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The Noteworthy: LFU 15/1, “Historic Centre”, Carpenter’s Favorite Westerns

La Furia Umana debuts in print, Scorsese and De Palma prep new projects, Cinema Scope divulges their 2012 faves, Oshima + Kurosawa & more.

Edited by Adam Cook


  • La Furia Umana's first print issue (their 15th online) is now shipping all over the world. Much of the content is available online (excluded are 24 "love letters" from filmmakers to their favorite artists), but we're excited to get our hands on this nearly 300-page tome. Among the table of contents: a handful of pieces on Roberto Rossellini including one by Toshi Fujiwara on Voyage to Italy, Celluloid Liberation Front provides one article among several on Joseph H. Lewis, Emmanuel Herbulot on the intersection between Michelangelo Antonioni and Edward Ruscha, a selection of reviews (which I'm proud to be a part of), and far too much more to mention here.
  • Two of Martin Scorsese's most talked about unrealized projects are his long awaited passion project Silence and his all-star crime picture The Irishman. Some semi-concrete news has emerged regarding both, as Scorsese's work on The Wolf of Wall Street winds down. Firstly, Scorsese plans to make Silence his next project and has started holding auditions. Secondly, Scorsese, along with Robert De Niro, Al Pacino and Joe Pesci took over the Tribeca Film Centre's stage to do a live reading of The Irishman.


  • Last week, we had the audio from Leos Carax's cheeky speech accepting an award from the Los Angeles Film Critics Association; this week we have Joaquin Phoenix's written acceptance he submitted to the London Critics' Circle for being awarded their Best Actor honor. Here's a portion of the statement:

"I struggle with the idea of winning awards for acting. Stating I'm Best Actor for something as subjective as film seems strange to me. To the uninitiated it implies I'm solely responsible for the creation and implementation of the character. I am not. I suppose that's why we thank our colleagues. There are those who you all know such as Paul Thomas Anderson, to whom I am eternally grateful – a man who has persistently searched for the truth. I am fortunate to have been under his guidance."

"We are immersed into an overwhelming environment in Zero Dark Thirty, just as we are in all of Bigelow’s films. But in this case, the environment is the numbingly anonymous one of Big Data, of the numbingly repetitious accumulation of “information” (whether by torture, surveillance, physical search, or collation of records), and of instantaneity (the annihilation of duration) mediated through video screens and telecommunications technologies."

"...Contrary to many of the so-called pantheon directors, Walsh is never sanctimonious: no homilies, no morals, no great lessons to be imparted, no aura for the duration of a viewing. Film as film."

From the archives.

Great stuff, Adam. I particularly enjoyed Carpenter’s explanation of the choice of the Hathaway films, the one director who’s a mild surprise among Hawks, Ford, Leone, Mann, and Peckinpah.
Thanks for promoting my blog, Pratfall Elegy! The image is actually from Laurel & Hardy’s Wrong Again (directed by none other than Leo McCarey), one of their very best silent shorts. Can you imagine anything better than watching Stan & Ollie spend two reels trying to get a horse on top of a piano?
Thanks, Noah! Changed the still, forgot to change the caption, fixed now.
Hathaway is obscure, really? I get that he’s not Ford or Mann, but I wouldn’t say he’s house-brand diet cola.
I’ve heard mixed reports about Historic Centre. Looking forward to seeing it though

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