1987: Remembering "Maurice"

by Cláudio Alves

Director James Ivory and producer Ismail Merchant met in 1959, and quickly started a romantic and professional partnership. It lasted for 44 years until Merchant's death. Along with screenwriter, Ruth Prawer Jhabvala, they made a name for themselves with the production of prestigious literary adaptations. Their first brushes with success came in the late 70s and early 80s, but it was in 1985 and 1986 that their lives changed. A Room With a View, their first E.M. Forster adaptation was a huge hit, both with critics and audiences. The picture even won three Oscars, including for Best Adapted Screenplay.

Following such a triumph, one would expect Merchant & Ivory to bask in their glory, perchance repeating the formula of their success. They did end up adapting another of Forster's works, though they chose what, at the time, was the author's least known and least respected book. The result of this unexpected turn was one of the pair's most personal pictures. In 1987, the movie was received with lukewarm enthusiasm, but, as far as I'm concerned, Maurice is one of their very best efforts…

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"Hello, it's me ♫ ♬ I was wondering if after all this showbiz history..."

7 random things that happened on this day (Nov 14th) in showbiz history

1941 Alfred Hitchcock's Suspicion premieres. It reaps three Oscar nominations (including Best Picture) winning Best Actress for Joan Fontaine. (Olivia de Havilland was NOT pleased that her baby sister beat her to an Oscar... so she won two of them)

Network, Hoosiers, Adele, and more after the jump...

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HollyShorts 2 "Wonder Years"

by Tony Ruggio

Short films are the runt of the film community: small, sometimes slight, often ignored. They’re everything in film school and seemingly nothing on Oscar night, relegated so much to the fringes of discourse that some have suggested nixing them from the broadcast completely. But short films hold a special place in Hollywood’s machine, be it a training ground for future blockbuster directors or fresh voices in the constantly evolving indie scene.

The HollyShorts festival has several compilations. Ben covered the "Action" efforts so I hit "The Wonder Years," covering films set in high school or otherwise coming-of-age stories. Here are three that I think are worth a watch, whether due to their surprisingly famous cast or sheer quality...

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"Dear Comrades!" and Russia at the Oscars

by Nathaniel R

Russia has announced that Andrey Konchalovskiy's Dear Comrades!, a Grand Jury Prize winner in Venice, will be their selection for the Oscars. This is the third time Russia has selected Konchalovsky to submit them. The 83 year old director is deeply tied to Russian cinematic history. He's the elder brother of Russia's most Oscar-loved director Nikita Mikhalkov (Burnt by the Sun) and he began his career writing and working for the legendary Andrei Tarkovsky (on Ivan's Childhood and Andre Rublev) in the early 1960s before launching his own directorial career.  He even tried his hand at English language films in the 1980s making Duet for One with Julie Andrews and the underappreciated Shy People with Barbara Hershey. His first Russian submission House of Fools in 2002 was unsuccessul. His second submission, the hugely lauded Paradise  in 2016, got close to the nomination, securing a finalist spot for itself. Will the third time be the charm? The official synopsis goes like so...

When the communist government raises food prices in 1962, the rebellious workers from the small industrial town of Novocherkassk go on strike. The massacre which then ensues is seen through the eyes of a devout party activist.

Hot on the heels of that news NEON has announced that they're grabbed US distribution though no release date has been announced. Let's look at Russia's history with Oscar after the jump...

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Review: Sophia Loren returns with "The Life Ahead"

by Cláudio Alves

The Movie Star and Her Director Son

Even before we see her face in The Life Ahead, it's impossible to draw the eyes away from Sophia Loren. Following in the tradition of European realism, Edoardo Ponti's camera captures an Italian marketplace with shaky energy. However, no matter how shabby the framing might be, the colors depart from the standards of realism. Angus Hudson's cinematography makes everything a bit too bright, the sun shining on the streets like golden flames, every saturated color intensified. It's reality as if painted with crayons by an enthusiastic child. 

In this sunny landscape, a shot of bright blue, bluer than the sky, stands out, crowned by a mess of gunmetal hair. Dressed in azure, Loren may have lost some of the youthful glow of her heyday in the midcentury, but the star power is intact, her magnetism as strong as ever. Furthermore, the director, her son, knows how to pay reverence to the screen legend without making it too obvious or too elegiac…

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