The Other Side of the Wind is finally complete — or rather “complete.” Nominally. The final film by the great Orson Welles (assuming The Deep never sees the light of day) begins with a title card explaining that this version, restored by the folks at Netflix, exists as “an attempt to honor and complete” Welles’ original vision, the key word being “attempt.” With so much footage left un-shot and unedited during its original production, no version of the film today can feel truly whole. And yet, despite its haphazard meandering, The Other Side of the Wind, in the form it will now be known, is a fascinating meta-textual artifact on the very piecing together of art and intention. Read More »
Netflix may not be too keen on theatrical releases, but they’re willing to make an exception for Orson Welles. The streaming service is releasing a new cut of Welles’ unfinished final film The Other Side of the Wind, and they’ve decided to put the film in a few theaters as well.
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Have you never experienced the wonders of seeing Humphrey Bogart on the big screen? Have you never watched a John Huston film in a movie theater either? Well, now you can do both, because Fathom Events and Turner Classic Movies are teaming up for anniversary screenings of The Maltese Falcon.
Find out when and where you can see the film in theaters below.
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If you’ve ever really wanted people who handle your mail to know you’re a film fan, the US Postal Service has the answer. They’ve just created four new stamps featuring four of the greatest directors of all time: John Ford, John Huston, Frank Capra and Billy Wilder. Designed by Derry Noyes and Gary Kelley, each stamp portrays one of the director’s best known works. For Ford, it’s The Searchers. Huston, The Maltese Falcon. Capra, It Happened One Night and Wilder, Some Like It Hot. Check them out below. Read More »
I like the fact that the band is still called Sonic Youth, even though they’re all in their 50s. Similarly, there’s the term New Hollywood, which represents a very specific time in which the studio bosses gave free reign to independent-minded, radical filmmakers looking to push the artistic boundaries of film. It is a cinema movement that came out guns blazing in 1967 with Bonnie and Clyde and suffered its first wound from Jaws in 1975, then sank into the mud under its own weight by 1977 with Sorcerer. (Yeah, that’s right, Roy Scheider represents the end of New Hollywood from both directions.)
But these movies still feel “new.”
These were films made by a generation influenced by European Art Cinema, reacting against big studio bloat and, in many cases, taking advantage of new technical advances. There are a hundred books you can read about this movement, and the safest bet it to check out Peter Biskin’s “Easy Riders, Raging Bulls” as a primer.
Like most people my age, New Hollywood is a sweet spot – and it was a real chore to limit myself to just eight underrepresented gems. My initial brainstorm had twenty-five titles that all fit the “obscure” and “great” parameters. Maybe I’ll revisit this column with a Volume II if there are calls for it in the comments. (The people have the power!)
Hats off to Twitter’s @MoviesByBowes for the suggestion. Read More »