A wide-ranging interview in which Gilliam talks at length about his life, his work, the malaise of the film industry, and the state of the world. As expected from Gilliam, it makes for fascinating and sometimes controversial reading.
IN THIS ISSUE:
Is Tarantino’s latest just another pastiche of postmodern cinéphilic references? Perhaps not. Joseph Natoli looks for the moral compass in the director’s blood soaked war saga.
What is a fit subject for laughter? Reimer looks at one of the most contentious of all subjects and discovers a surprisingly long history of films that have addressed it through the comedic mode.
For all Michael Mann’s claims about the veracity of his research into Depression-Era America, Jay Rothermel argues that he has “printed the legend” more than the facts.
The French painter is the subject of two films by the Straubs, Une Visite au Louvre and, more significantly, Cézanne. Sally Shafto looks at the importance of his art and ideas on the Straubs.
Though Eisenstein’s vision for ¡Que Viva México! was never fully realised, Gabrielle Murray argues that the version(s) we have reveals the twin influence of Russian icon painting and ethnographic film.
Too often overshadowed by the fame of the Nouvelle Vague, Robert Farmer gives due attention to the concurrent ‘wave’ known as the Left Bank Group.
In the light of Baz Luhrmann’s announcement that he intends to bring The Great Gatsby to the screen once again, Bruce Jackson looks at the failures already at hand and offers some salient advice about why F. Scott Fitzgerald’s novel is so resistant to successful screen adaptation.
Though much derided on its release, Michael Da Silva provides an insightful analysis of the æsthetic logic that informs Lyne’s adaptation of Vladimir Nabokov’s infamous classic.
Originally titled “Africa”, the production history of Howard Hawks’ Hatari! is a tale in its own right. Michael J. Anderson teases out its place in the long history of Hollywood big-game-hunting films set in Africa.
There is always a degree of libidinal investment in our appreciation of screen icons. No doubt it has McFarlane in its sway in his contemplative piece on the career and singular charisma of Merle Oberon.
At the centre of McKibbin’s article is a re-evalution of Marlon Brando’s performance as Fletcher Christian in Lewis Milestone’s 1962 production of Mutiny on the Bounty. But there is much else on offer.
Pomerance looks at one of Australian-born John Farrow’s least-known films, the 1953 Botany Bay, through the prism of Hollywood’s representation of the “land down-under”.
Since the time of this classic’s release, the one question that seems to have always hung over it is: “But what does it all mean?” Pedro Blas Gonzalez goes in search of answers.
