Tag: Orson Welles

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Feature Four Frames

Four Frames: The Lady Eve (Preston Sturges, 1941)

Shakespeare told us love is blind, although there are those who insist he stole it from Chaucer. It is Preston Sturges who reminds us of the truism in The Lady Eve (1941), a screwball constructed like a clever card trick that always comes up aces. That’s “screwball” as in “farcical romantic comedy” – Shakespeare also has […]

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Feature Thousand Words

Revisiting Orson Welles’ searingly relevant portrait of US-Mexican relations

Orson Welles was never one to adhere to audience expectations, and when a contract deal forced him to adapt the pulpy novel Badge of Evil, the result was a delirious, baroque noir which had very little to do with the source material, but was all the better for it. To watch this study of racial […]

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Feature Four Frames

Four Frames: My Own Private Idaho (Gus Van Sant, 1991)

The Bard and Keanu Reeves didn’t exactly hit it off when one half of Bill and Ted got himself Golden Raspberry-nominated for his grisly turn in Kenneth Branagh’s Much Ado about Nothing (1993). Two years earlier, however, Reeves enjoyed far more success channelling the spirit of Shakespeare’s Prince Hal when he appeared opposite River Phoenix […]

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Feature Interview

Interview: Jack Durieux and Nautilus Art Prints

’20,000 Leagues Under the Sea’ detail by Jonathan Burton Set up in 2014, Nautilus Art Prints is a small but dedicated operation that releases carefully screen printed, limited edition posters, which aim to re-interpret great moments of European popular culture. Drawing on a rich tradition of craft and creativity, NAP – based in Brussels and […]

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Feature

Fatal Attraction Part 1: Classic Hollywood noir villainesses

In the first of a two-part piece Emma Simmonds examines four prototype noir villainesses from classic Hollywood cinema. Next week, she looks at the far-reaching legacy of these scintillating spider women by considering French cinema’s most memorable femme fatales. The Hollywood noirs of the 40s left an indelible impression on cinema. Their depictions of powerful, […]

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