Dorothy Arzner’s pre-Code romantic comedy/tragedy Merrily We Go to Hell (1932) is given a gorgeous presentation by Criterion from a new 4K restoration. This story of a vibrant heiress (Sylvia Sidney) and her marriage to an alcoholic writer (Frederic March) avoids the standard Hollywood cliches which would soon become entrenched as the Production Code imposed rules of behaviour on the characters who populated studio movies.
Indicator’s four-disk John Ford at Columbia 1935-1958 box set raises some interesting questions about the nature of auteurism and how the ways in which a filmmaker comes to be defined influence how different films are viewed. Two of the movies in the set – The Whole Town’s Talking (1935) and Gideon’s Day (1958) – tend to be seen as minor and extraneous to Ford’s core body of work, yet both are among his most entertaining even if they don’t advance his familiar thematic preoccupations.
Yet another wide range of titles from Arrow Video from a restored silent classic to aliens over Tokyo, woods infested with zombies, food which consumes those who eat it, apocalypse in an alternate future Los Angeles, friendship destroyed by political conflicts, rich people facing the loss of their wealth and a naively admiring time capsule of the U.S. on the brink of the ’60s.
Howard Curle recently called my attention to an interesting on-line presentation posted by the San Francisco Silent Film Festival about a number of early films, many by Georges Méliès, which have been reconstituted from flipbooks from the late 1800s in which a series of photos printed from the films create a simulation of cinematic movement. In this guest post, Howard provides an introduction to this fascinating discovery.
Criterion have released a stunning restoration of History is Made at Night (1937), Frank Borzage’s startlingly unpredictable mixture of romantic comedy, melodrama, noir and horror, which climaxes as a full-blown disaster film. Production began with only half a script and much of the film was improvised on the fly, yet it emerged as a wonderfully entertaining, continuously surprising testament to Borzage’s belief in the redemptive power of love.
One of the great post-New Wave French directors recently died. Bertrand Tavernier, versatile in the subjects he tackled and deeply humanist in attitude, was 79.
With their new box set He Came from the Swamp, Arrow provide an impressive showcase for the low-budget exploitation movies of Florida filmmaker William Grefé, which feature cheap monsters, violent criminals, hippies and drugs and killer sharks.
Criterion’s new two-disk Blu-ray showcases Bong Joon-ho’s second feature, Memories of Murder (2003), a complex and disturbing account of an actual Korean serial killer case from the mid-1980s. Both satire and existential horror story, the film displays the same concerns and creative skill which marked Bong’s international 2019 hit, Parasite.
Indicator’s Columbia Noir #2 box set presents another six movies, hovering between A and B pictures, from the late ’40s to late ’50s. Crime, romance and a society shaken in the aftermath of the Second World War provide a background for portraits of characters torn by guilt, paranoia, betrayal and moral uncertainty.
Recent revelations about Richard Stanley complicate my relationship with his work. As a longtime fan, it’s deeply troubling to learn that he’s been a violent abuser of women for many years…
Kenneth George Godwin, Film Editor
I have been editing a wide range of film and video projects, both documentary and drama, for two-and-a-half decades. I started at the Winnipeg Film Group, cutting on Steenbeck 16mm flatbeds, adopted Avid in 1995, and have used FinalCut Pro quite extensively over the past ten years. Projects I have worked on have screened – and won awards – at festivals around the world.read more >>
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