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.
A look at the trending topics on social networking sites and search engines today, to see what we’re interested in, and why.
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.
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.
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.’
The original cast of American Pie reformed for the reunion movie 13 years after the first hit our screens. With a massive franchise behind the title and various spin-offs projects, Seann William Scott, the actor famous for playing straight-talking Steve Stifler, discusses whether any of the team were reluctant to take part in another sequel, and how they’ve changed over the years.
The Pan-Asia film festival is now in its fourth year of exposing an overlooked side to the various film industries of Asia. Ask an average person on the street what they think of Asian cinema, and – unless they wisely point out that referring to ‘Asian’ film is a sweeping generalisation – they’ll probably refer to Chinese historical epics or ultra-violent thrillers or horrors from Japan and South Korea. Rather than being generally under-represented, the cult popularity of the aforementioned types of films means that we get an extremely slanted view of cinema coming from the world’s largest continent.
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