There isn’t another killing in cinema quite like the centrepiece sequence in Leave Her To Heaven.
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Notes on Leave Her To Heaven.
Author: Adam
Unwavering auteurist, shut-in cinephile, Sheffield. Almost award-winning writer on cinema and film programmer. Likes French movies, coffee, his dog.
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Weekend Viewing.
Over the weekend I watched a couple of films.
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Brief notes on a couple of films.
I’ve watched a lot of John Ford films recently, thanks to a pair of fantastic new home video releases.
In my continuing quest to write with some regularity today I bring you a couple of things that I really like. Many of these items and articles are the things that have kept me going during lockdown.
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I want to ride my bicycle.
My bike was stolen overnight.
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The book I read.
I was determined to write something today.
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Hollywood International.
Over the bank holiday weekend I watched a pair of classic-era Hollywood productions that were made outside of America.
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Coming June. Robert Siodmak’s Criss Cross.
A couple of months ago I was tasked with providing an essay for this upcoming release of Robert Siodmak’s Criss Cross. Somewhat under-seen in the UK, Criss Cross stands as one of the darkest and most affecting film noir pictures of the era. Take a look at the trailer and the artwork below.
The opening shot of Jacques Demy’s 1969 film Model Shop, starring Gary Lockwood and Anouk Aimee reminds of the same director’s Bay Of Angels and Jeanne Moreau running down the Nice seafront.
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Apocalypse Now?
So.
We’re in lockdown. Today marks the end of week two. In that time, and aside from my wife and dog, I’ve had face-to-face conversations with precisely three people, all neighbours, and all from the safety of at least two metres distance. It’s a curious existence, but one that we have all seemingly adapted to with great speed.
The Glass Family 