Clint Eastwood 1992
77. The Usual Suspects Bryan Singer 1995
78. Network Sidney Lumet 1976
79. Rashomon Akira Kurosawa 1950
80. Once Upon a Time in the West Sergio Leone 1968

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BBC Documentary On Jerry Lewis’s DAY THE CLOWN CRIED Reveals New Photographs - History – FilmBuffOnline http://www.filmbuffonline.com/FBOLNewsreel/wordpress/2016/01/05/day-the-clown-cried-photographs/ http://www.filmbuffonline.com/FBOLNewsreel/wordpress/2016/01/05/day-the-clown-cried-photographs/#comments Tue, 05 Jan 2016 21:56:34 +0000 http://www.filmbuffonline.com/FBOLNewsreel/wordpress/?p=37444 A new documentary gives us a brand new, behind-the-scenes look at the production of the infamously unreleased THE DAY THE CLOWN CRIED. [click for more]

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It seems that Jerry Lewis’ infamously unreleased film The Day The Clown Cried has been something of the topic of conversation recently. It was just a few months back that the film made news when it was included in the comic actor/directors’ personal film collection that he donated to the Library of Congress, with the stipulation that Day The Clown Cried could not be exhibited for at least ten years. Of course, some people misinterpreted that donation as meaning that the film was going on the Library of Congress’s National Film Register, a misconception we had to take the time to dispel.

And now the BBC has released a web documentary (embedded below) on the film that features some never before seen photos from the production of the film. In the half-hour documentary, British comic David Schneider doesn’t explore so much the production’s troubled history as it examines Lewis’ motivations for setting a comedy in a concentration camp during the Holocaust and whether or not it was appropriate for him to do so.

There are two things that are really amazing about this documentary.

The first is the wealth of previously unseen behind-the-scenes photos from the project. They were being held by the Swedish Film Institute – Day the Clown Cried was filmed in Sweden – and which had been given to them by the films’ set photographer Roger Tilburg. Interestingly, you don’t see Lewis doing lots of shtick or clowning around. Instead, you see him thoughtfully working with cast and crew or acting out scenes from the film. While it is definitely impossible to judge a film’s tone with any degree of accuracy based on a handful of stills, but it does lead one to wonder if perhaps Lewis was going for something a little more dramatic, serious and thoughtful, but ultimately falling back onto comedic bits due to his own insecurities over the results? The documentary seems to argue that point, referencing a Lewis press conference years after the production had wrapped where the comic expressed that he was “embarassed bythe work” and “grateful” that he had the power to keep it locked away.

Second is a short interview with actor Lars Amble, who passed away shortly afterwards. He gives a little valuable insight into Lewis’ state of mind during the production.he describes Lewis as very “professional” and made him sound well-prepared for the shoot. Although this remembrance is at odds with what actress Harriet Andersson’s biographer states what her memories of the shoot were.

A side note – Host Schneider notes that they had arranged interviews with four other cast members who all “mysteriously” cancelled shortly before they were to be recorded. Conspiracy theorists, make of that what you will.

Just a reminder, Lewis’ moratorium on the Library of Congress being able to screen The Day The Clown Cried expires in 2025.

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Kevin Smith Shows How To Budget An Indie Film (If It Were 1994) - History – FilmBuffOnline http://www.filmbuffonline.com/FBOLNewsreel/wordpress/2016/01/03/kevin-smith-clerks-budget/ http://www.filmbuffonline.com/FBOLNewsreel/wordpress/2016/01/03/kevin-smith-clerks-budget/#comments Sun, 03 Jan 2016 16:42:54 +0000 http://www.filmbuffonline.com/FBOLNewsreel/wordpress/?p=37432 The indie director shares his budget breakdown for his film, the 1994 comedy CLERKS. [click for more]

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Whether it is about bizarre meetings with high-powered producers, difficulties with big name stars or just the small minutiae of writing, shooting and editing a project, Kevin Smith has always been pretty open about his filmmaking process. His “Evenings with Kevin Smith” personal appearances are rife with stories about his twenty plus years in the business, often with hilarious spins on the events under discussion.

This weekend, Smith took it all the way back to the beginning, posting on his Facebook page his one-page budget breakdown for his first film, 1994’s Clerks. It is a short document that he prepared and sent to Miramax in the hopes that they would pick up the film for distribution. Of course, they did and the rest is history.

What’s interesting about the budget is that even accounting for inflation, the affordability of filmmaking technology has dropped so much that one could make a film for much less than what Smith paid for twenty-two years ago. For what he spent on film in 1994, one could be a high end 4K digital camera today. His equpiment rental would cover the cost of purchasing a decent lighting package today. And the upside is that you would still have all this equipment available for your second film, amortizing your costs.


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Before It Was THE FORCE AWAKENS, STAR WARS EPISODE VII Had A Different Title - History – FilmBuffOnline http://www.filmbuffonline.com/FBOLNewsreel/wordpress/2015/12/26/star-wars-episode-vii-alternate-title/ http://www.filmbuffonline.com/FBOLNewsreel/wordpress/2015/12/26/star-wars-episode-vii-alternate-title/#comments Sat, 26 Dec 2015 20:24:01 +0000 http://www.filmbuffonline.com/FBOLNewsreel/wordpress/?p=37385 The name was very similar to one of the old Expanded Universe novel titles. [click for more]

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Would a Star Wars film by any other name still be as sweet? Probably, so no mater what Episode VII wound up being called, it would still be raking in money hand over fist at the box office right now. But before it was known to the world as The Force Awakens, the latest Star Wars film had a very different title.

It was Pablo Hidalgo, the Creative Executive for the Lucasfilm Story Group, who revealed this bit of trivia yesterday in a twitter exchange with Jedi News editor Justin LaSalata.

For those who didn’t follow the old Star Wars Extended Universe too closely, Shadows OF The Empire was the 1999 novel that spearheaded a storytelling experiment that was set in the time between The Empire Strikes Back and Return Of The Jedi. Steve Perry’s novel (no not the guy from ’70s rock group Journey) tells the dual story of Darth Vader attempting to track down Luke Skywalker, while Luke, Princess Leia, Chewbacca and Lando Calrissian work to find out where bounty hunter Boba Fett has taken the carbonite-encased Han Solo. The story was also supported by a comics series, a video game, some new action figures and a soundtrack.

shadows-of-the-empireQuite frankly, although many fans seemed to have liked it when it was released, I didn’t find Shadows Of The Empire to be all that good. It felt more an exercise in dancing in place rather than furthering any storytelling. And the Han Solo substitute, Dash Rendar was appallingly bad.

While I can certainly see the connection between the proposed Shadow Of The Empire title and the actions of the First Order. But given that some fans have taken their love of the Expanded Universe and disappointment that it has been set aside in favor of allowing the new filmmakers coming into Star Wars the freedom to chart their own films free from the constraints of twenty-some years of book and comics continuity a bit too far, I am glad that we have not given them one more thing to be a buzzkill about at this exciting time when the franchise has come roaring back into the zeitgeist.

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