Secure one major book with a serious subject, sign up a wagonload of stars (including a legend or two) and make sure every cookie-cutter character repeatedly explains themselves to the camera in close-up. That formula worked well for Stanley Kramer in 1965; his film hasn’t much of a reputation but the cast is gold. A bright new transfer makes the picture look very good.
Ship of Fools
Blu-ray
Powerhouse Indicator
1965 / B&W / 1:85 widescreen / 149 min. / Street Date March 9, 2018 / 39.95
Starring: Vivien Leigh, Simone Signoret, José Ferrer, Lee Marvin, Oskar Werner, Elizabeth Ashley, George Segal, José Greco, Michael Dunn, Charles Korvin, Heinz Rühmann, Lilia Skala, Barbara Luna, Alf Kjellin, Werner Klemperer,
Gila Golan, Kaaren Verne.
Cinematography: Ernest Laszlo
Film Editor: Robert C. Jones
Special visual effects: John Burke, Farciot Edouart, Albert Whitlock
Original Music: Ernest Gold
Written by Abby Mann from the novel by Katherine Anne Porter
Produced and directed by Stanley...
Ship of Fools
Blu-ray
Powerhouse Indicator
1965 / B&W / 1:85 widescreen / 149 min. / Street Date March 9, 2018 / 39.95
Starring: Vivien Leigh, Simone Signoret, José Ferrer, Lee Marvin, Oskar Werner, Elizabeth Ashley, George Segal, José Greco, Michael Dunn, Charles Korvin, Heinz Rühmann, Lilia Skala, Barbara Luna, Alf Kjellin, Werner Klemperer,
Gila Golan, Kaaren Verne.
Cinematography: Ernest Laszlo
Film Editor: Robert C. Jones
Special visual effects: John Burke, Farciot Edouart, Albert Whitlock
Original Music: Ernest Gold
Written by Abby Mann from the novel by Katherine Anne Porter
Produced and directed by Stanley...
- 3/10/2018
- by Glenn Erickson
- Trailers from Hell
William Cameron Menzies. William Cameron Menzies movies on TCM: Murderous Joan Fontaine, deadly Nazi Communists Best known as an art director/production designer, William Cameron Menzies was a jack-of-all-trades. It seems like the only things Menzies didn't do was act and tap dance in front of the camera. He designed and/or wrote, directed, produced, etc., dozens of films – titles ranged from The Thief of Bagdad to Invaders from Mars – from the late 1910s all the way to the mid-1950s. Among Menzies' most notable efforts as an art director/production designer are: Ernst Lubitsch's first Hollywood movie, the Mary Pickford star vehicle Rosita (1923). Herbert Brenon's British-set father-son drama Sorrell and Son (1927). David O. Selznick's mammoth production of Gone with the Wind, which earned Menzies an Honorary Oscar. The Sam Wood movies Our Town (1940), Kings Row (1942), and For Whom the Bell Tolls (1943). H.C. Potter's Mr. Lucky...
- 1/28/2016
- by Andre Soares
- Alt Film Guide
One of the world's most celebrated flamenco guitarists
The fame and influence of the guitarist Paco de Lucía, who has died aged 66 from a suspected heart attack, reached far beyond the intense and sometimes enclosed world of Spanish flamenco. His musical role in Carlos Saura's Carmen (1983) was as arresting in its way as the first glimpse of Laura del Sol, the film's luminous lead. The director-choreographer Saura cleverly reinvented the opera as a contemporary fable while retaining the original's elements of passion, possession, jealousy and obsession. De Lucía's interpretation respectfully returned Bizet's score – a French fantasy of Spain – to its Moorish antecedents. He also gave Carmen's timeless melodies a fresh, international appeal that chimed with the movie's arthouse success.
De Lucía had begun to broaden his horizons in the late 1960s, on teaming up with the charismatic young singer Camarón de la Isla. Their partnership yielded many...
The fame and influence of the guitarist Paco de Lucía, who has died aged 66 from a suspected heart attack, reached far beyond the intense and sometimes enclosed world of Spanish flamenco. His musical role in Carlos Saura's Carmen (1983) was as arresting in its way as the first glimpse of Laura del Sol, the film's luminous lead. The director-choreographer Saura cleverly reinvented the opera as a contemporary fable while retaining the original's elements of passion, possession, jealousy and obsession. De Lucía's interpretation respectfully returned Bizet's score – a French fantasy of Spain – to its Moorish antecedents. He also gave Carmen's timeless melodies a fresh, international appeal that chimed with the movie's arthouse success.
De Lucía had begun to broaden his horizons in the late 1960s, on teaming up with the charismatic young singer Camarón de la Isla. Their partnership yielded many...
- 2/27/2014
- by John L Walters
- The Guardian - Film News
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