Mid Century Cinema favorite Mike Nichols would have turned eighty-five on November 6. We have previously celebrated each of his first two films, Who’s Afraid of Virginia Woolf (1966) and The Graduate (1967), so on this occasion we thought we would take a look at another one of his best—one of the milestones of the New Hollywood, Carnal Knowledge (1971). Written by
News and Commentary
The newly released The Great Movies IV, the final collection of essays originally published by Roger Ebert in The Chicago Sun Times, arrives as a pleasant surprise—if, necessarily, as a bittersweet one.
Two giants of French cinema celebrate their birthdays this time of year, Jacques Becker on September 15—he would have been 110, and Robert Bresson, born five years before Becker on September 25 (though he would outlive him by nearly 40 years).
It’s time to mark up the calendar with plans to attend screenings at the Fifty-Fourth New York Film Festival, which will be held this year from September 30 to October 16. The big tent, of course, dazzles with the glittering jewels of carefully selected new films, not yet in general release. Always full of promise and anticipation, this year we’re most looking forward to Olivier Assayas’ Personal Shopper, which was
Robert Redford turns eighty on August 18, which at some level is hard to believe. But when you think about, it does come with the territory of having starred in an episode of Alfred Hitchcock Presents—in 1961.
What do we want from the movies? Let us summarily dismiss questions of taste. Movies are like wine—you can’t tell someone what to like. The wine you like is the wine you like. So too it is with cinema. To talk about what we want from the movies, then, is to ask something less personal but more profound: what is it that we value in a film; that is, by what criteria do we to consider a movie worthy not simply of our affection, but our attention?
Cinematographer Henri Decaë would have celebrated his 101st birthday on July 31.
How fascinating was the filmmaker known as Eric Rohmer? When his mother died in 1970, she had no idea her son was a famous director. As Rohmer’s own son explained, she “did not know about my father’s filmmaking activities, which she never for a minute suspected.
At Mid Century Cinema we are slaves to the academic calendar, which means that the last month has been an especially hectic one, something we note by way of apology for letting Bertrand Tavernier’s seventy-fifth birthday slip by on April 25th without proper notice.
A semester of seventies films draws to a close with Chinatown, a monumental achievement in which every element of the movie contributes to its overall vision perfectly and could scarcely be improved upon, starting with Robert Towne’s screenplay—one of the greatest ever written.