Gold

Aug 12, 2010 — One of the most challenging aspects of our work is to get accurate color for films when there are no filmmakers to consult with. This is especially true of films from the fifties and sixties, for which cinematographers, directors, editors,...

Feb 9, 2010 — You can’t keep a good woman, or a great movie about a good woman, down. By all accounts, goodness in the real Lola Montez reflected the vagaries of character, not talent. She was, as Cosmo Brown says of Lina Lamont...

Dec 1, 2009 — The first words we hear are Sam Cutler’s: “Everybody seems to be ready—are we ready?” We were nowhere near ready for what was to come, there at the bitter end of the sixties. I remember that rainy day so well,...

Oct 18, 2009 —  So many worlds stream in from every direction in Monsoon Wedding that it comes to seem as if the whole globe is converging on a single family home in New Delhi: relatives from Houston, from Australia, from Dubai (“Muscat, actually”);...

Oct 15, 2009 — Our favorite Manitoban, Guy Maddin, cheerfully grim chronicler of storybook psychosexuality and charmingly modest self-mythologizer, is in Paris now for a special event. Though just fifty-three and very much still working, the filmmaker is the subject of a complete career...

Sep 22, 2009 — Something very heavy happened at Monterey last weekend. Those very odd three days began in Friday’s cool gray air as the first of the crowd began to circle through the booths of the fairground. The only word for it then...

Sep 15, 2009 — Words are the trained fleas in David Mamet’s sidewalk circus—dirty words, often bloodstained, usually swarming, that perform their acrobatic stunts for gawkers who will likely get their pockets picked. That’s the reputation, anyhow. More than thirty years after he made...

May 25, 2009 — Reported from the set of Eddie Coyle by New Journalism trailblazer Grover Lewis, this article is a profile of Robert Mitchum that features extensive, idiosyncratic monologues by Mitchum himself.

Mar 23, 2009 — The most crowd-pleasing film of François Truffaut’s latter career is also one of his most personal, drawing from his memories of the German occupation of France, his schoolboy years and his lifelong infatuation with the creative arts.

Jan 14, 2009 — Gregory Nava, with his writing partner and producer, Anna Thomas, made the courageous decision to tell their story of a cold-war battleground from the point-of-view of the colonized “natives,” eschewing an English-speaking protagonist.