On Sunday 28th October film maker, Dorothy Leiper, launched her documentary The Living Thames at Rich Mix in Shoreditch.
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Marnie is remembered best as the film directed by Alfred Hitchcock. Made in 1964, with Tippi Hedren and Sean Connery in the leading roles, Marnie tells the story of a mysterious woman who assumes multiple identities in order to steal money from her employers and the man who hunts her down, Mark Rutland.
These editors remind us that ‘Paris remains one of the most iconic, filmed cities in the world’ but they challenge the location as being merely a visual backdrop of glamour and romance.
Sands Films Cinema Club of Rotherhithe regularly shows well-known classics and rarely-seen gems as part of a programme designed to bring the best of world cinema to a London audience.
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.
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.
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
Thomas Ovans glances back at the ITV series of Poirot adventures which recently came to an end
“Dogman” has scenes of tragedy and violence which are unforgettable and, at times, unbearable to watch.
By Jane McChrystal • film, year 2018 • Tags: film, Jane McChrystal