Episode 37 - Conversation with Craig Keller

In special episode we are joined by Masters of Cinemas very own Craig Keller for a chat about all things Masters of Cinema and film in general.

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Episode Thirty Six - Le Amiche

The podcast returns with a look at Michelangelo Antonioni's Le Amiche with special guest Fredrik Gustafsson.

From Masters of Cinema:

''A key film of Antonioni’s middle-period, Le amiche [The Girlfriends] finds the Italian master expanding his palette in the realm of traditional narrative cinema by way of his powerhouse direction of an ensemble cast, while entrenching his devotion to expressing the emotional makeup of the modern woman. Clelia (Eleonora Rossi-Drago) embarks from Rome to set up a fashion-salon in Torino. Shortly after arrival, she finds herself caught up in the (melo)dramas of a bourgeoise circle of acquaintances (including the iconic Valentina Cortese), and their attendant attempts at suicide, their class prejudices, and the romantic alliances that threaten to transform the social clique into an emotional tar-pit. Le amiche represents the epitome of Antonioni’s ’50s period, and although it lays the groundwork for such ’60s breakthroughs as L’avventura and La notte, it proves itself no less brilliant than those later works.''

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Episode Thirty Five - A Time to Love and a Time to Die

This week we take a look at Dounglas Sirks, A Time to Love and A Time to Die. Enjoy!

From Masters of Cinema:

''Douglas Sirk — the master of the Hollywood melodrama — turns back to his native Germany at the time of the Second World War for the film that would stand as his penultimate American feature: A Time to Love and a Time to Die. A CinemaScope production staged on a grand scale, Sirk’s picture nevertheless pulsates with an intimacy that has known longing for too long, and seethes with the repression of emotions poised to explode like bombs.

John Gavin plays Ernst Gräber, a soldier on the Russian-German Front in 1944 venturing home to Hamburg on a rare furlough. Upon arrival, he discovers a city that bears little resemblance to the one he left behind — and so, through the rubble of the air-raids, he searches desperately for fragments of his family’s shattered lives. But amid the shards, he falls in love with Elisabeth (Liselotte Pulver), the charming daughter of his parents’ doctor, and thus activates a magnetism that compels both individuals toward one another in love, even as it hurtles them headlong into epochal death.''

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Episode Thirty Four - Red River

First show of the new year and its cracker, Melissa Johnson joins Joakim for a discussion on Howard Hawks' Red River.

You can find Melissa at johnsonmel16@gmail.com

From Masters of Cinema:

''One of Hollywood’s most iconic westerns, Howard Hawks’s Red River launches cinema’s grandest cattle drive, and one of the screen’s most powerful father-son dramas. One of John Wayne’s most intense roles inspired one of his finest performances, and in his debut leading role, Montgomery Clift instantly leapt to the forefront of Hollywood’s young actors.

After the Civil War, ranch owner Thomas Dunson (Wayne) leads a drive of ten thousand cattle out of an impoverished Texas to the richer markets of Missouri, alongside his adopted son Matthew Garth (Clift) and a team of ranch hands. As the conditions worsen, and Dunson’s control over his cattlemen gets ever more merciless, a rebellion begins to grow within the travelling party.''

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Episode Thirty Three - 2014 Review

The year is coming to an end so it must mean wrap up show time, this year we are joined by Craig Skinner to have a look back at Masters of Cinema in 2014. Enjoy!

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Episode Thirty Two - The Passion of Joan of Arc

We return with a look at a Carl Th. Dreyer's The Passion of Joan of Arc and who better to join us than a podcasting titan in the form of Joe Johnson one half of the brilliant husband and wife team that produced the Watching the Directors podcast.

Enjoy!

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Episode Thirty One - Le Beau Serge and Les Cousins

Its Tom and David Blakeslee today with a double bill of Claude Charbol's Le Beau Serge and Les Cousins.

From Masters of Cinema:

'Gérard Blain and Jean-Claude Brialy star in the first of their collaborations with the great Claude Chabrol. The director’s masterful feature debut — ironic, funny, unsparing — is a revelation: another of that rare breed of film where the dusty formula might be used in full sincerity: Le Beau Serge marks the beginning of “the Chabrol touch.”

In this first feature film of the French New Wave, one year before Truffaut’s The Four Hundred Blows, the dandyish François (Brialy, of Godard’s A Woman Is a Woman, Rohmer’s Claire’s Knee, and countless other cornerstones of 20th-century French cinema) takes a holiday from the city to his home village of Sardent, where he reconnects with his old chum Serge (Blain), now a besotted and hopeless alcoholic, and sly duplicitous carnal Marie (Bernadette Lafont). A grave triangle forms, and a tragic slide ensues.

Made barely a year after Claude Chabrol’s debut Le Beau Serge, Les Cousins featured the earlier film’s same starring pair of Jean-Claude Brialy and Gérard Blain, here reversing the good-guy/bad-guy roles of the previous picture. The result is a simmering, venomous study in human temperament that not only won the Golden Bear at the 1959 Berlin Film Festival, but also drew audiences in droves, and effectively launched Chabrol’s incredible fifty-year-long career.

In Les Cousins, Blain’s character journeys from the country to Paris to crash at the luxurious flat of his worldly and decadent cousin, portrayed by Brialy, during the study period for an upcoming law exam which both have set out to undertake. It becomes clear soon enough that only one of the cousins is terribly committed to his work; as sexual promises and alcohol intervene, the set-up becomes untenable for the provincial, — and a tragic slide ensues.

A gripping and urbane examination of city and country, ambition and ease, Les Cousins continues to captivate and shock audiences with its brilliant scenario, the performances of Brialy and Blain, and the assuredness of Chabrol’s precocious directorial hand.'

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