King’s Cross locations featurette with Alan Dein. From the original Blu-ray release, oral historian Dein provides a brief but interesting tour of the ‘rough and tough’ King’s Cross locations and how the film offers a time capsule of the area in the 1950s, provides a sense of place and how it’s redevelopment has changed its character over the decades. NEW‘Colour in TheLadykillers’:newinterview withProfessorKeith Johnston. A fascinating look at how the use of Technicolor in The Ladykillers reflects the characters and environments in the film and how, as such, it sits within a context of Ealing films made with the same process and other British Technicolor films of the 1940s and 1950s. Lehman’s story had originally appeared in the April 1950 issue of Cosmopolitan, renamed "Tell Me About It Tomorrow!" because the editor of the magazine did not want the word "smell" in the publication. [7] It was based on his own experiences working as an assistant to Irving Hoffman, a New York press agent and columnist for The Hollywood Reporter. Hoffman subsequently did not speak to Lehman for a year and a half. [8] Hoffman then wrote a column for The Hollywood Reporter speculating that Lehman would make a good screenwriter, and within a week Paramount called Lehman, inviting him to Los Angeles for talks. Lehman forged a screenwriting career in Hollywood, writing Executive Suite, Sabrina, North by Northwest, The Sound of Music, West Side Story, The King and I, and Who's Afraid of Virginia Woolf?. [8] Pre-production [ edit ] This book isn't easy to grasp in all respects. It's more of a collection of thoughts than a systematic exploration of the title. But the author readily admits that in the beginning, as I recall. Sammy Going South, released in a heavily edited US version in 1963 under the title A Boy Ten Feet Tall, is only second to the later A High Wind In Jamaica in its thoroughly realistic and cynical perception of children. The title character, a young British boy currently living in Port Said, loses his parents during the Suez Canal conflict. He decides to set out on foot through Africa to find his only living relative, an aunt living in Durban. Along the way his encounters with adults end in incarceration, community destruction, and even death. It is also an outdoor picture, and an adventure about a boy travelling alone, burdened by an unfamiliar environment.

CITY LORE; The Bittersweet Smell of the Broadway of Yore" by Charles Strum, The New York Times, March 10, 2002. What Ealing Studios brought in was quiet revolution. Films at Ealing were carefully guided under Michael Balcon, the head of production, who exercised authority with a trusting, liberal generosity that challenged the weak traditions of previous filmmaking. The studio was increasingly becoming known for its collegiate atmosphere and democratic, round table conferences that Balcon held, where ideas would be greeted with a kind of paternal affection. Time Magazine's All-Time 100 Movies". Time. Internet Archive. February 12, 2005. Archived from the original on June 28, 2011 . Retrieved December 13, 2013.

Alexander Mackendrick

Forever Ealing’ documentary narrated by MichaelBalcon’s grandson Daniel Day-Lewis. This archive documentary from 2002, originally shown on Channel 4 and featured on the 2010 and 2015 Blu-rays, covers the history of the studio from 1902, the height of its output in the 1940s and 50s, its ownership under the BBC, until its then rebirth in 2002. It features plenty of interviews with actors, craftspeople, writers and contemporary film makers. George Perry, Forever Ealing: A Celebration of the Great British Film Studio, London, Pavilion Books, 1981.

Kashner, Sam (April 2010). "A Movie Marked Danger paragraph". Vanity Fair . Retrieved April 7, 2010. A High Wind In Jamaica is the last film in which he had creative control. The studio edited a considerable portion of what he shot, but the film is still regarded as an overlooked masterpiece. His last directorial effort however, would prove to be as difficult as any of the characters in his best works. Some sections clearly will appeal only to the student . . . exercises to do; not of great interest to me. a b c Naremore, James (July 6, 2010). Sweet Smell of Success: A BFI Film Classic. British Film Institute. ISBN 978-1844572885. The Ladykillers (1955), literally borne out of a dream by screenwriter William Rose, focuses on a group of seemingly cold-blooded robbers disguised as musicians that find themselves helpless against an aloof but well-meaning old lady. They plan an elaborate heist at Kings Cross Station only to be held against the mercy of the dotty Mrs. Wilberforce (Katie Johnson), who runs the room they rent.Very interesting in many ways -- lots of the thoughts and principles are applicable to writing or other disciplines as much as film-making. Hikari Takano Interviews | Robert Vaughn Interview Transcript - Open Source Transcripts - Robert Vaughn Interview Transcript Ro | hikaritakano.com". www.HikariTakano.com. Archived from the original on April 14, 2010 . Retrieved June 17, 2010. The film ends on an apparently positive note, as Mandy speaks her name for the first time and is invited to play with a group of hearing children. For Christine, however, this breakthrough comes at the expense of her own freedom as she rejoins the family she briefly escaped. Butler, David. (2002) Jazz Noir: listening to music from Phantom Lady to The Last Seduction. Greenwood Publishing Group, ISBN 0-275-97301-8, p. 136

In 1993, the film was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant". [27] Mandy is diagnosed profoundly deaf at the age of two. Her parents struggle to come to terms with her condition, but when her mother decides to send her away to a school for the deaf, the family begins to splinter. Show full synopsisWhen he began his search for work in London after leaving art school, it was his Aunt Margaret, a former secretary at the J. Walter Thompson advertising agency, who prompted his application to the company. He began at the bottom, pasting up layouts, but soon graduated to designer. He later considered this the perfect training for an aspiring filmmaker in that, a director, like a layout man, “leads the eye and ear of the audience.” Again, a Thompson colleague, Harold George, noted how indecisive he was and that “he was always changing his mind. It was going for perfection, I suppose.” Ernest Lehman and Clifford Odets (December 1998). Sweet Smell of Success. Faber and Faber Ltd. ISBN 978-0-571-19410-0. Nicholas Ray, I Was Interrupted: Nicholas Ray on Making Movies, Berkley, University of California Press, 1995. Filmmaker Barry Levinson paid tribute to Sweet Smell of Success in his 1982 film Diner, with one character wandering around saying nothing but lines from the film. [31] In an early scene from Levinson's 1988 movie, Rain Man, Sweet Smell of Success is seen playing on television.

Sweet Smell of Success premiered in New York at Loew's State in Times Square on June 27, 1957. [21] Critical reaction was much more favorable. Time magazine said the movie was "raised to considerable dramatic heights by intense acting, taut direction ... superb camera work ... and, above all, by its whiplash dialogue". [19] Time and the New York Herald included the film on their ten-best lists for films released in 1957. The film's critical reputation increased in subsequent decades. David Denby in New York magazine later called it "the most acrid, and the best" of all New York movies because it captured, "better than any film I know the atmosphere of Times Square and big-city journalism". [22] Cellist Fred Katz and drummer Chico Hamilton, who briefly appear in the film as themselves, wrote a score for the movie, which was ultimately rejected in favor of one by Elmer Bernstein. [16] Principal photography [ edit ] At the time, British cinema was an unremarkable byproduct of the documentary movement of the 1930s and consisted mostly of literary adaptations. Some comedies were popular, particularly those starring George Formby and other vaudeville mainstays. The wartime population regarded other movies – those incorporating realist techniques from the documentary movement – with sober acceptance. This naturalistic but dull style hindered any progress in the cinema’s evolution.Audio interview withUnit Production ManagerDavid Peers. Originally included on the first Blu-ray releases, these are each 90 minutes long and, although there is no source information in the press release, I assume it is Alan Dein asking the questions of Pevsner and Peers for one of his oral history projects. I would recommend listening to these in small chunks. As they run as long as the film itself, without any visual accompaniment, it would perhaps have been a good idea on this release to edit them slightly and provide them as additional commentaries to the film itself. They are invaluable records and offer insights from two great technicians who worked on the film. Moscow International Film Festival (1963)". MIFF. Archived from the original on 16 January 2013 . Retrieved 1 December 2012. Ernest Borgnine (1917-2012): A Personal Remembrance and an Unforgettable Interview". The Hollywood Reporter. July 9, 2012. In his class notes, he stressed the importance of the narrative thread and such Aristotelian issues as intelligence and human emotion as judge, rather than physical sense, compared Sophocles and Pasolini, and covered Egyptian myths of creation in relation to filmmaking, among other topics. Teaching at CalArts allowed him to relate to a new generation his love for films and filmmaking, and the difficulties that go along with it. In 2002, Sweet Smell of Success: The Musical was created by Marvin Hamlisch, Craig Carnelia and John Guare. [28] It was not considered a critical or commercial success. [29] [30]