But as of July 16, 2017 the zombies start to outlive horror film master director George A. Romero who passed away while listening to the scorefor John Ford’s classic The Quiet Man, one of his all time favorite movies.
“It’s equally pleasing to read Dyer speak up for the pleasures of watching films, not in domesticated and tamed form on DVD, but at the cinema. Stalkeritself, which is an immersive experience as much as it’s a visual spectacle, loses its magnetic force when watched at home. Dyer talks about the “possibility of cinema as semi-permanent pilgrimage site”. He also claims ‘the Zone is cinema.’
Beyond the book’s bravura formalism and in spite of the suspicion that it could be viewed as a highbrow take on live-blogging, it’s Dyer’s ability at moments like this to make pilgrims of his readers and to lead them on a journey in search of truths about love and about the nature of happiness that make Zona such an exhilarating achievement.” Sukhdev Sandhu, The Guardian
[John Huston’s film version of Hammett’s The Maltese Falcon celebrates its 75th anniversary this year. Turner Classic Movies presents screenings Feb. 21 and 24 at theaters around the country. For more, click here and for the line-up of TCM Big Screen Classics. And, as is our policy, look for extras after the article-ed.]
The first time I walked into Sam Spade’s apartment I thought my head would explode. Continue reading →
Alfred Hitchcock’s Vertigo (1958) starts with a disembodied close-up of a woman’s face that moves up to her eye, while Bernard Herrmann’s score begins its moody and compulsive circular rising-and-falling motif – immediately haunting and troubled.
In early January my old friends Randall Homan and Al Barna called to see if I wanted to go out for a night on the town. They have a book out, San Francisco Neon: Survivors and Lost Icons, which features their beautiful photographs of the city’s neon signs, so for them, getting out often involves supporting a business with a legacy neon sign. Continue reading →