 | ― How come suddenly you’re an expert on women? ― I’ve got seven wives. How many you’ve got? ― So why aren’t you at home with your seven wives? ― I know how to marry them. Nobody knows how to live with them. ― So why did you marry them for? ― Shee-shee… someday I have to tell you the facts of life. |
Alfred Hitchcock left a peerless legacy of the stylishly macabre. In this year’s Hollywood Portfolio, Keira Knightley, Javier Bardem, Seth Rogen, and other stars channel iconic moments from the director’s greatest hits. (see the whole slide show)
Spotted via Douglas Haddow’s Tumblr blog.
Previously on Skandalon : “Force By Northwest”
| I have watched and read your reviews for years with great honor. I disagree so strongly with your review of “Eat Pray Love” that it makes me sick. You just don’t get it, and many others like you don’t get it. You do not know at all what it is like being a woman in this day and age (or previously) who did not want to be defined by a man or married off to one. If you think Stephen in the movie was an OK husband, you are out to lunch. He was horrible!!!!!!!!!!!!!! (except on paper to people who do not need emotional sustenance). David was the narcissist from hell that many of us have fallen for… do you not get that??????????? Many of the males of the species are frankly overrated and the women’s movement has proven this (or frankly not sufficiently). I hope your wife will bring you up to speed. (Jeanine Carlson, Ph.D., Licensed Clinical Psychologist) |
The quote is from a woman complaining to Roger Ebert about his review of Eat, Pray, Love. Somehow, I found interesting the fact that she’s a “Licensed Clinical Psychologist”.
Tootsie is second in the AFI’s 100 Years…100 Laughs list. The film also feature Jessica Lange and Bill Murray. Sydney Pollack plays the role of Hoffman’s agent.
Check the original post over at Ulrich’s website 3 Ton Gallery. Eric Ulrich is an artist and designer living in San Francisco. (About)
La Nuit Américaine fits squarely in that micro-genre of films which concern themselves with the process of making a film, a genre energised by Federico Fellini’s neurotic Otto e Mezzo (1962) and continued with Godard’s Le Mépris (1963), Paul Mazursky’s Alex in Wonderland (1970), Woody Allen’s Stardust Memories (1980) and, most recent, the Charles Kauffman-penned Adaptation (Spike Jonze, 2002). In fact, it is almost the case that every director whose work is heavily based on individual experience will inevitably yield such a piece. Truffaut himself speaks of this expectation when explaining his decision to make a film on the cinema: “Because it’s been in my mind for a long time. And I feel as if I’ve waited an enormous time to make it.” (Senses of Cinema: “Illusion 24 frames per second: François Truffaut’s La Nuit Américaine” by Danny Fairfax, 2005
• This photo along with 34 others can be found at Tout Le Cine.com
• A still from the opening sequence at Movie Stills Collection.
• An extensive dossier about the film in French at the Bibliothèque du Film (Cinémathèque Française).
Metropolis: All New Restauration ― Behin The Scenes
Seldom has the rediscovery of a cache of lost footage ignited widespread curiosity as did the announcement, in July 2008, that an essentially complete copy of Fritz Lang’s METROPOLIS had been found. (more)
