“THE FRENCH HAD A NAME FOR IT 2021” Salutes Robert Hossein

By Pam Grady

The Stockholm Syndrome was not yet recognized in 1970, but Robert Hossein’s Falling Point (Point de chute) provides a thrilling depiction of the complex. Screening as part of Donald Malcolm’s MidCentury Productions’ “The French Had a Name For It,” his ongoing survey of French noir taking place at the Roxie, Nov. 12-14, this intimate drama stars pop star Johnny Hallyday at the height of his beauty as Vlad, a kidnapper holding teenage Catherine (Pascale Rivault) hostage at an isolated seaside cabin. While his confederates (Hossein and Albert Minski) are away dealing with the ransom, Catherine’s escape attempts perversely draw her closer to her abductor.

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By C.J. Hirschfield

Key Art for ATTICA. Photo credit: Courtesy of SHOWTIME.

Teaching critical race theory in schools enrages the right wing. This theory states that U.S. social institutions—including the criminal justice system—are laced with racism embedded in rules and procedures that lead to differential outcomes by race.

On the 50th anniversary of the largest prison rebellion in U.S. history, it is high time we examine exactly what took place at Attica; why, and how. Not for the purpose of blaming a race, but to educate, and to inspire us to not repeat the mistakes of the past.  Emmy-winning director Stanley Nelson and co-director Traci A. Curry have provided just that with their excellent new documentary, ATTICA. Continue reading


By Gary Meyer

From prehistoric cave drawings we can tell that the earliest women and men were storytellers.The tradition of sitting around a campfire telling scary tales surely started with them. Every culture has myths and folktales filled with otherworldly spirits and monsters. Homer and Shakespeare filled their works with the supernatural. In the mid 1770s showmen and charlatans created phantasmagorias and séances, the most popular form of visual entertainment before cinema. Using a combination the early magic lanterns and ancient magicians’ tricks they obtained physical and emotional responses from audiences as ghosts, demons and even deceased members of the community flew overhead screaming with terrifying sounds. The technology improved nd in 1862 the Pepper’s Ghost was introduced and is still being used in amusement parks and concerts. 1897 Le Théâtre du Grand-Guignol opened in Paris offering graphic horror plays.

In our modern times we know about special effects and don’t trust spiritualists. But we can still be scared. We asked a wide range of people including filmmakers, writers, actors, magicians and other friends what scares them and they gave us their exclusive thoughts,

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