Scorsese Screens - Monthly on

Press Release

11/1/2011 12:00:00 AM

Turner Classic Movies, in partnership with The Film Foundation, will present "Scorsese Screens" with Academy Award®-winning filmmaker and champion of film preservation Martin Scorsese, who will write an exclusive monthly column for and TCM's Now Playing viewing guide. Scorsese, who recently took home an Emmy for directing the pilot for HBO's acclaimed series Boardwalk Empire, will provide insight on the various films and programs on the TCM schedule. Scorsese's debut piece on October programming is currently available on

"Martin Scorsese is a master filmmaker with an immense passion for movies, an encyclopedic knowledge of film history and a ceaseless dedication to preserving the world's cinematic heritage," said Dennis Adamovich, senior vice president of brand and digital activation/general manager of festivals for TCM, TBS and TNT. "We are proud of our partnership with The Film Foundation in bringing Scorsese's unique voice to TCM's community of fans."


Fellini Forever

Lucas Shaw

6/4/2011 12:00:00 AM

Martin Scorsese, in conjunction with the Film Foundation and Gucci, unspooled a refurbished print of Federico Fellini’s classic “La Dolce Vita” at the Tribeca Grand Hotel, presented June 1 by the Cinema Society.

It was a good thing he did, since many stars in attendance, like Ben Kingsley, had not seen the movie. Others, like co-host Emily Mortimer, hardly remembered it.

“I don’t think I’d ever seen it all the way through,” she said afterward at the Top of the Standard Hotel. “I watched it years ago as a teenager on television one day. I was probably stoned and feel asleep halfway through.”

In his introduction, Scorsese quipped that it might be a long night. “Don’t forget — it’s a three-hour film, there’s no plot.”

Scorsese also recalled last October when Bernardo Bertolucci said it was this pic that inspired him to be a filmmaker.

Everyone was similarly adulatory afterward, especially Paul Haggis, who admitted he didn’t realize how significantly it had impacted him when he saw it in the 1970s. The helmer said a picture of Fellini now sits on the wall above his desk.

As for Mortimer, she had a new appreciation of the 1960 pic. “It was just staggering,” she said.


LACMA’s ‘20th Anniversary Tribute’ a Treat for Film Fans

Kenneth Turan

10/7/2010 12:00:00 AM

Its title may lack sizzle, but "20th Anniversary Tribute to the Film Foundation" is in fact the most exciting and impressive repertory series in Los Angeles in quite some time.

Beginning Friday with a dynamite film noir double bill of "The Big Combo" and "They Made Me a Fugitive," this wide-ranging series features stunning prints of significant films rarely presented on the big screen. This is what the art of film is all about, which makes its setting — the Los Angeles County Museum of Art — more than a little ironic.

As L.A. film fans know too well, LACMA came within a hair of closing its invaluable program last year. But if you read between the lines of a recent Times interview with the museum's president, it's clear the institution would still dismember the program in a heartbeat if it felt it could get away with it.

So if you care about seeing great films in great surroundings like LACMA's 600-seat Bing Theater, and you'd like to prove to LACMA's minions that you care about this kind of programming, this is your chance to take out two birds with one stone. Vigilance is going to be the price of LACMA screenings for some time to come.

Though its name is not well-known, the Film Foundation has provided an invaluable service in its two decades of existence. Founded by Martin Scorsese and other filmmakers, the nonprofit has partnered with archives around the world to help fund the preservation and restoration of more than 500 films, including the features in this series.

To highlight restorations the Foundation has assisted in financing, LACMA has selected gorgeous films by some of the greatest directors of photography ever. These include "The Red Shoes" and "The Barefoot Contessa" shot by that acknowledged master of classic three-strip Technicolor, Jack Cardiff.

"The Red Shoes," screening Saturday, is Michael Powell and Emeric Pressburger's emotional story of the demands that art makes on life. Set in the world of ballet, it showcases deep, vivid hues that will leave viewers gasping.

"The Barefoot Contessa," on Oct. 15, is a prime example not only of Cardiff's ability to make color come electrically alive but also of the considerable talents of writer-director Joseph L. Mankiewicz. Featuring Humphrey Bogart as a cynical director and Ava Gardner as a reluctant star, the 1954 film retains the zing of Mankiewicz's exemplary language more than half a century later.

Less frequently screened but no less gorgeous are two other color films, showing Oct. 16: the Luchino Visconti-directed "Senso" and John Stahl's "Leave Her to Heaven."

"Senso" is a triumph of heightened visual style and operatic emotions. Set in 1866 during the last months of Austrian rule over Italy, it stars Alida Valli as a fiery Italian countess who gets unwisely infatuated with Farley Granger's seductive Austrian officer. This tale of mad passion in tumultuous times fully validated Visconti's feeling that melodrama was "situated right on the border between life and theater."

Speaking of melodrama, it doesn't get much more melodramatic than "Leave Her to Heaven," reportedly Fox's top moneymaker of the 1940s and memorable for its Technicolor version of New Mexico décor. Part film noir, part three-hanky extravaganza, it stars Gene Tierney as a woman who doesn't hold back when it comes to love and Cornel Wilde as the writer she becomes infatuated with. The plot is overwrought and not completely rational, but when you get right down to it, that's the whole point.

Also not to be missed is another color gem, Elia Kazan's "Wild River," showing at the Academy of Motion Picture Arts and Sciences' Samuel Goldwyn Theater. As "East of Eden" demonstrates, Kazan was expert in working with widescreen cinematography, and he deploys a fine cast including Montgomery Clift, Lee Remick and Jo Van Fleet in a still timely New Deal-era story of the Tennessee Valley Authority's conflicts with local landowners.

Just because there is so much color in this series doesn't mean it neglects black and white. Screening are Alfred Hitchcock's unnerving "Shadow of a Doubt," 1928's silent "Beggars of Life" (the last American feature for Louise Brooks), and a rare chance to see a pristine print of Fritz Lang's "Cloak and Dagger." Especially satisfying is Satyajit Ray's "Pather Panchali," a treasure of world cinema resurrected after its original negative was destroyed by fire.


Preservation Road

Kent Jones

10/7/2010 12:00:00 AM

Two meticulously prepared film devotees sat before their Macs at the appointed hour and discussed (via Skype) Cavalcanti’s 1947 gangster/noir revenge melodrama, They Made Me a Fugitive, a restored print of which will be screened this weekend as part of LACMA’s tribute to the Film Foundation, on the occasion of its 20th anniversary.

“Shall we just jump into it then?” said Wes Anderson.

“Absolutely,” said Kent Jones.

“I wonder if we need to begin in such a way that we’re kind of announcing why we’re talking about this movie,” said Anderson thoughtfully. “Here’s a possible opener: ‘One of the films showing in the tribute to the Film Foundation is They Made Me a Fugitive. I had never seen this movie before, and I’d never heard the one name of its director, Cavalcanti.’ ”

Jones was mildly surprised. “Really?”

“No,” said Anderson. “But then I realized I’d seen Dead of Night, the horror omnibus movie from Ealing [Studios] — and he directed the most famous episode, ‘The Ventriloquist’s Dummy,’ and also ‘The Christmas Party,’ which are both very interesting. Do you know his other films?”

“He was Brazilian,” offered Jones as he downshifted into information mode, “and sometimes he used his first name, Alberto. He worked in France, crossed paths with Jean Renoir, wound up in England working for John Grierson’s documentary unit, and then made those great fiction films. For instance, he made a tremendous wartime movie called Went the Day Well.”

“I should see that,” said Anderson. Jones sensed genuine excitement in Anderson’s voice: He was always on the lookout for new discoveries. “I loved They Made Me a Fugitive. The grittiness and the style and the great, great dialogue. It’s sort of like a British Sweet Smell of Success — which I suppose was directed by an English person, anyway.”

“But written by two Americans. The dialogue in this one is amazingly pungent,” said Jones by way of amplification. There was to be a good deal more mutual amplification.

“It’s very good, and very hard,” Anderson continued. “The violence of the language is much more blunt than you’d ever expect of a movie from 1947. What’s that sound?”

“New York police sirens,” answered Jones abstractedly, as the whining from Broadway peaked and gradually died away. “Maybe we should clearly state that you’re in Paris and I’m in New York …”

“… and that we’re talking about a British film showing in Los Angeles.”

“After the war, there were a lot of very tough British movies set in the underworld,” Jones said, “like It Always Rains on Sunday and Brighton Rock — in fact, all three were made in 1947.”

Brighton Rock is also brutal,” Anderson said with an audible tinge of excitement. “They’re unexpectedly cruel and frank in their language and violence — they don’t hold back.”

“For me, Trevor Howard gives They Made Me a Fugitive a special energy.”

“Yes, Trevor Howard is great,” agreed Anderson, “and so is the guy who plays Narcy. He’s wonderful. What’s his name?”

“Maybe since we’re on our computers, we can look it up.” An idle remark, which initiated a quiet cacophony of frantic transcontinental typing.

“Isn’t it incredible that there’s a gangster named Narcy, short for Narcissus?” asked Jones as his index finger hit the “return” key.

“That’s kind of one you want to steal,” said Anderson as his computer chimed. “Narcy is … Griffith Jones.”

“Who was also in … Olivier’s Henry V as the Earl of Salisbury. And whose real name is Griffiths Jones — hard to pronounce,” Jones said.

“Another thing that intrigued me about They Made Me a Fugitive was that it always seemed like it was going to veer into pure expressionism. Like Sally’s beating, for instance, done in a quick montage, which includes a distressed close-up, unusual for its time.”

“It’s shot by a German cameraman, isn’t it?”

“We’d better double-check the good old IMDb.” Another round of typing.

“He’s an Otto — but maybe he’s not German,” Anderson suggested. Jones suddenly remembered the menacing German women on The Darjeeling Limited. “That expressionist current of feeling combines with the location shooting and the type of story being told, the rawness of it all, to give the movie a documentary-ish flavor. It’s a strange combination. And the dialogue is so graphic and blunt.”

“Boy, is it ever. It’s like they were trying to outdo the Americans in the hard-boiled department.”

“But it’s also very literary — quite inventive and funny. They’re highly verbal characters.”

“So many gaudy, outlandish exchanges. I like the conversation between Narcy and the cop when they run into each other on Sally’s stairway,” Jones said, quoting: “ ‘How’s the undertaking business these days?’ says the cop. ‘Booming,’ says Narcy. ‘I wish I could interest you in one of our new models. And don’t forget to tell your friends.’ Like when the cop asks him if he can smell a rat — ‘I’ve got a cold. I can’t even smell you.’ Or: ‘Clem’ll get about as far as I could throw a dead elephant with one hand tied behind me back.’ ”

“Narcy has so many great lines, and line readings. I like when he says, ‘Curly’ll have to cock you one on your pretty coconut’ — and he tells one of his boys that if the girl makes any trouble, ‘Bash her face in.’ It’s not just hard-boiled, it’s kind of funny, and I think they meant it to be?”

“How about the old woman? ‘Watch out you don’t overdo it, Narcy. The cops’ll be out like hornets ’round a jam jar.’ ”

“I missed half of her dialogue,” admitted Anderson, “because it’s so fast and British.”

“It seems that Otto Heller was actually Czech,” Jones reported. “He did a lot of great work in color — Peeping Tom, Richard III, The Lady Killers. He also made one of the most incredible British films of the ’40s, The Queen of Spades.”

“This might be a good moment to mention how much They Made Me a Fugitive will benefit from restoration,” said Anderson, dutifully circling back to the topic at hand. “On the DVD, you can see how beautiful the black-and-white photography should be, and how much work is needed.”

“Some passages are in good shape, others less so. I can’t wait to see the restoration. Should we mention some of the other films in the series?”

“Well, there’s The Red Shoes.”

“Which might be the most stunning restoration I’ve ever seen.”

“And Bonjour Tristesse. And Satyajit Ray’s Pather Panchali, which is a masterpiece and probably his best known film.”

"There’s also Shadow of a Doubt by Hitchcock,” added Jones, “an impeccable movie with one of my favorite actresses, Teresa Wright.”

“And there’s Cloak and Dagger by Fritz Lang, with Gary Cooper.”

“As a scientist — curious idea.”

“Yes. In fact, I saw it with a physicist. Aren’t they trying to smuggle out a German scientist?”

“Yes. Strangely cast, but a striking film.”

“There’s Wild River by Kazan.”

“Which is a great film. It’s based on Kazan’s memories of going down South in the ’30s.”

“There’s The Big Combo by Joseph H. Lewis.”

“Shot by the legendary cinematographer John Alton.”

“With Richard Conte and Brian Donlevy.”

“And Earl Holliman and Lee Van Cleef as the two gay enforcers.”

“Anyway, it’s going to be a great series at the Los Angeles County Museum of Art. Starting Friday, October 8.”

“That’s right, Wes. And for more information, go to”

“The perfect ending.”



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