There was a time when films were only remade for the benefit of a new generation, with different versions standing as hallmarks of their era. But that time has now gone
Last weekend I was lucky enough to attend a one-off screening of Alfred Hitchcock’s 1929 silent film Blackmail in the grand setting of the grounds of the British Museum, where part of the story is set. The film is one of the “Hitchcock 9″ – nine surviving silent films made by Hitchcock that have deteriorated over time.
Science fiction and fantasy fans attending the London Film and Comic Con over the weekend were treated to exclusive footage from the forthcoming Judge Dredd film.
A significant cultural shift has clearly occurred. But is this really such a great loss?
Summertime means summer movies, and as usual this year’s fare is a mixed bag. My personal interest in a new batch of films is the original music that accompanies them. I’m an enormous film score geek, you see, and whilst summer blockbuster season doesn’t always bode well for someone with my musical interests (great scores just as often accompany the sleepy dramas tucked between major movie “seasons”), it at least signals a glut of big-budget, potentially exciting projects that tend to have big scores attached.
Normally I read entertainment news for a bit of light relief, very rarely is any of it particularly challenging. However I was presented with some conflicting emotions when I read the news that a “dwarf theatre group” were planning a ‘100 midget march’ in protest of Hollywood’s latest reimagining Snow White and the Huntsman – specifically concerning the decision not to use dwarf actors for the key roles of the dwarves.
The discreet excellence of film-maker Jon Sanders is one of contemporary cinema’s best-kept secrets. But when his new film ‘Late September’ premieres at the ICA and the Bristol Watershed this month, that secret may finally come out. Like all Sanders’s work, it’s driven by a powerful subterranean emotional charge, but remarkably understated: only towards the end do you realise that it packs a Chekhovian punch.
ITV’s ‘The Exclusives’ sees 6 desperate young writers hit the offices of Bauer Media in an attempt to see who can humiliate themselves the most as they’re hurled into candid interviews with their idols. Robbie Wojciechowski can’t believe that the programme’s commissioners have stooped that low.
Nostalgia is a funny thing. These days, we really can’t get away from it. Whether through vintage fashion or tinted Instagram photos, we seem to want to live continually in the past. Which is perhaps one reason why The Artist, which comes out on DVD today, was such a surprise hit last year. A love letter to silent cinema, it triumphed at the Oscars with its story of George Valentin, a silent movie actor who struggles with the arrival of the talkies.
Against the glam and flashing bulbs of Cannes, Edward Norton strolls up to the table at the private beach bar almost unnoticed. With a characteristically laid back air, and dressed like it’s casual Friday at an accountancy firm, he seems fully aware of this apparent disparity. ‘It gets a little manic, and that’s never my favourite thing. But if you strip away the strange mania that’s developed, the tradition of Cannes is still very routed in a celebration of global cinema, it’s a really compelling spectrum of all over the world.’
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