I've long been an admirer of the features of Paul Wendkos, or at least some of them. His first, "The Burglar," has a stunning Kane-related opening, and is...
Fred Camper
gdelatour@...
Jun 13, 2003 8:10 pm
3
... a timely message, since "The Burglar" is playing at MoMA/Gramercy tomorrow (preceded by a Brakhage program and followed by Melies and Ulmer)....
... How do you feel about TARAWA BEACHHEAD? I have that, as well as MEPHISTO WALTZ, on video (quite possibly in the original aspect ratio at least). I think...
... Zach, I hope in this friendlier group I won't have to rant on and on about video. I appreciate your acknowledgment of my views here, and I'll try not to...
... That's interesting. Why do you think this? Is it because the image is smaller? Really, if you sit close to the flatbed, the image subtends about the...
Dan Sallitt, citing my claim that the Steenbeck is "arguably no better ... No, and I guess I think it is somewhat better, But the Steenbeck renders the image...
... I'm a little more mixed on Wendkos than you are. The only two semi-late Wendkoses I've seen that you haven't mentioned are 1970's CANNON FOR CORDOBA and...
Okay, I can't resist a little self-parody as a way to begin my tenure on the new group. How do people feel about posthumous-period Preminger? That is, his...
... Actually, these are both pretty weak. I struggled to see the Wendkos in "Cannon for Cordoba" and remember liking some brief sequences, but it was a...
... I can't see a lot of Hawks, or a lot of value, in FAZIL either, though it has more defenders than TRENT'S LAST CASE. I'm the world's biggest Hawks fan, but...
... "A Girl In Every Port" is actually the only silent Hawks I've seen so far and it certainly seemed full of signature Hawksian themes and situations. If I ...
Dan, Oops, I should have said "sound Hawks films." I agree with your assessment of the silents. That peculiar ineffable quality in which the tiniest of...
... Absolutely. I'm really fond of THE CROWD ROARS - truth be told, I think it's my favorite Hawks film of 1932, despite the formidable competition of...
I don't have tv, but Mick Farren mentions in the first issue of LA's new alternative newspaper, City Beat, that it aired a few weeks ago on TCM. The cast apart...
... I saw it quite recently, at the Tourneur fest at Lincoln Center last fall. I can't say it worked very well for me: a little too much of the emotional...
It's still interesting how many of Tourneur's film have technically progressive plots - "technically" in the sense that they are not effectively progressive,...
... That's great to hear. I find those Kehr capsules incredibly useful and valuable. (I write this as someone temperamentally incapable of writing an ...
... Does that mean that City Beat has rights to the Chicago Reader's blurb catalog? Is there any relationship between City Beat and the Reader? I remember...
... One of the early American auteurists, the estimable Roger Greenspun, was also a third or fourth stringer for the Times back in the sixties and seventies....
... Actually it was Eugene Archer, earlier, who was the third or fourth (probably fourth) stringer, right? Was Archer (who influenced Sarris) the first...
... Yeah, I think that's where my number confusion came from. Sarris always credited Archer for turning him on to the politique. I think Patrick Bauchau might...
... I think Kehr is about it. I suppose his auteurist background didn't help him at all in landing Janet Maslin's slot at the Times after she resigned. Kehr ...
I keep meaning to arrange an extensive interview with Sarris to figure out the origins of American auteurism, which I was sort of researching last year--but I ...
... Well, New York is more than twice as large as any U.S. city (or at least, was back then), and it was always the U.S.'s cultural capital. It has more film...
... It's not exactly posthumous Preminger (and it considerably precedes THE HUMAN FACTOR), but it's Preminger that I never knew existed, while he was alive: A...
