(Temporary) Film database submission mechanism
Portrait of Jennie (1948)
Director: William Dieterle
DP: Joseph August
Cast: Jennifer Jones, Joseph Cotton, Ethel Barrymore, Lillian Gish, Cecil Kellaway, David Wayne, Albert Sharpe
Producer: David O. Selznick
Screenwriter: Paul Osborn, Peter Berneis
Composer: Dimitri Tiomkin
Give Tobias a raise!
Thanks T, that´s what we´ve needed. I´m soon going to prepare a couple of world cup selections that still need to be added to the database.
Give Drew a raise!
1. The Name of a River (OT: Ekti Nadir Naam, 2002)
Director: Anup Singh
DP: K.K. Mahajan
Cast: Shibu Prasad Mukhopadhyay, Shami Kaiser, Supriya Choudhury, Abhanish Bandopadhyay
Producer: Steve Brookes, P. Parameswaran
Screenwriter: Madan Gopal Singh, Anup Singh
Composer: Sanjoy Chowdhury
2. http://img12.imageshack.us/img12/4442/nameofariver.jpg
3. Review (http://www.dvdbeaver.com/film2/DVDReviews46/the_name_of_a_river.htm)
Anup Singh’s debut feature, The Name of a River, is an ambitious, evocative docu-fictional essay exploring the life and work of the great Indian film-maker, Ritwik Ghatak (1925-1976).
Ghatak’s reputation as India’s most important film-maker has been steadily growing since the first major retrospective of his films was organised internationally in the 1980s. Satyajit Ray has described him as ‘one of the few truly original talents in the cinema this country has produced’. Although largely ignored in his lifetime and usually overshadowed by the illustrious Ray, Ghatak was a legend to a whole generation of Indian arthouse directors and was seen by many as the father of the Indian New Wave.
Born in 1925 in what is today known as Bangladesh, he was 18 in 1943 when the ‘great’ Bengal famine drove him and his family from Dhakka to Calcutta as refugees. India’s simultaneous independence and partition into India and Pakistan in 1947, and a further partition later into India, Pakistan and Bangladesh, made it impossible for him to return to his homeland. The Partition of India and Ghatak’s separation from his homeland act as the driving force in his life and work.
In The Name of a River Anup Singh uses a love story between a man and a woman crossing the river between Bangladesh and India – playing the roles of refugees, divine beings and literary and cinematic characters – to understand the mysteries of the events that led to the massacre of half a million people and forced ten million people to migrate across the newly established borders. Covering a huge area of visual, aural and intellectual ground within its 90 minutes, this exquisite film presents its audience with a dreamlike odyssey through a history, a life and a work that we, the viewers, encounter in the shape of stunning landscapes and music, lovers and gods, myths and memories, literature and cinema.
The Name of a River has been screened at numerous international film festivals, winning the Aravindan Award, India, for best dbut film-maker in 2001, and the Silver Dhow Award for best feature at the Zanzibar International Film Festival in 2002.
1. Mother of the Dunes (OT: Faraw!, 1997)
Director: Abdoulaye Ascofaré
DP: Giorgos Arvanitis
Cast: Aminata Ousmane, Balla Moussa Keita, Safiatou Mahamane, Oumar Mbarek, Hamel Mbarek
Producer: CNPC et Films de la Dune Rose
Screenwriter: Abdoulaye Ascofare
Composer: Haruna Barry, Ibrahim Dicko
2. http://img6.imageshack.us/img6/3227/faraw2.jpg
3. Review: http://www.filmfestivals.com/cannes97/cfilmc11.htm
Described by director and screenwriter Abdoulaye Ascofaré as a homage to his mother, who herself had a hard life, the film follows the fortunes of a mother struggling to look after her handicapped husband and three difficult children. Faraw! shows the impact of visiting Europeans on the African family, and aims for a true sense of realism, rather than resorting to melodrama (although the film does include a dream sequence).
The film’s cinematographer, Yorgos Arvanitis, is better known as the regular collaborator of Greek director Theo Angelopoulos. Here, he uses his skill to recreate the immensity of the desert, and to suggest its vast, silent, cruelty. Ascofaré is full of praise for his lead actress, Aminata Ousmane, in her role as the mother of the sands.
But perhaps the real star of the film is the Sahara itself, in the way it affects the life of all those who live with it. Ascofaré has sought to replicate in his film the way the desert’s calm but persistent rhythm dominates the characters’ lives and controls their destiny.
Hasta Los Huesos
Director: Rene Castillo
DP: Sergio Ulloa
Cast: Bruno Bichir, Daniel Cubillo, Eugenia Leon, Claudia Prado, Celso R. Garcia
Producer: Rene Castillo, Alejandra Guevara
Screenwriter: Rene Castillo
Composer: Joselo Rangel
1. Rumble Fish
2.Director- Francis Ford Coppola
3.Cast- Mat Dillon, Mickey Rourke, Dennis Hopper
4.Screenplay-S.E. Hinton
http://www.imdb.com/title/tt0086216/
review-
Directed by Francis Ford Coppola Screenplay by S.E. Hinton and Francis Ford Coppola
The easiest way to praise a film is to call it poetic. The easiest way to dump on a film is to call it unrealistic. Believability is the line drawn in the dirt; on either side are warring sensibilities, rival gangs of moviegoers or critics. Seen this way, the defenseless movie is reduced to a Rorschach inkblot, an excuse for prolonging the debate between fantasy and naturalism.
Rumble Fish is the messiest, most provocative inkblot of the year. On the naturalistic level, Francis Coppola’s film is a botch, a hoot. The two main characters—Rusty-James (Matt Dillon), a 17-year-old punk who figures he moves with the swagger of stardom, and his older brother the Motorcycle Boy (Mickey Rourke), tired of being an outlaw legend in Rusty-James’ eyes—are little more than the sum of their mannerisms. Their father (Dennis Hopper) is a philosophizing sot who comes and goes with the whim. Rusty-James’ girlfriend (Diane Lane) is a mere receptacle for his careless abuse; his best friend (Vincent Spano) is a cowardly grind seduced by Rusty-James’ danger. None of these dead souls ever enters the land of living drama, where obsession and ambiguity intersect and a poor soul in the dark can look up at a figure on the screen and say, “Hey, that’s me.”
Instead, one suspects, Coppola wants the moviegoer to shout, “Hey, what’s that?” If Rumble Fish fails as a traditional movie about real people, it is beguiling as an exercise in hallucinatory style. As he did in his adaptation of another S.E. Hinton novel (The Outsiders), Coppola has taken the protagonist’s point of view as his visual strategy. There it was Technicolor romance; here it is stygian monochrome. To the Motorcycle Boy, colorblind and partly deaf from too many fights, the world is “black and white with the sound turned low,” and what he sees is what we get. Dark clouds hurtle across the sky; diagonal strips of shadow fall like knife scars on every face; steam rises from the streets and rolls off the most innocuous front porch. Clocks, with or without hands, are everywhere, reminding the Motorcycle Boy of his mortality; and the sound track has the ominous rhythm of a heartbeat, a time bomb.
Rumble Fish may prove to be another kind of bomb. Coppola simply will not behave. Pressed to the wall by his failures with One from the Heart and Zoetrope Studios, prodded by a Hollywood that wants one of its pedigreed talents to make “a good picture,” the director keeps slipping away into stylistic eccentricity. In one sense, then, Rumble Fish is Coppola’s professional suicide note to the movie industry, a warning against employing him to find the golden gross. No doubt: this is his most baroque and self-indulgent film. It may also be his bravest.
http://www.time.com/time/magazine/article/0,9171,926306,00.html
Nathan, Its S.E. Hinton, not Hilton.
Thanks for submitting that. It was going to be my next one.
fixed
1. The Middleman (OT: Jana Aranya, 1976)
Director: Satyajit Ray
DP: Soumendu Roy
Cast: Pradip Mukherjee, Aparna Sen, Satya Bandyopadhyay, Satya Bannerjee, Arati Bhattacharya
Producer: Subir Guha
Screenwriter: Satyajit Ray
Composer: Satyajit Ray
2. http://img44.imageshack.us/img44/1678/middleman.png
3. Review: http://www.satyajitray.org/films/jana.htm
This is the final film of trilogy known as the Calcutta Trilogy. The first two were Pratidwandi (The Adversary, 1970) and Seemabaddha (Company Limited, 1971). All the three films study the effect the big city of Calcutta has on the educated youth and the price it extracts from them.
Ray told in an interview to Cineaste that the only bleak film he had made was The Middleman. The film is about corruption of a young man; from an idealistic individual to a corrupt businessman who ends up offering his best friend’s sister to a client for a business favor.
Master And Commander
Director: Peter Wier
DP: Russel Boyd
Cast: Russel Crowe, Paul Bettany, James D’arcy, Edward Woodall, Chris Larkin, Max Pirkis
Producer: Alan B. Curtiss
Screenwriter: Peter Weir, John Collee
Composer: Iva Davies
Themroc (1973)
Director: Claude Faraldo
DP: Jean-Marc Ripert
Cast: Michel Piccoli, Béatrice Romand, Marilù Tolo, Francesca Romana Coluzzi, Jeanne Herviale
Producer: François de Lannurien, Helène Vager
Screenwriter: Claude Faraldo
Composer: Harald Maury
IMDb: http://www.imdb.com/title/tt0069369/
wikipedia: http://en.wikipedia.org/wiki/Themroc
A Review: http://www.thespinningimage.co.uk/cultfilms/displaycultfilm.asp?reviewid=509
And I second Rumble Fish!
1. Milestones
Director: Robert Kramer, John Douglas
DP: John Douglas, Robert Kramer, Barbara Stone
Cast: Mary Chapelle, Sharon Krebs, Jim Nolfi, Grace Paley
Producer: Barbara Stone, David C. Stone
Screenwriter: Robert Kramer
Composer: Bobby Buchler
2. http://www.horschamp.qc.ca/IMG/jpg/doc-1117.jpg
3. http://www.timeout.com/film/newyork/reviews/73195/milestones.html
Shot as ‘fictional’ documentary, Milestones amounts to a three-and-a-half hour testament to a generation. Despite the cinéma-vérité style, the scope of the project is epic: the interconnecting lives and lifestyles of various young people scattered across America as a generation of white activists or dropouts ponder ‘where they’re at’. Milestones is almost entirely about people talking. Sometimes this compulsion to talk everything through – and an obsessive need for reassurance – amounts to moving in circles, not forward; what optimism there is seems almost wilfully naive and painfully fragile. The film refrains from judging its characters, which is why some may find it boring. But, as with Kramer’s Ice, it’s a film that will doubtless gain with age: posterity is left to decide whether the generation on view found a new future or lost its way.
The Ladykillers
Director: Alexander Mackendrick
DP: Otto Heller
Producer: Seth Holt, Michael Balcon
Cast: Alec Guinness, Cecil Parker, Peter Sellers, Herbert Lom, Danny Green, Jack Warner, Katie Johnson
Screenwriter: William Rose
Composer: Tristram Cary
Los peloteros
1951
Puerto Rico
Feature length
Director: Jack Delano
Photography: Jesús Figueroa, Gabriel Tirado
Cast: Ramón Ortiz del Rivero, Miriam Colón, José Manuel Matos, Amílcar Tirado, Perín Vásquez
Production Manager: Edwin Rosskam
Screenwriter: Edwin Rosskam, Amílcar Tirado
Composer: Jack Delano
(the only image I found)
Blurb: Divedco Festival Page
The first full-length Puerto Rican feature film created an aesthetic that was later identified with the DIVEDCO itself. Directed by Jack Delano, a Ukrainian-born American photographer active in the Farm Security Administration, who settled permanently in Puerto Rico in 1946, and written by Edwin Rosskam. Features the well known actors Ramón Ortiz del Rivero (Diplo) and Miriam Colón. A feel-good movie about the efforts of a group of poor boys to set up a local baseball team. Against all odds, they raise money for uniforms and equipment.
IMDB
(for general reference)
Nadja (1994)
Dir: Directed by Michael Almereyda
Produced by David Lynch
Mary Sweeney
Written by Michael Almereyda
Starring Elina Löwensohn
Peter Fonda,Karl Geary, Martin Donovan
Music by Simon Fisher Turner
Cinematography Jim Denault
Editing by David Leonard
Running time 93 min.
Country USA
Language English
This ultra-hip, post-modern vampire tale is set in contemporary New York City. Members of a dysfunctional family of vampires are trying to come to terms with each other, in the wake of their father’s death. Meanwhile, they are being hunted by Dr. Van Helsing and his hapless nephew.
JULY RAIN
ILULSKIY DOZHD
Soviet Union
1967
107 Min
Black and White
Russian
DIR Marlen Khutsiyev
PROD
SCR Anatoli Grebnev, Marlen Khutsiyev
DP German Lavrov
CAST Yevgeniya Uralova, Aleksandr Belyavskiy, Yuri Vizbor, Aleksandr Mitta, Alla Pokrovskaya
ED A. Abramova
MUSIC Bulat Okudzhava
A woman is forced to examine the emptiness of her life in this stark drama from the Soviet Union. Lena (Yevgenya Uralova) is a woman in her late twenties who loves her boyfriend (Aleksandr Belyavsky) but in time comes to see that their relationship serves no useful function. What’s more, she sees that her friends are for the most part empty-headed lackeys, causing her to wonder just what is the point of her life. Director Marlen Khutsiev, who previously made the well-received I Am Twenty, displays a strong stylistic debt to Michelangelo Antonioni in this feature, which received one of its few screenings (since its original release in 1967) at the 2000 Locarno Film Festival as part of a retrospective on Soviet filmmaking. — AllMovie
The Falls
Director: Peter Greenaway
DP:
Cast: Colin Cantlie, Hilary Thompson, Sheila Canfield, Adam Leys, Serena Macbeth, Martin Burrows
Producer:
Screenwriter: Peter Greenaway
Composer: Michael Nyman
http://www.allmovie.com/work/the-falls-90934
After cutting his teeth on 14 years’ worth of short subjects, director Peter Greenaway made his feature-film debut with the pseudo-documentary The Falls. The added length does nothing to dilute Greenaway’s singular sense of the absurd. The story, if one can truly call it that, deals with a phenomenon involving birds and anacronymically known as V.U.E. The letters stand for Violent Unknown Event, and in the course of the film’s hallucinatory 190 minutes we are introduced to 92 of the syndrome’s victims whose names all begin with the letters “F-A-L-L.” This film is pure avant-garde and obviously not for all tastes.
THE TELEPHONE BOOK
USA
1971
80 Min
Black and White
English
DIR Nelson Lyon
PROD Merv Bloch
SCR Nelson Lyon
DP Leon Perera
CAST Sarah Kennedy, Norman Rose, Barry Morse, Captain Haggerty
ED Len Saltzberg
MUSIC Nathan Sassover
In this film that seeks to make a comedy about obscene telephone callers, several callers and their victims are shown. Most of the film is about one of the callers who is so beguiling that before long, many of his victims are hoping that he will call them back. Indeed, one of his victims is so entranced that she exerts considerable effort trying to find him, not for prosecution, but to see how his real-life virility compares with his virtuoso telephoning. One interesting sidelight is that the film contains three members of Andy Warhol’s art-gang (including Ultra Violet). — AllMovie
1. The Nightingale’s Prayer (OT: Doa al karawan, 1959)
Director: Henry Barakat
DP: Wahid Farid
Cast: Faten Hamama, Ahmed Mazhar, Amina Rizk, Zahrat El-Ola
Producer: Barakat Films
Screenwriter: Henry Barakat, Youssef Gohar
Composer: n/a
2. http://img42.imageshack.us/img42/165/nightingale.jpg
3. Review: http://www.answers.com/topic/nightingale-s-prayer
A poor woman plots revenge against the engineer who soiled her family name in this drama starring Arabian screen sensation Faten Hamama. As tradition and poverty weigh down on Amna (Mamama)’s shoulders following a the desecration of her family honor by a brazen engineer (Ahmed Mazhar), the determined young woman decides to fight back and take back her name despite the grueling battle that lies ahead. ~ Jason Buchanan, All Movie Guide
Blood of the Condor
YAWAR MALLKU
Bolivia
1969
107 Min
Black and White
Spanish, Quechua, Aymara
Director: Jorge Sanjinés
Producer: Ricardo Rada
Screenplay: Jorge Sanjinés,Óscar Soria
Photography: Antonio Eguino
Cast: Marcelino Yanahuaya, Benedicta Mendoza, Vicente Verneros Salinas, Danielle Caillet, Felipe Vargas
Editing: Jorge Sanjinés
Music: Alfredo Domínguez, Ignacio Quispe, Alberto Villalpando
This Bolivian film was banned both in Bolivia and the United States. It tells a quasi-historical narrative of a Peace Corps medial clinic that was sterilizing, without their knowledge or consent, Quechua Indian women who had come in for treatment. While the film is a dramatization, it is based on actual events which occurred in Bolivia in 1968 when the government imposed, with the help of the United States, a population control program.
THE BIZARRE COUNTRY
NEKA CUDNA ZEMLJA
Yugoslavia
1988
91 Min
Color
Serbo-Croatian
DIR Dragan Marinkovic
SCR Dragan Marinkovic, Radoje Domanovic
DP Predrag Todorovic
CAST Lazar Ristovski, Dragan Maksimovic, Jasmina Avramovic, Enver Petrovci, Milija Vukovic, Milutin Butkovic
ED Petar Markovic
MUSIC Ksenija Zecevic
(Only blurb I’ve found…)
Definitely worth looking! This movie presents highlights of Domanovic’s stories, Nusic’s dramas and a lot of original humor, all rolled into great, but not widely known film. However, it has the same fate as other non-low-minded and non-sexual-humor movies which is to be misunderstood by majority of the people who have seen it, or to be more precise, just throw a glance on it. Lazar Ristovski is playing a role of story guide, stranger finding himself in a country that should be his fatherland, but is to the most bizarre boundaries spoiled and ruined by actual government. The country is ruled by mindless dictators, old fellows disconnected from reality, having no touch with the people themselves. The people are not only ones who suffer from their lunacy, the police and dictators themselves are shown as total misfortunates. My recommendations: if you find Orwell’s works interesting and are a fan of Monty Python, you have to see this movie. Of course, if you are capable of finding it… — IMDb Comment
Thanks for the Sanjinés submission, Ralch. Are you also going to post “La Nación clandestina”? It´s his greatest of those I´ve seen so far.
Maybe a bit later. I’ll add it to my to-watch list, too. :-)
Submissions that I hope to do soon (will not have internet for awhile):
12 Storeys (Eric Khoo)
Flooding in the time of Drought (Sherman Ong)
My Last Minute (Leos Carax)
The American Soldier (Rainer Werner Fassbinder)
The Day a Pig Fell Into the Well (Hong Sang-soo)
Goryeojang (Kim Ki-young)
But if anyone feels like adding them first, this poster does not mind. :)
HEDGEHOG IN THE FOG
YOZHIK V TUMANE
Soviet Union
1975
11 min
Color
Russian
DIR Yuriy Norshteyn
PROD Soyuzmultfilm
SCR Sergei Kozlov
DP Aleksandr Zhukovskiy
CAST Vyacheslav Nevinnyy, Mariya Vinogradova, Aleksey Batalov
MUSIC Mikhail Meerovich
“A little hedgehog, on the way to visit his friend the bear, gets lost in thick fog, where horses, dogs and even falling leaves take on a terrifying new aspect.” – IMDB
T
Write one film at a time that you would like included in the film database.
The film should be released already— festival screening counts in most cases— (so no time-wasting getting your friends’ demo movie up here º ), and have a reference point somewhere else online (IMDB, a review or other article from a reputable source: not just something you wrote in your facebook notes or personal blog).
—people following the guidelines below get priority, because you did things right.
1. The film title, the director’s name. The DP, Cast, Producer, Screenwriter, Composer. Take a look at any film page on here to get an idea of what we need. (Yeah, it’s a lot of tedious work and fact-checking in some cases, eh?)
2. A still. A film poster will NOT do. It must be a still from the film. And not one with subtitles all over it either. It should be of good > high resolution, and not a thumbnail. Equally, don’t post an image that takes up the whole damn page. I will be irritated ( ooo ), and moderate you out of existence for reasons of sitewide aesthetics (and because you will slow down page loading time). Aim for an image size of about 448 × 252. Ideal formats are .gif first, then .jpeg or .png.
(You can submit a maximum of 3 stills per film).
This topic will help you with the code you need to post images
In some cases, a film still is unavailable. If this is the case, drop a note of explanation into your submission.
3. Link to a review (IMDB or otherwise) that can be used as either the text for the film blurb, or summarized for a blurb by the powers that be.
Please check carefully that the film is not in the database already. Search director name as well as film title.
There’s no set timeline on this, and no one is offering any guarantees about anything, so don’t come back here complaining if it didn’t mysteriously appear in the database overnight.
Play nice, and don’t post crap. You can include an impassioned plea into your submission post, arguing for the greatness of a film and why it belongs on here, if you like : )
Thanks
^ º > for new films by undiscovered generation next filmmakers, talk to me about inclusion in a Garage project if you are serious