Livres

John Ford’s many classic movies – among them Stagecoach, The Grapes of Wrath, The Quiet Man, The Searchers, and The Man Who Shot Liberty Valance – earned him worldwide praise and renown. Now Joseph McBride presents us with the definitive account of the man’s myriad complexities and contradictions, tracing Ford’s life from his modest beginnings as ‘Bull’ Feeney, the nearsighted football-playing son of Irish immigrants in Maine, to his recognition, after a long, controversial, and much-decorated career, as America’s national myth-maker. This deeply insightful and impeccably documented narrative is the epic tribute that Ford’s stature merits.

Acclaimed film-maker Ang Lee’s concept for his film adaptation of the classic Marvel Comics series, The Hulk, combines all the elements of a blockbuster visual effects-intensive superhero movie with the brooding romance and tragedy of Universal’s classic horror films. In depicting The Hulk as both a superhero and a monster, a wish fulfillment and a nightmare, Lee and his team have stayed true to the early subversive spirit of the character created by Stan Lee and Jack Kirby, while completely updating The Hulk and projecting it into the dangers and aspirations of contemporary times.

Stan Laurel and Oliver Hardy both passed away in the 1950s, yet their films still have the power to reduce audiences old and new to helpless laughter. There has been no comprehensive account of their lives and work, until now. The roots of their comic greatness lay in 19th century variety theatre. Lancashire-born Stan Laurel was steeped in the traditions of the music hall, and found himself touring the USA in the 1910s as Charlie Chaplin’s understudy. American Oliver Hardy had established himself as a ‘fat funny man’ by the time he and Laurel were first paired in 1927.

This is a wonderful secret history of British movies that includes the scandals, the suicides, the immolations and the contract killings – the product of thousands of conversations with veteran film-makers. Here you’ll meet, among many others, the 20s film idols snorting cocaine from an illuminated glass dance floor on the bank of the Thames, the model who escaped Soho’s gangsters to become the queen of the nudie flicks and the genteel Scottish comedienne who, at the age of fifty-five, reinvented herself as a star of exploitation cinema, and fondly remembers ‘the one where I drilled in people’s heads and ate their brains’. Welcome to the lost worlds of British cinema.

A bona fide tough guy with soulful eyes and a laconic style, Robert Mitchum was one of Hollywood’s best-loved actors, star of such moody film noir favourites as Out of the Past, Night of the Hunter and Cape Fear, as well as enduring classics like Angel Face and Crossfire. But, as Lee Server now reveals, Mitchum was one of the few Hollywood icons whose real-life exploits were yet more compelling than his on-screen persona. A hobo in the Depression, he fell into movie acting after stints as a boxer, a beach bum and a songwriter. Despite early Hollywood successes, he was famously busted on a narcotics rap. But even prison couldn’t tame Mitchum’s taste for living on the wild side, and he remained an unrepentant misbehaver until the end of his days.

Today, India is the world's leading film producer, with more than 1,500 films a year in around twenty languages exported throughout Asia, the Middle East and Africa. The international success of Bollywood must not conceal the diversity of Indian cinematography. The term "Bollywood" was created in 1970 from the contraction of Bombay and Hollywood, and refers to the predominant production of musicals in Hindi, but Indian cinema is vast and multicultural. Every region has its own production in its regional language: Kollywood in Kodambakkam, for Tamil cinema a mix of comedy, action and emotion—, or Bengali cinema which is more intellectual and social, as reflected in Satyajit Ray's culturally significant oeuvre the opposite of commercial productions.

La 1ère édition de 'Cent ans de publicités de films et d'affiches de films en Iran' comprenait des affiches de films de 1909 à 2011, laborieusement rassemblées par le critique de cinéma et journaliste Massoud Mehrabi. Celui-ci est la 2e édition de ce livre, comprenant également des affiches des trois dernières années. De la toute première publicité pour un film au dernier film, Rastakhiz, sorti en 2011.

The author shows the urge of looking back to measure the past and make judgments about the present.