Ghosts are famous for their flexibility, spiraling through keyholes and up from the floorboards in search of their next mark. But movies about ghosts can be flexible too. Three classics of the genre, The Uninvited, House on Haunted Hill and The Innocents, demonstrate that there’s more than one way haunt a house.
These films never appeared on any triple bill that I know of, but I’d like to think they did, somewhere in some small town with a theater manager that knew a good scare when he saw it. How could the programmer resist it? Each film is united by a beautiful black and white sheen, eerie locales and their ability to scare the bejeezus out of you. But they’re also alike in their differences, coming at their specters from distinctly different vantage points.
1944’s The Uninvited, a three-hankie haunted house tale with a dysfunctional family subplot,...
These films never appeared on any triple bill that I know of, but I’d like to think they did, somewhere in some small town with a theater manager that knew a good scare when he saw it. How could the programmer resist it? Each film is united by a beautiful black and white sheen, eerie locales and their ability to scare the bejeezus out of you. But they’re also alike in their differences, coming at their specters from distinctly different vantage points.
1944’s The Uninvited, a three-hankie haunted house tale with a dysfunctional family subplot,...
- 10/28/2017
- by Charlie Largent
- Trailers from Hell
Benjamin Franklin spent his mornings naked. Patricia Highsmith ate only bacon and eggs. Marcel Proust breakfasted on opium and croissants. The path to greatness is paved with a thousand tiny rituals (and a fair bit of substance abuse) – but six key rules emerge
One morning this summer, I got up at first light – I'd left the blinds open the night before – then drank a strong cup of coffee, sat near-naked by an open window for an hour, worked all morning, then had a martini with lunch. I took a long afternoon walk, and for the rest of the week experimented with never working for more than three hours at a stretch.
This was all in an effort to adopt the rituals of some great artists and thinkers: the rising-at-dawn bit came from Ernest Hemingway, who was up at around 5.30am, even if he'd been drinking the night before; the strong coffee was borrowed from Beethoven,...
One morning this summer, I got up at first light – I'd left the blinds open the night before – then drank a strong cup of coffee, sat near-naked by an open window for an hour, worked all morning, then had a martini with lunch. I took a long afternoon walk, and for the rest of the week experimented with never working for more than three hours at a stretch.
This was all in an effort to adopt the rituals of some great artists and thinkers: the rising-at-dawn bit came from Ernest Hemingway, who was up at around 5.30am, even if he'd been drinking the night before; the strong coffee was borrowed from Beethoven,...
- 10/5/2013
- by Oliver Burkeman
- The Guardian - Film News
I'm an unabashed admirer of the work of doumentary filmmaker Ken Burns. His PBS extensive muti-part documentaries which chronicle the culture and history of America such Jazz, Frank Lloyd Wright, The Civil War and most recently last fall, Prohibition are amazing examples of documentary filmmaking at its most compelliing. Let's put it this way. Any filmmaker who can take a subject which bores me to tears, like baseball (which Bill Cosby once accurately called "nine guys standing out in field doing nothing") as a subject for a nine part, 18 and half hour long documentary mini-series that had me spellbound and riveted to my seat for every single minute, is one hell of a...
- 5/16/2012
- by Sergio
- ShadowAndAct
Driving Miss Daisy director Bruce Beresford is set to develop and direct his next project. THR reports that he will work on Taliesin, a film about iconic American architect Frank Lloyd Wright from writer Nicholas Meyer.
Taliesin is the name of the architect’s former home and studio in rural Spring Green, Wis., where the “key events in the film take place. The rambling hillside compound, considered a masterpiece of Prairie-style architecture, was the focus of scandal as Wright built it for himself and his married mistress Martha "Mamah" Cheney. In 1914, while Wright was away, a domestic worker murdered Cheney, her two children and four others by locking them inside and setting fire to the building.”
Here is what Beresford had to say about the project: “It’s a very good script. t doesn’t cover his whole life, just a small section of it, and it doesn’t whitewash...
Taliesin is the name of the architect’s former home and studio in rural Spring Green, Wis., where the “key events in the film take place. The rambling hillside compound, considered a masterpiece of Prairie-style architecture, was the focus of scandal as Wright built it for himself and his married mistress Martha "Mamah" Cheney. In 1914, while Wright was away, a domestic worker murdered Cheney, her two children and four others by locking them inside and setting fire to the building.”
Here is what Beresford had to say about the project: “It’s a very good script. t doesn’t cover his whole life, just a small section of it, and it doesn’t whitewash...
- 12/6/2011
- by Tiberius
- GeekTyrant
Much modern architecture has grown tiresome to me. It does not gladden the heart. It doesn't seem to spring from humans. It seems drawn from mathematical axioms rather than those learned for centuries from the earth, the organic origins of building materials, the reach of hands and arms, and that which is pleasing to the eye. It is not harmonious. It holds the same note indefinitely.
It was not always so. My first girlfriend when I moved to Chicago was Tal Gilat, an architect from Israel. She was an admirer of Mies. Together we explored his campus of the Illinois Institute of Technology. She showed me his four adjacent apartment buildings on Lake Shore Drive and said they looked as new today as when they were built. It is now 40 years later, and they still look that new.
Then I was impressed Now I think of it as the problem.
It was not always so. My first girlfriend when I moved to Chicago was Tal Gilat, an architect from Israel. She was an admirer of Mies. Together we explored his campus of the Illinois Institute of Technology. She showed me his four adjacent apartment buildings on Lake Shore Drive and said they looked as new today as when they were built. It is now 40 years later, and they still look that new.
Then I was impressed Now I think of it as the problem.
- 7/17/2010
- by Roger Ebert
- blogs.suntimes.com/ebert
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