Nicolás Zukerfeld’s There Are Not Thirty-Six Ways Of Showing A Man Getting On A Horse (No Existen Treinta Y Seis Maneras De Mostrar Cómo Un Hombre Se Sube A Un Caballo), his tribute to Raoul Walsh, co-written and expertly edited with Malena Solarz, is a highlight of the Currents program in the 58th New York Film Festival.
The 1924 Douglas Fairbanks adventure The Thief of Bagdad; the 1933 musical Going Hollywood with Bing Crosby; Rita Hayworth and Olivia de Havilland and James Cagney in the 1890s stage world of Strawberry Blonde (1941); the 1958 Norman Mailer adaptation The Naked And The Dead; the 1960s Biblical drama Esther And The King, with Joan Collins in the title role - it isn’t easy to pick only one Raoul...
The 1924 Douglas Fairbanks adventure The Thief of Bagdad; the 1933 musical Going Hollywood with Bing Crosby; Rita Hayworth and Olivia de Havilland and James Cagney in the 1890s stage world of Strawberry Blonde (1941); the 1958 Norman Mailer adaptation The Naked And The Dead; the 1960s Biblical drama Esther And The King, with Joan Collins in the title role - it isn’t easy to pick only one Raoul...
- 20/09/2020
- di Anne-Katrin Titze
- eyeforfilm.co.uk
In October of 1980, Nick Munns sent a tape of five songs to London theatre agent David Land. With Nick Munns music, David Land dreamed of replicating the success of Joseph And The Amazing Technicolor Dreamcoat. Swan Esther, not the hit that Joseph was, has enjoyed varying success. Now, Stage Door Records has re-released Swan Esther's original concept album with studio rehearsal demos written for the reworked UK tour of the production entitled Swan Esther And The King.
- 27/08/2014
- di David Clarke
- BroadwayWorld.com
Iran In Color Dreams And Visions Of Stan Brakhage
How can we approach Stan Brakhage’s world? Shall we return to his inspiration drawn from the poets of San Francisco and the New York experimental filmmakers of the 1950s? Should we consider his inadequate filmmaking facilities which shrank every year, eventually reducing him to scratching negatives with his fingernails on the hospital bed at the end of his life? Besides all his sources of inspiration, from Eisenstein and Dreyer to Gertrud Stein and Rilke, I intend to examine rather an obscure source material for 18 short films of Brakhage, which most probably hasn’t been taken into consideration yet: Iran and its classical arts.
These 18 short films, called Persians, and made between 1999 to 2001, are among his last films, and based on years of studying Iran’s art and culture. They have been made by the methods of painting and scratching on...
How can we approach Stan Brakhage’s world? Shall we return to his inspiration drawn from the poets of San Francisco and the New York experimental filmmakers of the 1950s? Should we consider his inadequate filmmaking facilities which shrank every year, eventually reducing him to scratching negatives with his fingernails on the hospital bed at the end of his life? Besides all his sources of inspiration, from Eisenstein and Dreyer to Gertrud Stein and Rilke, I intend to examine rather an obscure source material for 18 short films of Brakhage, which most probably hasn’t been taken into consideration yet: Iran and its classical arts.
These 18 short films, called Persians, and made between 1999 to 2001, are among his last films, and based on years of studying Iran’s art and culture. They have been made by the methods of painting and scratching on...
- 22/10/2012
- di Ehsan Khoshbakht
- MUBI
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