Chess of the Wind (Mohammad Reza Aslani, 1976)

In a mesmerizing take on House of Usher-like themes, set in a decaying feudal mansion, the death of a noble family’s matriarch sets off a power struggle. Mohammad Reza Aslani’s debut feature plunges into a labyrinth of corruption and decay within the household, subtly foreshadowing the revolution to come, while masterfully depicting the hidden inner struggles of Iranian society. This recently rediscovered gem was thought lost after its misunderstood premiere at the 1976 Tehran International Film Festival. However, in 2020, it was restored by the World Cinema Foundation and has since become one of the most acclaimed Iranian pre-revolutionary films. The film features a hauntingly eerie score by Sheyda Gharachedaghi, one of the most prolific female film composers of the 1960s and 1970s.

Brick and Mirror (Ebrahim Golestan, 1964)

The cover of the original pressbook

Iranian cinema’s first true modern masterpiece, Brick and Mirror explores fear and responsibility in the wake of the CIA- and MI6-orchestrated 1953 coup. A Dostoyevskian tale of a Tehran cab driver’s search for the mother of an abandoned baby, it presents a harrowing image of a society rife with corrupted morals and widespread alienation. While rooted in a specific social context, its message resonates universally. The characters often speak without truly communicating, their soliloquies echoing unheard in the endless night they inhabit.

Bonbast [Dead End] (Parviz Sayyad, 1977)

Mary Apick in Bonbast

A daydreamer of a girl (Mary Apick) sees a man standing under her window day and night. Thinking that he must be in love with her, she gets into an imaginary conversation with the man (in a fine use of inner voice) as he continues to follow her everywhere. Eventually, they talk but his and her intentions are not the same, leading to one of the most shattering endings in Iranian cinema.

In the opening title card, Sayyad mentions Anton Chekov as the inspiration for the story (the story, unmentioned, is From the Diary of a Young Girl) but adds more ambiguity by stating that "the current climate in society" prompted him to tell the story hence aiming for one of the most forward films of the late 1970s about the search for and failure in finding happiness in a society built on fear and surveillance.

La Ballade d'un fataliste

Hugo Fregonese

 
Hugo Fregonese : la Ballade d'un fataliste

Hugo Fregonese est l'une des figures les plus insaisissables de l'histoire du cinéma. Ses films, ardents et singuliers, brassent fatalité, mythes et violence crue, dans les canons esthétiques de la série B. Cette version enrichie de la rétrospective présentée à Bologne lors de la dernière édition d’Il Cinema Ritrovato rassemble des films réalisés dans cinq pays différents, dont des joyaux en version restaurée (L’Affaire de Buenos-Aires, Quand les tambours s’arrêteront) ou en copies 35 mm flambant neuves (Mardi ça saignera). Il est temps de faire entrer Fregonese, cinéaste errant et secret, dans la cours des grands.

Entouré de condamnés à mort comme lui, un prisonnier noir fredonne une chanson tout en battant la mesure : Black Tuesday. Les autres détenus, tels des lions en cages, font les cent pas au rythme de la musique. Un travelling passe de cellule en cellule, les barreaux dessinent des ombres dansantes sur les visages fiévreux. « Ferme-là, t’entends ? » s’exclame bientôt un prisonnier glacé par ce chant funèbre. Alors que son cri résonne dans les couloirs déserts de la prison, le titre du film emplit l’écran dans un grondement glaçant de musique symphonique. Ainsi commence Mardi ça saignera (1954), chef-d'œuvre resté invisible des décennies durant. C'est aussi l’instant où Hugo Fregonese, fataliste de génie, entre en scène.

Khaspush (Hamo Beiknazarian, 1928)

The original poster in Russian

 A Soviet production by the Armenian director Hamo Beiknazarian, Khaspush dramatises the Tobacco Revolt of 1890 in which an influential clergyman issued fatwa and banned the use of Tabaco after a Qajar king offered tobacco concession to the United Kingdom.

Il Cinema Ritrovato 2022 – Opening Speech

Screening of Vittorio De Sica's Sciuscià [Shoeshine] at Arlecchino cinema

Among the whole range of trigger warnings that tend to appear at the beginning of films nowadays, there was one I saw recently that I found genuinely moving. 

It was a warning that only Aussie viewers are likely to be familiar with, addressing as it did the Australian Aboriginal peoples. It read: "This film contains images and voices of people who are no longer alive."

I needed to catch my breath. It awakened something in me in connection with this festival. What we do very often involves looking at and listening to the images and voices of the dead. Are we breaking taboos, upsetting long-lost souls?

And that’s not to mention film restoration, which brings those sights and sounds even closer to their origins, heightening the resemblance. 

"Pictures for Peanuts" by Nick Grinde

From the Saturday Evening Post,  December 29, 1945, vol. 218, no. 26

 

PICTURES FOR PEANUTS

By NICK GRINDE

Over on Stage 6 a million-dollar picture is starting this morning. The call was for nine little well-placed optimism you could say that the epic is beginning to show promise of getting under way. A lot of departments with a whale of a lot of mighty fine technical abilities have been working for weeks toward this very day. Propmen, grips, gaffers, electricians, boom men, recorders, mixers, cameramen, assistant cameramen, a script clerk overflowing her rose-colored slacks, a company clerk, an assistant director, his assistant and his assistant are functioning with the occupational movements that will find each one ready when the moment-finally comes to record the suspensive scene where Nancy says, ‘I am tired of wearing other people’s clothes. From now on I will wear my own or nothing!”

This confused efficiency, laced, of course, with a fine sense of self-preservation, is going on, all unnoticed, around, above and in between the associate producer and the director, who already are trying to see who can stay calm the longer. The pattern is familiar to everyone. Too much has been written about the habitat of the colossal picture for anyone to have escaped a willing or unwilling education on the subject.

But over on Stage 3 in this same studio another picture was scheduled to start this morning: at eight-thirty. It’s ten-thirty over there, too, and they have exactly two hours’ work under their belts. There are no press agents or fan-magazine writers hovering around. No newspaper columnists are harvesting their succulent crop. You’d think it said “Contagious” on the door instead of “Quiet, Please! Shooting!”

The difference is that this is just another little picture. A B picture, if you please. B standing for Bread and Butter, or Buttons, or Bottom Budget. And standing for nearly anything else anyone wants to throw at it. But it’s a robust little mongrel and doesn’t mind the slurs, because it was weaned on them. If the trade papers give a B the nod at all, they usually sum up their comments by saying it will be good for Duals and Nabes, which is why you'll find them on a double bill in the neighborhood theaters.

A B picture isn’t a big picture that just didn’t grow up; it’s exactly what it started out to be. It’s the twenty-two-dollar suit of the clothing business, it’s the hamburger of the butcher shops, it’s a seat in the bleachers. And there’s a big market for all of them.

Only by perpetual corner cutting can these often quite presentable cheaper pictures be made to show the profit that is so very agreeable to the studios which invested their money in them.

Like the less expensive suit of clothes, the cloth from which they are fabricated is not all wool, the buttonholes are machine made, and the buttons themselves are more or less synthetic. But when you are all through, you have a suit or a picture which goes right out into the market with its big brothers and gives pretty good service at that. The trick is to judge them in their class and not by A standards.

In the finer pictures, results are all that are aimed at, let the costs fall where they may. The best possible actors are hired to articulate the finest lines the top writers can conjure up. And the best directors mount the stories in convincing and appropriate settings. Of course, occasionally somebody’s aim is a little off, but that’s beside the point.

In making a program picture, all this is different. Cheaper raw materials are used and a more thrifty approach is indicated. No expensive best seller or Broadway play is bought. That’s out; it’s not even thought about. The whole picture will be made for much less than the cost of such a property. The story used will be an original submitted by one of the freelance writers who knows just what and whom he is slanting it for. Or it may be a magazine story from one of the pulps or a fifteen-minute radio program purchased for its basic idea or twist. These properties are then blown up into script form and length by a writer who either works at the studio already or is brought in for the job. If he gets six weeks’ work out of it, he’s lucky. If he takes much more, he had better buy bonds with the money, be- cause he won’t be back very soon.

There are all kinds of ways of writing a story besides good and poor. It can be written up or written down. It can be costly to produce or slanted on the frugal side. If the cast of characters can’t be held down in numbers, it’s the wrong story for limited money. And if they can’t be kept out of busy places like night clubs, railroad depots and football games, look out for the budget.

Iranian New Wave: 1962–79 at Melbourne International Film Festival

Dead End by Parviz Sayyad

Iranian Cinema Before the Revolution, 1925-1979, a landmark retrospective held last year at The Museum of Modern Art (MoMA) in New York, was an eye-opener that traced a national cinema still largely unknown to a wide international audience. Thanks to the availability of new restorations and rare archival film prints, the majority of which now banned in Iran, an immensely creative period was revisited in splendid detail, revealing the roots of a rich and visionary cinematic tradition. While the New York program featured over five decades of Iranian cinema encompassing the avant-garde and the popular, this selection for the Melbourne International Film Festival, curated by the original team behind the MoMA exhibition, focuses on works associated with Cinema-ye Motafavet, or the Iranian New Wave.

William Cameron Menzies Production Design Sketches

https://cinearchitecture.tumblr.com/post/755713676700483584/william-cameron-menzies-production-design-sketches

The Lady with the Torch: Columbia Pictures, 1929-1959 | The Locarno Film Festival 2024 Retrospective

The Lady with the Torch

Columbia Pictures, 1929-1959

The Locarno Film Festival 2024 retrospective

HE Who Gets Slapped (Victor Sjöström, 1924)

A chilling study of humiliation and obsession, blending circus-world spectacle with symbolism and philosophical undertones, HE Who Gets Slapped was Swedish master Victor Sjöström’s second Hollywood film. This is a tale of the fickleness of social status and a treatise on “man as clown”. There were major transformations at work in and around this seminal silent: Sjöström’s full transformation into Seastrom, a major Hollywood director; the merger of Goldwyn Pictures and Metro Pictures Corporation into Metro-Goldwyn-Mayer, with this film as the new company’s first production; and, in the story, Lon Chaney’s metamorphosis from a heartbroken and disillusioned scientist researching the origins of mankind, into a clown letting lions loose on evil men.

Il Cinema Ritrovato 2024: Favourites & Discoveries

70mm projection of North by Northwest in the Piazza Maggiore

The XXXVIII edizione of Il Cinema Ritrovato ran from June 22 to 30. In reality, it started a few days before the official date and stretched into one extra day at the tail end of it. Four hundred-plus titles were screened, from early cinema to documentaries made in 2023-2024, from great classics to obscure gems, from experimental films to pornography. This edition also finally saw the opening of the restored Cinema Modernissimo which now has turned into the heart of the festival.

5,700 from 72 countries acquired the festival pass, 700 higher than last year.

The title of all the films and moving images screened can be accessed here.

I asked some of the attendees about what they had taken from the festival. They generously sent me the titles they have liked and those they have discovered, or those they have rediscovered and now loved. 155 festivalgoers –  including curators, archivists, festival bums, film historians, 35mm fanatics, programmers, writers and critics – have responded to this call for building a new canon based on what we played this year.

The Lady with the Torch: Columbia Pictures, 1929-1959 [book]

THE LADY WITH THE TORCH

Columbia Pictures, 1929-1959

Edited by Ehsan Khoshbakht

Published by Les éditions de l’oeil

Published on the occasion of the retrospective of the Locarno Film Festival 2024

288 pages, fully illustrated (rare stills from the collection of Sony/Columbia and the Cinémathèque Suisse

Contributors: Jeremy Arnold on Nick Grinde, Matthew H. Bernstein on the history of Columbia, David Cairns on Edward Dmytryk, Paola Cristalli on Richard Quine, Chris Fujiwara on Joseph H. Lewis & Robert Rossen, Philippe Garnier on Roy William Neill, Haden Guest on Phil Karlson, Milan Hain on Hugo Haas, Pamela Hutchinson on torch-bearers, Elena Lazic on Alexander Hall, Christina Newland on CP stars, Kim Newman on William Castle, Geoffrey O’Brien on Hawks, Jonathan Rosenbaum on Andre De Toth, Christopher Small on Capra, Farran Smith Nehme on John Sturges, Imogen Sara Smith on Boetticher and David Thompson on Charles Vidor.

The hyperrealist image of a lady on a pedestal holding a burning bright torch was an idealised vision of Americanism. It proclaimed the arrival of another Columbia Pictures film, very often in black-and-white, most probably short in length but fast and furious in tone and pace. The Columbia films, however, tended to drag this figurehead of liberty down and examine her more unglamorous side. American values were dissected and questioned through tales of fast-talking career women, existentialist cowboys, and prophetic anti-fascist quickies. Yet, the symbol of the still burning torch over The End title was an affirmation of the values being rebuilt through the skilful art of John Ford, Dorothy Arzner, and Nicholas Ray.

This book, accompanying a Locarno Film Festival retrospective celebrating the centenary of Columbia Pictures, follows the period of the retrospective, 1929-1959, but expands on its directors and directions.

The collection of essays to follow examines the particularities of Columbia in relation to what is generally known as the Genius of the System. This volume acknowledges the brilliance of the system but finds the genius somewhere between a filmmaker’s vision and the industrial infrastructure that allowed them to nourish.

Illustrated with hundreds of rare stills, the stories are as much in the images as in the words. Both words and images aim at reconstructing three exuberant decades of incessant creativity, evolution, and growth, reminding us that once upon a time there was a brilliant exchange between art and commerce, between the system and the artist.

L'Héritage de la chouette (Chris Marker, 1989)

L'Héritage de la chouette [The Owl's Legacy], directed by Chris Marker plays on July 28 at Closeup Cinema in London. For this screening I have selected three episodes of the series around the themes of memory, image and cinema. – EK

Chris Marker's rarely seen magnum opus about the influence of the ancient Greek culture on the contemporary world remains his most elaborate project for television. Produced by the Onassis Foundation, Marker found the budget and freedom to invite some of the world’s leading philosophers, writers, logicians, politicians, artists and filmmakers (very often with explicit links to Greece, such as Theodoros Angelopoulos and Elia Kazan) to sit in front of his camera and, in a clear act of creating a cinematic forum, discuss thirteen themes, including Democracy, Nostalgia, Music, Cosmogony, and Misogyny. There is an abundance of Marker’s usual wit and his use of the image of animals for linking his philosophical investigation, here, in the form of the owl which was the symbol of wisdom for the Greeks. Marker’s words, in the English version, are spoken by Bob Peck.

City for Conquest (Anatole Litvak, 1940)

A captivating and tragic symphony of New York, this precursor of Raging Bull tells the story of two brothers, one a boxer, the other a musician rising from the slums of the city. The elder, James Cagney’s Danny Kenny, is a prize-fighter who eventually loses both his girl (Ann Sheridan) and his eyesight. Only when his vision is gone, does he begin to see his place in the world and opens – perhaps in an allegorical move –a newsstand. It is from his modest kiosk that he listens to his kid brother’s triumphant debut classical concert. The idol of Madison Square Garden falls so the new god of Carnegie Hall can rise. Litvak’s nods to sophistication didn’t sit too well with Cagney who wanted Raoul Walsh to direct, and more rawness and action. Litvak’s re-examination of Cagney’s popular persona – similar to what he achieved with Edward G. Robinson in The Amazing Dr. Clitterhouse – irked Cagney, as did his unfamiliar, camera-oriented style. Yet, it is not hard to see how much Litvak has toned down and sometimes even repressed his signature methods in favour of Warner’s fast-paced, editing-based house style. But who else could give Cagney the scene at the end when, in his blurred vision, the image of Ann Sheridan comes into full focus? It is one Litvak’s most lyrical moments and one of Cagney’s most moving.

L’Équipage (Anatole Litvak, 1935)

Opening with the same train whistle that closed Cœur de lilas (1932), Jean, a young officer in the French air force during WWI, bids farewell to his lover Denise and heads for the front. There he comes to admire the unpopular Lieutenant Maury whose gunner he becomes, only to discover that Denise is in fact Maury’s wife. Following this revelation, the two men head off on a suicide mission where the hard choice has to be made between fraternal loyalty and grand passion. The final sequence after the battle is pure Litvak: in a sacrificial gesture, Maury pretends he is not aware of his wife’s love for Jean. The deepest of emotions are swept under a rug, left unspoken.

Symphonies in Black: Duke Ellington Shorts

Black & Tan

Symphonies in Black: Duke Ellington Shorts

A programme by Jonathan Rosenbaum and Ehsan Khoshbakht (Il Cinema Ritrovato, Bologna, June 2024)

Introductory note by Jonathan Rosenbaum

In 16 shorts made over a stretch of almost a quarter of a century (1929-1953), Duke Ellington and his Orchestra perform in a variety of settings, often with dancers and singers – including Billie Holiday in Symphony in Black: A Rhapsody of Negro Life. The latter cuts freely between Ellington alone in thoughtful composing mode, Ellington in a tux performing the same extended composition with his band at a concert, arty images of men engaged in heavy labour, a wordless church sermon, a nightclub floorshow, and even a short stretch of story showing Holiday being pushed to the ground by an ungrateful lover before singing there about her misery – a near replica of the musical setup accorded to Bessie Smith in her only film appearance six years earlier.

Indeed, although the pleasures to be found here are chiefly musical, the narrative pretexts for these performances offer a fascinating look at how both jazz and Black musicians were perceived and expected to behave during the first three decades of talkies. At least half of the films are Soundies made for sound-and-image jukeboxes in the 40s, but even these often trade on narrative details such as the adoring women digging the solos by Ray Nance, Rex Stewart, Ben Webster, and others at an “eatery” after hours in Jam Session (1942), or the spectacular dancing by athletic jitterbugging couples in Hot Chocolate (Cottontail) from the same year.

Il Cinema Ritrovato 2024 | Almost All the Titles

Jean-Luc Godard at Il Cinema Ritrovato 1998

More or less all the titles to be screened during Il Cinema Ritrovato 2024. There might be some titles listed more than once, as well as potential typos and incorrect attributions, all my mistake. Between features and shorts, we will present close to 500 titles produced in 35 countries and sourced from more than 140 archives. – EK

Guide to Kozaburo Yoshimura at Il Cinema Ritrovato 2024

Kozaburo Yoshimura

Guide to Kozaburo Yoshimura at Il Cinema Ritrovato 2024

By Alexander Jacoby

Kozaburo Yoshimura (1911-2000) is one of the neglected masters of classical Japanese film. An almost exact contemporary of Akira Kurosawa and Keisuke Kinoshita, he was responsible for some of the postwar Japanese cinema’s most compelling films, which bear eloquent witness to social change in a rapidly modernising country. But these are dramas above all, which grip and move audiences; as Tadao Sato wrote, they are “not mere social criticism, but films that flesh out the human element of the story”.

Anatole Litvak Retrospective | The Schedule

Anatole Litvak (in the middle) with his buddies Billy Wilder and John Huston

JOURNEYS INTO NIGHT: THE WORLD OF ANATOLE LITVAK

Viaggio nella notte: il mondo di Anatole Litvak

Il Cinema Ritrovato 2024

All the screenings at the Jolly cinema

The schedule subject to change until official announcement in early June

A couple more screenings will be added to other venues, including to Modernissimo's schedule

Where to Begin with Gustaf Molander | Jon Wengström​​'s Il Cinema Ritrovato Guide

Gustaf Molander

Jon Wengström​​, the archive Senior Curator of the Swedish Film Institute, has curated a programme dedicated to Swedish master Gustaf Molander. This retrospective will take place at Bologna's Il Cinema Ritrovato in June 2024. Jon has blogged here, giving you some tips about what to see in that strand, that is if you don't want to see every single Molander which I think you should. – EK

Guide to Gustaf Molander at Il Cinema Ritrovato 2024

By Jon Wengström

Gustaf Molander made almost 70 films in a career that lasted more than half a century, and his trajectory as a director is parallel to that of the development of the Swedish film industry. He wrote the script to Terje Vigen (Victor Sjöström, 1917), which was the starting point of the Golden Age of Swedish silent cinema, and he directed the era’s epilogue with the Selma Lagerlöf adaptations Ingmarsarvet (1925) and its sequel Till Österland (1926). He was one of the very few Swedish directors who handled the transition to sound successfully, as proven by En natt (1931). During the 1940s, more than any other Swedish filmmaker, he made films that reflected the war and its aftermath, and after collaborations with a young Ingmar Bergman, including Woman Without a Face (1947), in the 1950s Molander made remakes of classic silent films in colour and Cinemascope, as a response to the advent of television.

The Deep Blue Sea (Anatole Litvak, 1955)

Italian poster for The Deep Blue Sea

The Deep Blue Sea plays as part of the Anatole Litvak retrospective at Il Cinema Ritrovato, on June 28, 2024. The note below from the the festival catalogue. – EK

THE DEEP BLUE SEA

This rarest of all Anatole Litvak films is about Hester, a middle-aged woman whose suicide attempt at the beginning of the story sparks off two flashbacks, one from the point of view of the upper-class husband she has abandoned and the other from the view of the younger, capricious ex-RAF pilot for whom she has left her husband. Back to the present, the film revolves around her desperate attempt to win back her lover, only to realise she is yearning for something she can’t have.

Entezar (Amir Naderi, 1974)

Entezar [Waiting]

Playing at Il Cinema Ritrovato, June 25, 2024.

Entezar, Amir Naderi’s second film for Kanoon – the Iranian institution in charge of producing cultural goods, including films, for children and young adults – was a deft and calculated move away from the gritty street dramas and crime films of the early 1970s that made Naderi famous but also left him feel artistically unfulfilled.

The Sealed Soil [Khak-e Sar bé Mohr] (Marva Nabili, 1977)

The Sealed Soil

The digital restoration of The Sealed Soil [Khak-e Sar bé Mohr], directed by Marva Nabili, will be premiered at UCLA Film & Television Archive on June 15 and a week later at Bologna's Il Cinema Ritrovato.

Khak-e Sar bé Mohr chronicles the repetitive and repressed life of Roo-Bekheir, a young woman in a poor village in southwest Iran, and her resistance to forced marriage. It’s a formally rigorous, if emotionally distanced, critique of patriarchy and the spurious reform of Iranian agricultural life that was a factor in the 1979 revolution.

Jacques Tati, tombé de la lune (Jean-Baptiste Péretié, 2022)

Jacques Tati, tombé de la lune

 
Jacques Tati, tombé de la lune (2022) 

Directed by Jean-Baptiste Péretié

Jacques Tati needs no introduction but it is exactly the kind of "filmmaker who needs no introduction" that is worth revisiting repeatedly, in viewing, in film literature and now in the increasingly popular format of television documentaries. Jean-Baptiste Péretié, director of other works on Keaton, Al Pacino and John Wayne, has efficiently captured the jazzy architecture of Tati's universe in this fine introduction to a jolly genius.

Designed on Celluloid: Architecture in Silent Cinema

High Treason

Samantha Leroy, in charge of "la programmation et d’exploitation" at the Fondation Jérôme Seydoux-Pathé in Paris asked me to curate a season on architecture and silent cinema. This short essay was written to accompany my 40-film selection for a retrospective which was held in conjunction with an architecture exhibition, dedicated to Renzo Piano's magical design for the Fondation's building in the south of Paris. – Ehsan Khoshbakht

A love story of sorts, the relation between cinema and architecture. Architecture saw in the cinema what it had dreamed of for centuries: being equipped with eyes more penetrating and observant than those of human beings, a tool that could examine architecture from every possible angle and measure it in time. Cinema, in return, found incredible potential in architecture when architectural monuments and soon studio-built sets added attraction, realism, and drama to the movies.

Always Goodbye (Sidney Lanfield, 1938)

https://cinearchitecture.tumblr.com/post/746274829205946368/always-goodbye-sidney-lanfield-1938-art

The Lady with the Torch | The Centenary of Columbia Pictures at Locarno Film Festival 2024

During its golden age, Columbia Pictures produced some of American cinema’s most iconic films across a panoply of varied styles and popular genres. In 1924, the relatively small-scale motion picture company Cohn-Brandt-Cohn rebranded itself as Columbia Pictures. This new studio would eventually feature, as its masthead and in the preamble before each film, the Lady with the Torch, the Statue of Liberty-like female figure who was, at first, draped nobly in the American flag and has become recognizable to film lovers everywhere.

Organized in partnership with the Cinémathèque suisse, The Lady with the Torch will present the studio in all its glory, shining a light on lesser-known genre filmmakers like Max Nosseck or William A. Seiter, as well as celebrating major auteurs like Howard Hawks, Frank Borzage, Fritz Lang, Frank Capra, George Stevens, and John Ford, who made some of their most characteristic as well as most surprising films while passing through the studio. So too did its movies do much to hone and define the screen presences of treasured stars like Rita Hayworth, Jean Arthur, Rosalind Russell, and William Holden, and lay the groundwork for the new era of more intensely psychological acting that would come to dominate in the 1950s, working with a new generation of directors coming from the theater, such as Joshua Logan. Columbia Pictures was the home – intermittent or otherwise – of figures as diverse as Boris Karloff, the Three Stooges and George Cukor, Ben Hecht and William Cameron Menzies. Notably, it is also where Dorothy Arzner, one of only two female filmmakers to work in the classical era of Hollywood, produced some of her most pioneering works. It is to this varied spectrum of artists, performers, and beloved figures of fun that the Festival pays tribute.

Celluloid Underground | The Guardian Review

 Read here.