In the final fifteen years of the life of legendary director Orson Welles he pins his Hollywood comeback hopes on a film, The Other Side of the Wind, in itself a film about an aging film director trying to finish his last great movie.
Diane fills her days helping others and desperately attempting to bond with her drug-addicted son. As these pieces of her existence begin to fade, she finds herself confronting memories she'd sooner forget than face.
When characters stare at the camera in the films of Alfred Hitchcock, the look is almost always associated with the threat of death (through the eyes of a victim, a murderer, a witness). ... See full summary »
In 1962 Hitchcock and Truffaut locked themselves away in Hollywood for a week to excavate the secrets behind the mise-en-scène in cinema. Based on the original recordings of this meeting-used to produce the mythical book Hitchcock/Truffaut-this film illustrates the greatest cinema lesson of all time and plummets us into the world of the creator of Psycho, The Birds, and Vertigo. Hitchcock's incredibly modern art is elucidated and explained by today's leading filmmakers: Martin Scorsese, David Fincher, Arnaud Desplechin, Kiyoshi Kurosawa, Wes Anderson, James Gray, Olivier Assayas, Richard Linklater, Peter Bogdanovich and Paul Schrader.Written by
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Famous writer and screenwriter William Goldman feels that the book this film is about ruined Hitchcock as a filmmaker. He pointed out that it made Hitchcock self conscious and concerned with being an artist in a way that destroyed his ability to engage audiences and be the great director he had been up to that point. See more »
There's no such thing as a face. It's nonexistent until the light hits it. There was no such thing as a line. Its just light and shade. Its the function of a pure cinema, as we well know, is the pasting of two or three pieces of film together to create a single idea.
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The only section missing in the film is a discussion of the MUSIC in Hitchcock films especially the work and career of BERNARD HERMANN! Neither director touched on the scores for VERTIGO, PSYCHO, or THE BRIDE WORE BLACK. Others like WAXMAN and TIOMPKIN were also neglected! Soundtracks are an integral part of both director's work! Shame on you! Also there was no discussion of the score for TORN CURTAIN! Why no Hermann score and a substitute for one by by John Barry? You can write an entire book on film noir music or THE SOUNDS OF DARKNESS. Think about PSYCHO and the "shower scene" without music. It loses its chilling effect. What about James Stewart hanging from a roof gutter in VERTIGO? And that haunting "love theme" in VERTIGO, when Stewart is following Kim Novak in his car and the crescendo of waves breaking against the shore when they finally embrace? I can cite many more moments where music was crucial to a scene in Hitchcock's work, too many to enumerate here. I just had wished the directors and filmmakers would have discussed this important phase of both director's work.
Dr. Ronald Schwartz at firstname.lastname@example.org Manhattan
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