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Posts Tagged ‘To Kill a Mockingbird

First Impressions…



Via the always-rewarding Dangerous Minds, a simple– and simply wonderful– graduation film made by Jurjen Versteeg, who explains the idea behind his project:

Designed as a possible title sequence for a fictitious documentary, this film shows a history of the title sequence in a nutshell. The sequence includes all the names of title designers who had a revolutionary impact on the history and evolution of the title sequence. The names of the title designers all refer to specific characteristics of the revolutionary titles that they designed.

This film refers to elements such as the cut and shifted characters of Saul Bass’ Psycho title, the colored circles of Maurice Binder’s design for Dr. No and the contemporary designs of Kyle Cooper and Danny Yount.

This title sequence refers to the following designers and their titles: Georges Méliès – Un Voyage Dans La Lune, Saul Bass – Psycho, Maurice Binder – Dr. No, Stephen Frankfurt – To Kill A Mockingbird, Pablo Ferro – Dr. Strangelove, Richard Greenberg – Alien, Kyle Cooper – Seven, Danny Yount – Kiss Kiss Bang Bang / Sherlock Holmes.


As we remember to “tell ’em what we’re going to tell ’em,” we might recall that it was on this date in 1946 that the first Cannes Film Festival opened.  It had originally been scheduled for September, 1939 as an “answer” to the Venice Film Fest, which had become a propaganda vehicle for Mussolini and Hitler; but the outbreak of World War II occasioned a delay.



The Master meets the Godfather…

“From high art to low trash, and back again!”– Media Funhouse has been dishing it out on Manhattan cable access and on its blog for over a decade-and-a-half.  The work of Ed Grant (editor of The Motion Picture Guide and Movies on TV), it’s a continuous stream of appreciations, oddities… an enthusiast’s delight.

Consider, for example, this recent episode:

A Deceased Artiste tribute to three very talented individuals. This time out, it’s three individuals who took a powder at the very end of last year. First up, I salute Eartha Kitt with her sexy performances from the stilted but invaluable musical New Faces (1954). Then it’s on to an auteur who was known as a specialist in “Southern children” pictures and portraits of moon-eyed horny teenagers, Robert Mulligan (To Kill a Mockingbird, The Summer of ’42). My favorite film by Mulligan, featured here, is the underrated, low-key neo-noir The Nickel Ride (1975) starring Jason Miller. From Mulligan’s doomed noir hero, we move on to the man whose plays were landmarks in English (and world) theater, the master of modern mis-communication and strategically-placed silence, Harold Pinter. Despite his stylization, Pinter’s confrontations are as raw – although not as verbally violent – as those of his successor, David Mamet. The Deceased Artiste department of the Funhouse is one of the few places these folks could meet, and I wouldn’t have it any other way.

That said, there were other places that unlikely folks met.  Consider The Mike Douglas Show:

The show was 90 minutes long and on five days a week, so the guests had to be stacked up like cordwood, and very often they had nothing whatsoever in common with the week-long “cohost”…  [the clip below] features a [1969] daytime talkshow appearance by the master of suspense, Alfred Hitchcock. Hitch has nominally come on to promote what might be his worst American film Topaz, and gets to shake hands with the three guests who are already on the panel: bestselling poet and songwriter Rod McKuen (“Seasons in the Sun,” Listen to the Warm), Joan Rivers (when she was a mousy housewife comedian you could look at without wincing), and the One and Only James Brown. Yes, the two legends from completely different disciplines were on the same stage, just because the bookers decided that was the best day to get ’em both on the air.

More wonderful weirdness– essays, clips, podcasts– at Media Funhouse.  [TotH to @jessedylan]

As we Say it Loud! I’m Fat and I’m Proud!, we might refrain from mowing the lawn in birthday tribute to Walt Whitman; he was born on this date in 1819.  Whitman grew up in Brooklyn, where over time he moved from printing to teaching to journalism, becoming the editor of the Brooklyn Daily Eagle in 1846.  He began experimenting with a new form of poetry, revolutionary at the time, free of a regular rhythm or rhyme scheme, that has come to be known as “free verse.”  In 1855, Whitman published, anonymously and at his own expense, the first edition of Leaves of Grass— which was revolutionary too in its content, celebrating the human body and the common man.  Whitman spent the rest of his life revising and enlarging Leaves of Grass; the ninth edition appeared in 1892, the year of his death.

Whitman and the Butterfly, from the 1889 edition of Leaves of Grass (source: Library of Congress)

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