print • Winter 1997
- print • Winter 1997
- print • Winter 1997
- print • Winter 1997
- print • Winter 1997
- print • Winter 1997
- print • Winter 1997
- print • Winter 1997
- print • Winter 1997
- print • Winter 1997
- print • Winter 1997
- print • Winter 1997
- print • Winter 1997
- print • Winter 1997
- print • Winter 1997
- print • Winter 1997
- print • Winter 1997
- print • Dec/Jan 2008
For those familiar with the legends, and the truths, of the German and Austrian migration to Hollywood in the 1930s and ’40s, Otto Preminger’s life serves as an exemplary tale. First, there is his confabulation of Vienna as his rightful birthplace, when in fact he, like Billy Wilder and Edgar G. Ulmer, two other self-professed Viennese-born directors, really entered the world in a less glamorous backwater province (Wiznitz, Poland, in Preminger’s case). Then there is his immodest assertion that he was “the first apprentice actor of the Viennese Reinhardt Company.” Which Austrian- or German-born director did not, at some point,
- print • Dec/Jan 2008
If you were a movie mogul and had to choose between funding a documentary on the history of twentieth-century classical music and one on rock, which would you select? The average businessperson would probably opt for the latter. Me, I’d wager on classical without a second thought. The history of classical music in the twentieth century, though most wouldn’t suspect it, has all the elements of a blockbuster: sex, violence, scandal, war (of ideologies and of nations), personal struggle, even, dare I say it, humor. The rise and drug-addled fall of the rock musician is by now a familiar story,
- print • Dec/Jan 2008
TRUE, FRANCIS FORD COPPOLA’S YOUTH WITHOUT YOUTH is the legendary director’s first film since an adaptation of John Grisham’s The Rainmaker in 1997, but one would have to reach back even further to find an appropriate comparison in his oeuvre. A remarkably challenging and absorbing film that Coppola paid for himself, Youth Without Youth is a return to the intensely personal work that characterized his early career. (Its portrait of technology and alienation echoes much of 1974’s The Conversation.) So it may come as a shock that Youth Without Youth is also a rather faithful adaptation of Romanian philosopher Mircea