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En estos tiempos de hipercomunicación bastaría la invitación de enviar a un amigo cualquiera de los textos que consideres interesantes algo redundante: demasiada comunicación, demasiados textos y , en general, demasiado de todo.
Es posible que estemos de acuerdo... pero cuando encuentras algo interesante en cualquier sitio, la red, la calle, tu casa, o un lugar escondido y remoto, compartirlo no sólo es un acto (acción, hecho) de amistad o altruismo, también es una manera de ahorrar tiempo a los demás (y de que te lo ahorren a ti (si eres afortunado) a costa del tiempo que tu has podido derrochar (emplear) y el gustazo de mostrar que estuviste ahí (o donde fuera ) un poco antes (el tiempo ya no es más el que era).
Comparte con tus conocidos aquello que encuentras, es evolución.
The Viagra Auteurs
30-06-06 Revista de Prensa  

 


By Dave Kehr
In defense of old movie directors.

Vincent Sherman died last week, just a month short of his 100th birthday. Unless you are a cinephile, you may not recognize his name, but you have almost certainly seen one of the 31 features he directed: The Hard Way (1943), with Ida Lupino; Mr. Skeffington (1944), with Bette Davis; Adventures of Don Juan (1948), with Errol Flynn, Viveca Lindfors, and some of the most stylish Technicolor photography ever committed to film.


Movies are supposed to be a young person's medium, or so the steady stream of propaganda out of the youth-courting studios and the Sundance Film Festival would have it. But Sherman's death is a reminder that movie directors can be a cussedly long-lived lot. John Ford died at 79, Howard Hawks at 81, Raoul Walsh at 93. And often, they remain active long beyond the mandatory retirement age in most industries. Sherman, for one, continued to direct episodic television until 1983, when he was 76.
Many film buffs have a special affection for the late works of the masters, even when those films—like Hawks' Rio Lobo (1970) or Ford's 7 Women (1966)—lack the obvious appeal of their midcareer work. These wintry films often have a stark, pared-down quality, a sense of cutting to the essence, that can be tremendously moving—at the same time, they seem a bit sketchy and remote. The glow of seeing Carl Theodor Dreyer's startlingly direct Gertrude, made in 1964 when the great Danish director was 75, temporarily makes all other movies look sentimental and overfurnished. The final film of the great French director Jean Renoir, who died in 1979 at the age of 84, functions almost literally as a last will and testament. The Little Theater of Jean Renoir, a four-part production made for television in 1970, takes us on a tour of Renoir's career, from the poetic realism of his early films (the first episode, "Le dernier révillion"), through the high stylization of his middle period (the second, "La cireuse électrique," is an operetta about a floor waxer), through an object lesson in the director's love for actors (Jeanne Moreau sings "Quand l'amour meurt," alone in front of the camera), and finishing with a classic Renoir parable, "Le roi d'Yvetot," about an old man who passes along his mistress to a younger rival. The mistress is, of course, the movies.

Sherman's death comes at a moment of resurgence for old man's movies (and I use "old man" advisedly, having found few female directors allowed to continue beyond their 50s. One exception is the Czech Republic's Vera Chytilová, who currently has a project in production at the age of 77). The latest film of the 81-year-old Robert Altman, A Prairie Home Companion, is presently playing theatrically; 16 Blocks, directed by Richard Donner (76) has just been released on DVD; and Find Me Guilty, a courtroom comedy by the venerable Sidney Lumet (81) is due on DVD on June 27. And Clint Eastwood, 76, has two films in postproduction, Flags of Our Fathers and Red Sun, Black Sand (together, they tell the story of Iwo Jima from both the American and Japanese points of view), being readied for release at the end of the year.
For the most part, these filmmakers are doing what they've always done, but infused with more of a calm and contemplative quality. Those latter two adjectives haven't often been applied to the work of Richard Donner, a high-powered studio director who has been in the game since X-15 in 1961 and whose work includes The Omen (1976), Superman (1978), and the "Lethal Weapon" franchise that began in 1987. 16 Blocks stars another aging veteran of the '80s action scene, Bruce Willis, here playing a character close to his own age (51)—a broken-down New York City detective (described as "a self-medicating depressive") who stubbornly decides to fulfill one final mission. He will transport a government witness (Mos Def) 16 blocks downtown to a federal courthouse where he is to testify in a police corruption case, despite the armed opposition of what appears to be the entire New York City police force.
As a screenplay (by Richard Wenk), 16 Blocks seems like a compilation of surefire themes and techniques lifted from a Screenwriting 101 manual: the character in need of last-reel redemption, the interracial buddy-movie bantering (which ends with Def and Willis presenting a united front), and even a ticking clock (the witness has to be at the courthouse by 10 a.m. or the case will be dismissed). Donner greets these contrivances as old friends, as indeed they are to him, but he seems less interested in hammering them home as slam-bang entertainment (the action scenes are restrained, the violence relatively realistic) than in examining them as mechanisms and extracting their valid emotional undercurrents. Like a lot of old man's movies, 16 Blocks seems at first like a movie that you have seen a million times before, and probably done better, but as the movie progresses, its modest sense of scale and absence of rhetorical flourishes (no MTV editing here) gains the upper hand. Donner seems to be deliberately searching for the kernel of truth that lies behind the formulas, and he finds it: Willis' stubbornness in pursuing his goal becomes genuinely moving, the more so since it reflects Donner's own stubbornness in pursuing his chosen line of work.
The bad news about Prairie Home, 16 Blocks, and Find Me Guilty is that all three films come from outside the studio system. Prairie is an American indie, financed by a coalition of four different production companies; the other two films were picked up ready-made by American studios (Warner Bros. and Fox, respectively) and financed by a bafflingly complex network of interlocking companies that somehow seem to boil down to the "GmbH" in their copyright lines, indicating ultimate German ownership. Hollywood remains reluctant to employ its senior filmmakers, and even Eastwood, a reliable Oscar-winner and box-office force, broke away from his longtime association with Warner Bros. when the studio initially declined to finance Million Dollar Baby. In revenge, he is releasing his next two movies through Paramount.
Eastwood, Altman, and Lumet have been around long enough to acquire a certain mythic status, but the situation is graver for the generation of filmmakers who came after them. Directors like Walter Hill (The Warriors), Joe Dante (Gremlins), and John Milius (Conan the Barbarian), who came of age in the '70s and '80s, have been finding it almost impossible to land studio projects. Instead, they have turned to cable television, directing occasional episodes of Deadwood (Hill), writing for Rome (Milius), or, in the case of Dante, creating Homecoming, a brilliantly personal episode of the Showtime anthology series Masters of Horror—a series that has also given opportunities to John Landis, John Carpenter, Tobe Hooper, and Larry Cohen.
These are not doddering codgers, but individuals in late middle age who would still have been working regularly under the regimes of the old moguls, who knew the value (economic and artistic) of experience. The new MBA masters of Hollywood push seasoned (and proportionately expensive and hard to handle) talents aside in favor of inexpensive and pliable young filmmakers straight from Sundance or the film schools. I want to see Walter Hill's Rio Lobo and I want to see John Milius' 7 Women—but where is the studio that would finance them, when Justin Lin (The Fast and the Furious: Tokyo Drift) and J. J. Abrams (Mission: Impossible III) are available? In Europe, where cultural monuments still enjoy some degree of governmental protection, elders like Jean-Luc Godard (75), Eric Rohmer (86), and Manoel de Oliveira (97) are still going strong, issuing new films on an annual basis. But the only subsidies our soon-to-be senior directors are likely to get are their Social Security checks, which, by that point, will barely cover the cost of a new cassette for the camcorder.








Publicado originalmente en www.slate.com

   
 

Rating: 4 - 1 voto(s).

   
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_HistÓrico_Cine

07-04-16_Una nueva IMAGINACIÓN
24-04-16_ The films of Nick Zedd
15-01-12_ Un arte de intervalos. El cine según Jacques Ranciére
15-01-12_ Lies and bonds
24-04-11_ Para una conjetura estética de la maldad
11-12-10_ JEAN-LUC GODARD * FILM SOCIALISME
16-11-10_ Botanica mutante y otras hierbas
21-11-10_ pre-position n. 3: ON
21-11-10_ Restrospectiva en corto
17-10-10_ 9 Postales desde el cine de Ciencia Ficción
03-10-10_ NOTHING LASTS FOREVER
19-04-10_ Alice Through The Lens
10-01-10_ SÉ LO QUE ES CUANDO LO VEO* breve intro a la imagen pornográfica
31-10-09_ Snuff: A Documentary About Killing on Camera
17-09-09_ FILMINUTE
18-09-09_ Captain Celluloid vs the Film Pirates
13-09-09_ Lo no pornográfico
14-06-09_ The Manson Family
14-06-09_ Las paradojas del ARTE
17-09-09_ John Wisniewski interviews Jack Sargeant
24-05-09_Matar al padre
10-05-09_ Autista, bisexual, flaca, pequeña y peligrosa
19-04-09_ CONTROL
09-02-09_ The Archers Manifesto
15-12-08_ El destino del cine como arte * Jacques Rancière
02-01-09_ EL PERFUME, LA MÚSICA Y EL PORNO
26-10-08_ Películas extrañas
01-11-08_ La ética que Hollywood nos dejó
11-10-08_ VERTOV * El hombre y la cámara
18-09-09_ A Walk Into the Sea * Danny Williams and the Warhol Factory
20-09-08_ Derek Jarman * JUBILEE
18-09-09_ Los organos sin cuerpo de Hitchcock
20-07-08_ Stanley Kubrick's Boxes
22-07-08_ Jack Chambers * The hart of London
18-09-09_ 50 AÑOS CON "VÉRTIGO" 1958-2008 (I) * Intro 
15-06-08_ El estúpido ritmo de los demás
22-07-08_ LIQUID SKY ;-)
25-06-08_ TAKESHI KITANO * Master Class + El imprevisible (txt)
15-06-08_ El cine según Slavoj Zizek
15-06-08_ BLAST of SILENCE
06-06-08_ UNSEEN CINEMA
25-05-08_ Koji Wakamatsu
11-05-08_ Tulse Puper !¡ 1...2...3...
23-04-08_ Agitar, protestar, educar
27-04-08_ Leer en la oscuridad
27-04-08_ DIVINE TRASH
13-04-08_ Humildad sublime
24-03-08_ Stan Brakhage * Interview with Pip Chodorov
08-06-08_ The tao of Cristina Ricci
27-02-08_ Las películas de Philip K. Dick
17-03-08_ Crispin Glover * What it is? + The Big Problem (dou pack)
22-02-08_ Christina Ricci * Penelope
24-03-08_ Nobuo Takahashi: Godzilla, al revés
24-03-08_ CREENCIA Y PENSAMIENTO * ética y práctica del cine en la filosofía de Gilles Deleuze
02-03-08_ I'm fucking Matt Damon
24-03-08_ De la verosimilitud a la autenticidad * Atonement, un caso práctico
12-01-08_ BE KIND REWIND
19-12-07_ BitTorrent, A Boom To Independent Filmmakers
26-12-07_ Groupe MEDVEDKINE
02-12-07_ Ernie Gehr y el cine sin argumento
02-12-07_ Documental y Ficción, Masculino/Femenino
11-12-07_ El cinematógrafo como forma artística
30-11-07_ Chris Marker * Ensayo Fílmico ;-)
09-12-07_ Promesas del Este...
24-11-07_Still Life
16-11-07_ The five obstructions
01-01-08_ Montaje del desastre
26-09-07_ Por qué nos gusta tanto "El hombre de los ojos de Rayos X"
10-10-07_ Entrevista * Gyorgy Lukacs (va de cine)
16-09-07_ Entrevista* Orson Wells
25-09-07_Caotica Ana y la cosmogonia
25-09-07_Last minute
11-09-07_ Naomi Klein y Alfonso Cuaron
25-08-07_ Removiendo turbias raices con agua de primavera
10-05-08_ Easy Riders, Raging Bulls: How the Sex, Drugs and Rock 'N' Roll Generation Saved Hollywood
04-08-07_ "Euphoria", una historia sobre el amor brutal
03-08-07_ 28 osstias te daba yo
25-08-07_ The Pirate Bay Launches Bergmanbits, A Tribute to Ingmar Bergman
05-08-07_ Avant-Garde: Experimental Cinema of the 1920s and '30s
31-07-07_ Después de todo
23-07-07_ Raymond Salvatore Harmon: Secrets & Light
31-07-07_ Lo has visto ya todo, no hay nada más que ver ...
06-07-07_ Beat Takeshi, generación beat, no me digas nada -Takeshi's, Last Days, Carlos Pazos
26-06-07_ X men
26-06-07_ Wanderlust
29-05-07_ The evolution of snuff
23-04-08_ Fay Grim * Hal Hartley
30-05-07_ Shorts and Hal Hartley Interview
26-06-07_ Maya Deren * The complete films
26-08-07_ INLAND EMPIRE * El desierto de lo imaginario
01-01-08_ Two short films by David Lynch
30-03-07_ Grandes diálogos: Marathon Man
30-03-07_ La vida de los otros
30-03-07_ Soviet/Russian Parallel Cinema
09-04-07_ Sátántángo * Bela Tarr
18-03-07_ The fountain * Darren Aronofsky (2006)
14-03-07_ David Cronenberg and the cinema of the extreme (1997)
22-02-07_ The End * Christopher Mclaine
01-08-07_ Clint Talks
08-07-07_¿Qué es el acto de creación? * Gilles Deleuze 
16-02-07_ Akira Kurosawa * Rashomon
09-07-07_ Entrevista * Takeshi Kitano (BEAT TAkeshi)
11-02-07_ Frente a un diluvio de películas. Redescubrir a Kracauer
06-02-07_ Factory Blah
31-05-07_ Jean-Luc Godard por JLG
07-02-07_  Por un cine de exposición * Jean-Christophe Royoux
27-04-08_ Primer * The movie... [actualizado 25_03_08]

25-01-07_ This film is not yet rated
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16-01-07_ NYSUFILMS
30-08-07_ Performance * the movie
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07-01-07_ A Pack of Apocalypse. When? Now.
03-01-07_Introduction to "Avant-Garde Film"
03-01-07_ The Heart Is Deceitful Above All Things
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22-12-06_ A Scanner Darkly * PKD
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28-11-06_ Iraq for sale, la nueva película de Robert Greenwald
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01-11-06_A PSA on Piracy
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22-10-06_Sherlock Holmes y la mujer araña
26-10-06_A Scanner Darkly ****
18-10-06_Temporada de patos
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08-10-06_Old Joy * Kelly Reichardt
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19-09-06_La Dalia Negra Review: cagada y consenso
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16-09-06_Paris forever and ever
13-09-06_Film as a Subversive Art: Amos Vogel and Cinema 16
11-09-06_The Cowboy and the Frenchman * David Lynch
08-09-06_If Footmen Tire You, What Will Horses Do?
16-09-06_Man Bites Dog director dies at 38
05-09-06_Spectres & Tribulation
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27-09-09_ Legendary Epics Yarns and Fables: Stan Brakhage
16-04-08_ The Pervert's Guide To Cinema  [actualizado 25_03_08]
13-08-06_dotsub and IMPD
10-08-06_Primer
06-08-06_John Huston, el hombre que no quiso reinar
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28-07-06_‘Scoop’: Shades of Nick and Nora, With Woody Allen’s Shtick
22-07-06_I See Good Movies
01-07-06_El señor de la guerra
30-06-06_The Viagra Auteurs
28-06-06_Andy Warhol * A documentary by Kim Evans
28-06-06_The Films of Jack Goldstein
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04-06-06_Michael Snow * Wavelength
05-06-06_Robert Rauschenberg * Linoleum
05-06-06_ Robert Morris & Stan VanDerBeek
05-06-06_ Gene Youngblood * Expanded Cinema
05-06-06_William S. Burroughs * The Cut-Ups
13-04-08_ The Weather Underground [updated 25_03_'08]
05-06-06_Francis Ford Coppola * The Junky’s Christmas
06-06-06_Alfred Leslie * The Last Clean Shirt
17-05-06_¿Por qué querrá Sam la cabeza de Al?
15-05-06_Agnes Varda: Black Panthers - Huey!
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04-05-06_El amor en los tiempos venideros * Codigo 46
04-05-06_Art is for pussies
21-04-06_A User's Guide to the TriBeCa Film Festival
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29-03-06_The worst of the worst: 10 bottom films of 2005
27-03-06_A Filmmaking Robot
29-03-06_Horror Show
24-03-06_Young. Beautiful. Deadly revisited
20-03-06_Matthew Barney | The Cremaster Cycle
17-03-06_Thank you for Smoking
19-03-06_Anarchy in the U.K.
08-03-06_Pequeños consejos para cortometrajistas
07-03-06_Cine de ciencia ficción
06-03-06_Entrevista | Jeanne Moreau Actriz [EXP]
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24-02-06_Transamérica / Amor de p/madre
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07-02-06_El miedo al mono en v.o.
07-02-06_James Mangold
05-02-06_Lee Tamahori detenido por prostitución
03-02-06_Philip Seymour Hoffman
29-01-06_Sundance premia 'La ruta natural'
29-01-06_Lírica visual / UNSEEN CINEMA
23-01-06_Borrascas personales
20-01-06_Whither the DIY Auteurs of DV?
17-01-06_007 REGRESARÁ EN UN ASTON MARTIN
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16-01-06_El club de las olas
13-01-06_El lado oscuro de la épica
11-01-06_Coke Classic
11-01-06_La muerte, probablemente
09-01-06_Jon Stewart, Oscar Host
08-01-06_I Like to Watch
07-01-06_Fateless
06-01-06_Brokeback Mountain
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12-12-05_Variety 100 años / 100 iconos del cine
06-12-05_Thinking Outside the Box Office / interview with Steven Soderbergh
03-12-05_ Flores Rotas: «Introducing» Ramón, El gato del milenio
01-12-05_Primer » Shane Carruth
08-06-05_Victor Erice » El sol del membrillo
06-06-05_Ivan Zulueta » Arrebato
06-06-05_Ridley Scott » El reino de los cielos (Vaya cruz)

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