Dunkirk has emerged as 2017’s summer blockbuster movie. The director Christopher Nolan has been widely praised for his ability to immerse film-goers in the terrifying experience of soldiers, sailors and airmen involved in the evacuation of the British Expeditionary Force (BEF) by land, sea and air between 26th May and 4th June, 1940.
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Londongrip’s readers are invited to take a cruise on the Thames Estuary on Sunday, 27th August. The cruise offers an unusual opportunity to get a closer look at some of the Estuary’s less accessible attractions: the Red Sands Forts, built to protect London during the Second World War; the sunken cargo ship, SS Richard Montgomery and the Thames Sailing barges racing in their annual match.
Vulgarity so self-confident, so unrepentant wins a kind of horrified respect. Ken Russell stands on his own, a mixture, at once frightening and preposterous, of Benjamin Robert Haydon, Hieronymus Bosch and the propaganda-poster artists of the Third Reich. Dilys Powell reviewing Mahler, Sunday Times, 1974.
Pam Thompson finds that Charlotte Gann’s first full collection succeeds in its aim of unsettling the reader.
Nick Cooke explores the background to the cinema-related poems in Anthony Costello’s new collection
Matteo Garrone’s latest film has been warmly received by critics. It is a retelling of some of Giambattista Basile’s 16th Century, Neapolitan fairy tales which formed the source material for many of Perrault’s and the Grimm brothers’ stories.
Here’s a new film not to be missed from the BAFTA nominated directors of ‘Black Pond,’ Will Sharpe and Tom Kingsley. The film was first shown at the beginning of May 2016 at PictureHouse Central, Piccadilly as part of the London Comedy Film Festival, which promoted the film as being: filled with wit, melancholy and surreal breath-taking images. It’s one of the boldest and most beautiful British films in years.
Michael Bartholomew-Biggs draws together his impressions of a novel multi-media show that combines poetry music and film.
Thomas Ovans enjoys an evening at the theatre which recalls a golden age of cinema.
Emma Lee admires Claire Crowther’s skilful use of appropriately restrictive forms in her poetic homage to silent cinema – and finds also that this pocket-size chapbook is generously packed with images and information.
Rosemary Norman describes how she collaborates with video-maker Stuart Pound to make films from her own poems.
Sands Film Club recently screened Alessandro Blasetti’s 1860 as part of its 1934 cinema season. Blasetti’s pioneering film has been credited with introducing a number of cinematic techniques which would become calling cards of Italy’s Neo-Realist directors, such as De Sica, Visconti and Rossellini, during the 1940’s and 1950’s.
By Jane McChrystal • film, history, year 2017 • Tags: film, history, Jane McChrystal