I just returned from a Maine cabin by a large freshwater lake, where I was frightened of the water. Sharks might maul me, or if not sharks, then perhaps a large snapping turtle out of a Roger Corman film (not that I can recall a Corman film with a killer turtle).
Posts tagged ‘film’
Delights of a Culinary Cineaste
MoMA has described me as a Culinary Cineaste and given me Carte Blanche to select some of my favorite food films. My sincere thanks to MoMA and to Rajendra Roy for inviting me. What a pleasure and honor, because food is vital, and not just to me.
Laurence Olivier’s Henry V
These notes accompany the screenings of Laurence Olivier’s Henry V on August 10, 11, and 12 in Theater 3.
I can’t recall an image of an auteur in action that is as stirringly visceral, dynamic, and, frankly, sexy, as Laurence Olivier’s Prince Hal in tights, rousing his army at Agincourt. (Mom, I don’t want to be cowboy or a policeman. I want to grow up to be an auteur!)
Jean Renoir’s The Southerner
Hot and Humid: Some Thoughts, and a Few Questions, about Summer Films

Jaws. 1975. USA. Directed by Steven Spielberg. On view in Hot and Humid: Summer films from the Archives
In 2008 the Department of Film “celebrated” summer with a short series of films from MoMA’s collection set during the season in which everyone relaxes in the sun, and most people end up being caught off-guard.
Vincente Minnelli’s Meet Me in St. Louis
These notes accompany the screenings of Vincente Minnelli’s </i>Meet Me in St. Louis</a> on July 27, 28, and 29 in Theater 2.</p>
Over the years, I have had three close friends who were so devoted to Vincente Minnelli (1903–1986) that they wrote extensively about the Meet Me in St. Louis director.
Film Special Collections, Now 100% More Findable!

"Those Pictures at the 'Movies' started all my troubles," from a postcard series published by the SAS Company, 1914. The Museum of Modern Art, Department of Film Special Collections
Okay, they were previously 0% findable. Still, by adding the MoMA Film Department Special Collections inventory to the MoMA website, film researchers can now discover over 100 primary-source collections on film-related figures and topics.
Otto Preminger’s Laura
Last week I mildly berated Andrew Sarris for pretty much ignoring Michael Powell and Emeric Pressburger in his auteurist bible, The American Cinema. This week, with Laura by Otto Preminger (1905–1986), we have an example of just how influential Sarris was and is.
Michael Powell and Emeric Pressburger’s The Life and Death of Colonel Blimp

The Life and Death of Colonel Blimp. 1943. Great Britain. Directed by Michael Powell, Emeric Pressburger
These notes accompany the screenings of Michael Powell and Emeric Pressburger’s </i>The Life and Death of Colonel Blimp</a> on July 13, 14, and 15 in Theater 2.</p>
The idiosyncratic and overlapping careers of Michael Powell (1905–1990) and Emeric Pressburger (1902–1988) are arguably the strongest challenge to the auteur theory, which holds that a single artist, the director, is the primary creative force behind a film.
Carl Th. Dreyer’s Day of Wrath
These notes accompany the screenings of Carl Th. Dreyer’s </i>Day of Wrath</a> on July 6, 7, and 8 in Theater 3.</p>
Despite being one of the greatest film directors, Carl Th. Dreyer (1889–1968) will probably always be considered an acquired taste. His best films are much too austere and demanding for even many serious moviegoers.
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