Notebook's 4th Writers Poll: Fantasy Double Features of 2011
NotebookIn our annual poll, we pair our favorite new films of 2011 with older films seen in the same year to create fantastic double features.
In our annual poll, we pair our favorite new films of 2011 with older films seen in the same year to create fantastic double features.
According to a title card at the end of Laissez-Passer, Bertrand Tavernier's fact-based drama of the French film industry in wartime, Maurice Tourneur hated the scripts of the few movies he made post
Anton Chigurh will not be tamed, hen-pecked,or led to bear a kiss as just a kiss.You're not the blonde he's come home to, erectand dreaming of a woman and a gun. Go on, dismisshis fury, his phantom empire
From top to bottom: Jean-Luc Godard's Numéro deux (1975); Robert Hossein's The Wicked Go to Hell (1956); Abel Ferrara's Chelsea on the Rocks (2008); Nobuhiko Ôbayashi's The Adventures of Kosuke
Maurice Tourneur's Carnival of Sinners (1943); cinematography by Armand Thirard.
Many thanks to Matthew Flanagan for pointing out the fifth issue of the multi-lingual journal La Furia Umana with its rapporto confidenziale devoted to Jacques Tourneur. It opens with a conversation
"The idea was to record and respond to the political and culture climate as instantaneously as possible — and, one assumes, intervene as well and possibly even influence it.... It registers as
Above: L.A. noir—Rudy Bond, a .45, Aldo Ray, and an oil derrick. Jacques Tourneur, one of old Hollywood's last poets, seems forever known, when know at all, for pairing his nebulous, poetic
I'm always fascinated by the closing shot of Jacques Tourneur's Berlin Express, a mostly indifferent post-war thriller climaxing in the ruins of the German capital (and featuring the monumental and sinister
Are you ready for some football? I know, I know—the regular season was over as of Sunday. and its entirely probable that the readership of The Auteurs' Notebook isn't exactly teeming with gridiron nuts
From I Walked With a Zombie (1943); featuring Betsy Connell; directed by Jacques Tourneur; produced by Val Lewton; cinematography by J. Roy Hunt.