Okay, Caveman, what will it be tonight? Bison steaks?
Would her Majesty care for a spot of tea after whuppin' Spain's Armada-Ass?
Go ahead and smile, Mr. Greene, I'll pour the scotch.
The concept is simple: You can go back in time and meet ten people (either in their prime or near their deathbed) and share one meal with them where you can ask them anything, and they have to give you honest answers. Who would it be? Who would you want to separate the myth from the fact and finally set the record straight? Whose head would you want to crawl inside and find what made them tick? Who do you admire and just want to spend some time with shooting the breeze?
The idea for this sprang from an unlikely place. To make a short story long….it all started with that damnable Netflix!
With a dearth of interesting new titles to fill my Netflix queue, I’ve relied on their recommendation algorithm to unearth previous works unbeknownst to me. Thus into my instant queue popped Elizabeth R – a 6-part BBC/Masterpiece Theater miniseries from 1971 starring Glenda Jackson in the title role. Continue reading →
Sometimes a film exists beyond words (spoken or not) and there’s no description that can accurately prepare one for what they are about to see. Some films exist solely on a visual level, are so purely cinematic, that nothing anyone could ever say about them could speak as well as the images from the film themselves. Hell, but that won’t stop film buffs and writers like myself from giving it the old college try.
Triptych on this.
Recently, I was lucky enough to have someone over there at the incomparable Wonders in the Dark toss me a copy across the pond of the Kevin Brownlow restored version of Abel Gance’s Napoleon. It included the Thames Television cut of the film (which runs over five hours and is presented mini-series style in three parts) with both the TV tailored single frame version of the Italian set finale and the phantasmagoric tripped-out red-white-and-blue triptych that is unlike anything ever seen before or since. I’ve been told this is the definitive way to view the film and far superior to the Coppola produced version that came out stateside around the same time in 1980.
If a director were to compose a film today like Abel Gance composed his untethered and monstrous epic Napoleon in 1927, it would be called audaciously experimental. Continue reading →