As bouffant-lovers Baby Jane Holzer and Catherine Deneuve celebrate birthdays this weekend, a look back at women who wouldn’t be tamed.
Source: A History of Big Hair: Catherine Deneuve, Cindy Crawford, and More – Vogue
As bouffant-lovers Baby Jane Holzer and Catherine Deneuve celebrate birthdays this weekend, a look back at women who wouldn’t be tamed.
Source: A History of Big Hair: Catherine Deneuve, Cindy Crawford, and More – Vogue
The Dinard Festival of British Film may not be France’s most prestigious movie destination, but it’s a great place to watch some indie films and rub shoulders with up-and-coming British acting talent.
Source: When France goes Brit-mad: Dinard Film Festival – Flux Magazine
Our critic A.O. Scott says this film about a young black man’s coming of age is both a disarmingly personal film and an urgent social document.
Source: ‘Moonlight’: Is This the Year’s Best Movie? – The New York Times
Anxiously awaiting La La Land! Read on – MS/PasDeMerde
What would the world be like if everyone, every now and then, just broke into song? Trapped in bumper-to-bumper traffic? Climb out of the car, kick up your heels, belt out a tune.
Source: ‘La La Land’ opens Philly film fest with joyous song-and-dance love story
Chanson Du Jour 10/20/2016 “La Valse D’ Amelie” by Yann Tiersen
This is one my favorites from the film Amelie. Composer/performer Yann Tiersen plays piano, accordion, violin as well as melodica, xylophone, toy piano, bicycle wheel and a typewriter in one of the greatest film soundtracks ever made. Tiersen won a 2001 BAFTA Award for Best Film Music for Amelie (should have won the Oscar.)
The “Sanctuary!” scene from the classic 1939 version of Victor Hugo’s “Hunchback of Notre Dame,” starring Charles Laughton as Quasimodo and Maureen O’Hara as Esmeralda.
“Hunchback” was the only movie screened at the very first Cannes Film Festival, as the remainder of the festival was cancelled when Adolf Hitler invaded Poland on September 1st, 1939. The bell-ringing scene was Laughton’s response to impending war. The actor later said he rang the bells actually wanting “to arouse the (real) world, to stop that terrible butchery!”
“It is absurd to speak of Laughton’s Quasimodo as a great performance, as if that were some quantifiable assessment. It is acting at its greatest; it is Laughton at his greatest; it is a cornerstone of this century’s dramatic achievement; it is a yardstick for all acting.”
– SIMON CALLOW, NY Times 1988