Emeric Pressburger Puns

1. The Spy In Black
2. Contraband
3. 49th Parallel
4. One Of Our Aircraft Is Missing - The first film made The Archers banner
5. The Life And Death Of Colonel Blimp
6. A Canterbury Tale
7. I Know Where I'm Going
8. A Matter Of Life And Death
9. Black Narcissus
10. The Red Shoes
11. The Small Back Room
12. The Elusive Pimpernel - The bounce baby
13. Gone To Earth
14. The Tales Of Hoffman
15. Oh... Rosalinda!!
16. The Battle Of The River Plate
17. Ill Met by Moonlight - Final production of The Archers
18. They're A Weird Mob - Final reunion feature

Bonus/Patreon:

1. The Volunteer - War propaganda short made during their partnership
2. Peeping Tom - Michael Powell's most famous solo work after the end of The Archers run
3. The Boy Who Turned Yellow - Powell and Pressburger's final collaboration together on this short

Stanley Kubrick, Alfred Hitchcock, Akira Kurosawa, Ingmar Bergman, John Ford, Charlie Chaplin, Billy Wilder, Orson Welles, David Lean, Sidney Lumet, Andrei Tarkovsky, Frank Capra, John Huston, Michael Powell and Emeric Pressburger, and Steven Spielberg.

I posted this in a comment yesterday, but I would like more feedback please. Who would you remove and add? I'm aware that it's western leaning and lacking women but I just feel that this group is a pretty good start.

December 2021 Announcements are up!

• One Night In Miami (2020, Dir. Regina King, Blu-Ray)
• The Learning Tree (1969, Dir. Gordon Parks, Blu-Ray)
• The Red Shoes (1948, Dir. Michael Powell & Emeric Pressburger, 4K UHD)

Individual Announcement Discussions:

• One Night In Miami…

• The Learning Tree

• The Red Shoes 4K UHD

Posts made regarding the new announcements outside of the official discussion threads will be removed

TSPDT 200, highest ranking 123 in 2013; Director: Michael Powell, Emeric Pressburger; Writer: Michael Powell, Emeric Pressburger; Watched November 20th on the Criterion Channel (Spine 173) IMDB

164 minutes. Amazing movie for 90 minutes, and a decent film for the final hour.

Powell and Pressburger (PP) ask the audience to watch the ascent of military leader Clive Candy and the pent-up romantic frustration that haunts him as he lets his first love slip away without a fight.

The first act of this film had me completely hooked. I loved all three main actors. Deborah Kerr stole every scene she was in (honestly that continued through the whole film, it was obvious she was going to be a star), Anton Walbrook carried a good balance of fully Prussian and also fully human and Roger Livesey had spunk and feist as Clive Candy. I liked the hijinx and could have watched Livesey be charming and get out of trouble for the rest of the film.

What we do see is Candy going to Germany on a mission, getting caught up in local politics and ultimately dueling a German soldier (Walbrook). His character reminded me a lot of Westley from The Princess Bride. Quietly self-assured and infinitely competent. He’s blinded by duty, however, and ignores the feelings he has been developing for Edith (Kerr). His dueling challenger, who has now become a friend, also develops feelings for Edith and ultimately marries her. The rest of the film is our friend Candy making decisions that lead him to women that share qualities with Edith - all of them played by Deborah Kerr in a clever casting decision - and wrestling with regret as he loses relevancy in life and in career. And, of course, growing old with his German friend who has to come to terms with losing his national identify, and family, when he becomes disenchanted with the Nazi party.

I have to come clean. I am not a fan of “watch a character through their life” films. I’m sure there’s a film that does it well, but it even bugs me in a beloved film like Cinema Paradiso. When I escape into a movie I don’t need to see every phase of life. I like slivers with ambiguous and open endings where we’re not entirely sure what decisions the character will make next. This is my hang-up, and I’m not blaming Colonel Blimp for it, but it did cause me to lose interest in the second half while our hero contemplate

It is somewhat curious how the mystique of red shoes works in popular myth but it is also interesting that it is always related to women almost in general. Red is fire, blood, heat, romance, passion, youth, beauty and emotion. But there is also danger and danger and even street signs represent a complete stop. Directors Michael Powell and Emeric Pressburger used the Hans Christian Andersen fairy tale "The Red Shoes" written in 1845 to make and retell the same story in 1948 in the film of the same name in ballet form and in the drama of the three main characters. . Boris Lermontov (the always excellent Anton Walbrook more than perfect in this film) is a hugely successful manager from a Classic Ballet Company with a passion for music and dance that expresses itself in his persona and eccentricities as well as a methodical and calculating man. In the first performance of the Ballet Lermontov film we are introduced to the three central characters besides Boris. They are Vicky Page (the beautiful Moira Shearer, who studied ballet and appears here in her first film) and music student Julian Craster (Marius Goring) who leaves the performance believing that her music had been plagiarized by her teacher and author of the music of the piece. After the performance Boris is introduced to Vicky and Vicky invites her to one of his rehearsals. Julian then writes a letter to Lermontov telling the circumstances of the plagiarism of his composition. Even though he regrets having written the letter, he falls into the hands of Boris who challenges the young man to play something of his original authorship and, impressed, hires Julian to join his company as a repetiteur. And during the rehearsals that Julian discreetly approaches Vicky and Boris while watching Vicky dancing, he begins to think about a new ballet piece having as a prima ballerina Vicky and this piece will be The Red Shoes with music by Julian. With the resounding success of the new ballet the company further solidifies its prestige. Vicky secretly falls in love with Julian without Boris' knowledge. I think you can imagine what would happen when Boris discovered the romance unfolding behind his back. At this point the characters converge in secrets, plots and dangerous relationships that are always represented in the brilliant cinematography of Jack Cardiff that always highlights and expresses the color red during the film. Very few times in history have colors been used in such a participative way in a d

A Matter of Life and Death (1946) - MAP: 91.00/100

Criterion Collection, Spine #939 / IMDb / Wikipedia / My Collection

From Criterion: After miraculously surviving a jump from his burning plane, RAF pilot Peter Carter (David Niven) encounters the American radio operator (Kim Hunter) to whom he has just delivered his dying wishes, and, face-to-face on a tranquil English beach, the pair fall in love. When a messenger from the hereafter arrives to correct the bureaucratic error that spared his life, Peter must mount a fierce defense for his right to stay on earth—painted by production designer Alfred Junge and cinematographer Jack Cardiff as a rich Technicolor Eden—climbing a wide staircase to stand trial in a starkly beautiful, black-and-white modernist afterlife. Intended to smooth tensions between the wartime allies Britain and America, Michael Powell and Emeric Pressburger’s richly humanistic A Matter of Life and Death traverses time and space to make a case for the transcendent value of love.

We don’t really do gifts here - we do, don’t get me wrong - but not in the usual ways… Mrs. Lady Zedd and I exchange presents year round, whenever the mood strikes - we don’t wait for birthdays and holidays. In fact, we generally don’t give gifts at those usual junctures. We like it that way, it’s essentially our way of doing things, well, our way. A wise person once told me to do everything in moderation - including doing everything in moderation… which we practice as we preach. This year, Mrs. Lady Zedd used that moderation philosophy to surprise me by buying gifts for my 50th - I was overwhelmed.

In addition to a sealed Criterion Spine #1, she picked up this David Niven / Kim Hunter film - I’d never heard of it. When asked, she said she has no idea why she picked it out. The fact is, where Criterion is concerned, something just jumps out at her. Knowing her as I do, I’d say the film’s deeply existential, philosophical questioning just felt like a good match for your’s truly… she was right. The film’s take on the orderly existence in the afterlife is exceptional.

When I’m considering a film’s particulars for MAP’ping, it’s a fairly mechanical process. I attempt to be precise when I sit down to do the write up as well. I consider and discuss what worked, what didn’t,

Black Narcissus (1947) - MAP: 78.95/100

IMDb / Wikipedia / Criterion Channel

From Criterion: This explosive work about the conflict between the spirit and the flesh is the epitome of the sensuous style of Michael Powell and Emeric Pressburger. A group of nuns - played by some of Britain’s finest actresses, including Deborah Kerr, Kathleen Byron, and Flora Robson - struggle to establish a convent in the Himalayas, while isolation, extreme weather, altitude, and cultural clashes all conspire to drive the well-intentioned missionaries mad. A darkly grande film that won Oscars for Alfred Junge’s art direction and Jack Cardiff’s cinematography, Black Narcissus is one of the greatest achievements by two of cinemas true visionaries.

The film adaptation of the 1938 novel, itself named after [Parfum Caron’s] fragrance… Narcisse Noir. It all sounds so brooding, sensual, the name for things that go bump in the night - and about nuns going way up into the mountains to open a nunnery, school, and medical clinic. Boy, can you get more sensual than that? Each nun’s mild personal issues magically magnified by the clarity of the wide open spaces, the vibrancy of the setting, possibly the mild asphyxia of the thin high-altitude air (which I can only assume feels like that time I had to wear a tie to an interview which made me feel a little like it was hard to breath).

You know, none of those things strike me as particularly sensual - neither does the fact the nuns fully fail to understand the people or their culture, let alone to win them over. In fact, when one nun does the wrong thing (for the right reason), here actions put everyone in jeopardy. Sounds like a real winner, doesn’t it?

Strangely, the story wasn’t but somehow the film was. I’m poking fun up there but there is a great deal of sensuality to the film, always smoldering under the surface - the well heeled “Little General” who falls for the abandoned of-age orphan girl which causes a kerfuffle, to the slow burning admiration of the ambitious Sister Clodagh by the rough-around-the-edges Englishman Mr. Dean, and the incendiary raw jealously of the mentally unstable Sister Ruth (when she falls for a guy, she really falls for him) - let me put it this way, the National Legion of Decency in the US condemned the film so, that’s a ringing endorsement for me. Nunsploitation? Not on your life. Proto-nunsplo

Hey everyone, great to be back again. Some of you might remember a similar title from a post I made back in April, where I made a list of the top 250 movies with 13 sources, or a preview of this list I made last month.

I want to emphasize that this is NOT an official ranking nor my personal ranking; it is just a statistical and, personally, interesting look at 500 amazing movies. These rankings reflect the opinions of thousands of critics and millions of people around the world. And I am glad that this list is able to cover a wide range of genres, decades, and countries. So before I get bombarded with "Why isn't X on here?" or "How is X above Y?" comments, I wanted to clear that up.

I sourced my data from Sight & Sound (both critic and director lists), TSPDT, iCheckMovies, 11 domestic websites (Rotten Tomatoes, Metacritic, IMDb, Letterboxd, TMDb, Trakt, Blu-Ray, MovieLens, RateYourMusic, Criticker, and Critics Choice), and 9 international audience sites (FilmAffinity, Douban, Naver, MUBI, Filmweb, Kinopoisk, CSFD, Moviemeter, and Senscritique). This balance of domestic/international ratings made the list more well-rounded and internationally representative (sites from Spain, China, Korea, Poland, Russia, Czech Republic, Netherlands, and France).

As for my algorithm, I weighted websites according to both their Alexa ranking and their number of votes compared to other sites. For example, since The Godfather has hundreds of thousands of votes on Letterboxd but only a couple thousand on Metacritic, Letterboxd would be weighted more heavily. After obtaining the weighted averages, I then added the movie's iCheckMovies' favs/checks ratio and TSPDT ranking, if applicable. Regarding TSPDT, I included the top 2000 movies; as an example of my calculations, Rear Window's ranking of #41 would add (2000-41)/2000=0.9795 points to its weighted average. I removed movies that had <7-8K votes on IMDb, as these mostly had low ratings and numbers of votes across different sites as well. For both Sight & Sound lists, I added between 0.5 and 1 point to a movie's score based on its ranking, which I thought was an adequate reflection of how difficult it is

I was never happy with existing top lists. IMDb is too much about popularity, mubi however can be too elitist when it comes to popular films. In my opinion, that is. So what if you combine the platforms to create a "Canon" made by the Internet?

As of now, I calculated the average of 744 directors.

How: The average of mubi, IMDb and letterboxd, but only the best five. For every film depending on its rating, the average got some points plus (6.6-7.4: +0.005, 7.6-8.4: +0.01 etc.. And some other minor things like each short film rated 7.6+ gets 0.1.

Why five films? For many reasons; mainly that there are many directors who made tons of films for financial reasons and some truly for art's sake, or just were not liked many times, and the purpose here is not to observe them at their worst, but at their best.

I made it for directors, but simultaneously made a list with the best rated films (in the top ten are Godfather, Harakiri, Godfather 2, The Human Condition 3, Seven Samurai, Pulp Fiction, Satantango, 12 Angry Men, The Shawshank Redemption, Come and See).

Anyway: Here it is. It can never be completed, but I think it's a great orientation.

I also included their respective best rated film.

1. 8.99: Akira Kurosawa------Seven Samurai (1954)
2. 8.98: Masaki Kobayashi------Harakiri (1962)
3. 8.94: Satyajit Ray------Pather Panchali (1955)
4. 8.89: Alfred Hitchcock------Vertigo (1958)
5. 8.85: Ingmar Bergman------Fanny and Alexander (1983)
6. 8.82: Charlie Chaplin------Modern Times (1936)
7. 8.80: Stanley Kubrick------2001: A Space Odyssey (1968)
8. 8.79: Krzysztof Kieslowski------A Short Film About Love (1989)
9. 8.79: Yasujiro Ozu------Tokyo Story (1953)
10. 8.78: Hayao Miyazaki------Spirited Away (2001)
11. 8.78: Kenji Mizoguchi------Sansho the Bailiff (1954)
12. 8.72: Andrei Tarkovsky------Stalker (1979)
13. 8.69: Buster Keaton------Sherlock Jr. (1924)
14. 8.67: Fritz Lang------M (1931)
15. 8.64: Billy Wilder------Sunset Blvd. (1950)
16. 8.61: Francis Ford Coppola------The Godfather (1972)
17. 8.60: Mikio Naruse------Yearning (1964)
18. 8.53: Martin Scorsese------Taxi Driver (1976)
19. 8.52: Luis Bunuel------The Young and the Damned (1950)
20. 8.52: Sergio Leone------The Good, the Bad and the Ugly (1966)
21. 8.51: Federico Fellini------8 1/2 (1963)
22. 8.51: Robert Bresson------A Man Escaped (1956)
23. 8.49: Abbas Kiarostami------Close-Up (1990)
24. 8.49: Lee Unkrich------Toy Story 3 (2010)
25. 8.48: Edward Yang------A Brighter Summer Day (1991)
26. 8.44:

All Airtimes EST)

(SAT MAY 1)

(12:30am) Vertigo (1958/2h 8m/Alfred Hitchcock) (drama)

(2:45am) Victor/Victoria (1982/2h 14/Blake Edwards) (comedy)

(5:15am) Wait Until Dark (1967/1h 48m/Terence Young) (thriller)

(7:15am) Watch On The Rhine (1943/1h 54m/Herman Shumlin) (drama)

(9:15am) Waterloo Bridge (1940/1h 43m/Mervyn Le Roy) (drama)

(11:15am) Weary River (1929/1h 29m/Frank Lloyd) (musical)

(1:00pm) What Ever Happened To Baby Jane? (1962/2h 12m/Robert Aldrich) (drama)

(3:30pm) The White Cliffs Of Dover (1944/2h 6m/Clarence Brown) (romance)

(6:00pm) White Heat (1949/1h 54m/Raoul Walsh) (drama)

(8:00pm) The Wizard of Oz (1939/1h 41m/Victor Fleming) (fantasy)

(10:00pm) Wuthering Heights (1939/1h 43m/William Wyler) (romance)

(SUN MAY 2)

(12:00am) The Year of Living Dangerously (1982/1h 55m/Peter Weir) (drama)

(2:15am) The Yearling (1946/2h 14m/Clarence Brown) (drama)

(4:30am) Z (1969/2h 5m/Costa-Gavras) (drama)

(6:45am) Mrs. Miniver (1942/2h 14m/William Wyler) (drama)

(9:15am) The Smiling Lieutenant (1931/1h 42m/Ernst Lubitsch) (comedy)

(11:00am) Dear Heart (1964/1h 54m/Delbert Mann) (comedy)

(1:00pm) Oliver! (1968/2h 33m/Carol Reed) (musical)

(3:45pm) Gigi (1958/1h 56m/Vincente Minnelli) (romance)

(6:00pm) Woman of the Year (1942/1h 52m/George Stevens) (comedy)

(8:00pm) Pather Panchali (1958/1h 55m/Satyajit Ray) (drama)

(10:15pm) Aparajito (1956/1h 53m/Satyajit Ray) (drama)

(Mon MAY 03)

(12:15am) The World Of Apu (1959/1h 46m/Satyajit Ray) (drama)

(2:15am) The Big City (1963/2h 11m/Satyajit Ray) (comedy)

(4:45am) The Lonely Wife (1965/1h 57m/Satyajit Ray) (romance)

(7:00am) The Music Room (1958/1h 40m/Satyajit Ray) (drama)

(8:45am) Devi (1960/1h 33m/Satyajit Ray) (drama)

(10:30am) The Coward (1965/1h 14m/Satyajit Ray) (drama)

(11:45am) Three Daughters: The Postmaster (1961/

(12:30pm) Three Daughters: Monihara (1961/

(1:30pm) Three Daughters: Samapti (1961/this plus the previous two listings = 1h 54m/Satyajit Ray) (drama)

(2:45pm) The Holy Man (1965/1h 5m/Satyajit Ray) (comedy)

(4:00pm) An Enemy of the People (1989/1h 40m/S

Do your worst!

When considering what directors to support for March Madness, one factor that is sometimes overlooked is the prospect of future installments in the series (after the main series is done) when directors continue to make films. I thought it would be interesting to look at all the directors in the bracket and evaluate the likelihood of future movies. As an overview:

• 6 directors have died (including the pair of Archers as a single entity)
• 8 directors have essentially retired or have little prospect of making feature movies again
• 12 directors are likely to work again in the future (without any impending projects now)
• 6 directors have new projects either actively in production or in post-production with an imminent release.

I have ordered the directors alphabetically in each group, in the order listed above, and for the living directors I have included their age, most recent film, number of total feature films (that would be covered in their series), and notes on what they have been up to recently, if anything.

Died:

Robert Altman; Died: 11/20/2006; Number of Feature Films (To Be Covered): 15

The Archers (Michael Powell & Emeric Pressburger); Died: Powell: 2/19/1990, Pressburger: 2/5/1988; Number of Feature Films (To Be Covered): 19 (NOT including Powell’s solo film Peeping Tom which may also be covered.

John Cassavetes; Died: 2/3/1989; Number of Feature Films: 12

Buster Keaton; Died: 2/1/1966; Number of Feature Films (To Be Covered): 11

Preston Sturges; Died: 8/6/1959; Number of Feature Films: 12 (NOT including Vendetta, a Howard Hughes film that Sturges took over from Max Ophuls; after shooting the movie Hughes fired him and replaced him with Stuart Heisler who Hughes would also fire for Mel Ferrer who became the sole credited director).

Unlikely:

Martin Brest; Age (as of 3/1/21): 69; Last Feature Film: Gigli (2003); Number of Feature Films: 7; What He’s Been Up To Since: There’s an article by Matt Patches in Playboy charting the career of Brest and reveals that as of 2014 he has basically disappeared from public life. Seven years later, nothing appears to have changed.

John Carpenter; Age: 73; Last Feature Film: The Ward (2010); Number of Feature Films: 18; What He’s Been Up To Since: Since 2015 he’s had a career as a touring musician. He’s also been involved as a producer and composer in the new series of Halloween films directed by David Gordon Green.

Joe Dante; Age: 74; Last Feature Film: Burying the Ex (2014); Number of Feature Fil

For context I'm a Refuse Driver (Garbage man) & today I was on food waste. After I'd tipped I was checking the wagon for any defects when I spotted a lone pea balanced on the lifts.

I said "hey look, an escaPEA"

No one near me but it didn't half make me laugh for a good hour or so!

Edit: I can't believe how much this has blown up. Thank you everyone I've had a blast reading through the replies 😂

In 2015, I created a list titled, “Top10ner’s 1001 'Greatest' Movies of All Time” and many of you seemed to enjoy it and still use it today so I thought it was about time that I updated it..

The original 2015 thread can be found here as well as the initial update for those curious about the algorithm.

Basically I started off by gathering ratings from IMDB (User/Critic Average), Rotten Tomatoes (Tomatometer, Critic Average) & (Audience Score, User Average), Metacritic (Critic Average, User Average) and Letterboxd (User Average). Each site’s average rating was then weighted so that no site’s ratings were favoured above the rest. The next step was to make sure that each film was treated equally. Rather than eliminating films that had little votes, I opted to alter these films score by carefully deducting points depending on how many people have seen it, and therefore voted on it.

I then finally put the list through a final adjustment, where I applied aspects such as critical reception (# of official lists movie is in), audience reception and overall likability/popularity. These figures were determined using sources such as iCheckmovies, Letterboxd and TSPDT?.

I've created the following lists for both Letterboxd and iCheckMovies, as well as a Google spreadsheet where you can check out the full list and search for particular films easier.

Letterboxd - 2020 Edition: Top10ner’s 1001 ‘Greatest’ Movies of All Time

IMDb - 2020 Edition: Top10ner’s 1001 ‘Greatest’ Movies of All Time

iCheckMovies - 2020 Edition: Top10ner’s 1001 ‘Greatest’ Movies of All Time

Google Spreadsheet - 2020 Edition: Top10ner’s 1001 ‘Greatest’ Movies of All Time

ANYWAY, here is the 1001 ‘Greatest’ Movies of All Time. Enjoy!
(NOTE: Could only include the first 750 movies due character limit)

They’re on standbi

It really does, I swear!

Pilot on me!!

Dad jokes are supposed to be jokes you can tell a kid and they will understand it and find it funny.

This sub is mostly just NSFW puns now.

If it needs a NSFW tag it's not a dad joke. There should just be a NSFW puns subreddit for that.

Edit* I'm not replying any longer and turning off notifications but to all those that say "no one cares", there sure are a lot of you arguing about it. Maybe I'm wrong but you people don't need to be rude about it. If you really don't care, don't comment.

When I got home, they were still there.

I won't be doing that today!

You take away their little brooms

It is somewhat curious how the mystique of red shoes works in popular myth but it is also interesting that it is always related to women almost in general. Red is fire, blood, heat, romance, passion, youth, beauty and emotion. But there is also danger and danger and even street signs represent a complete stop. Directors Michael Powell and Emeric Pressburger used the Hans Christian Andersen fairy tale "The Red Shoes" written in 1845 to make and retell the same story in 1948 in the film of the same name in ballet form and in the drama of the three main characters. . Boris Lermontov (the always excellent Anton Walbrook more than perfect in this film) is a hugely successful manager from a Classic Ballet Company with a passion for music and dance that expresses itself in his persona and eccentricities as well as a methodical and calculating man. In the first performance of the Ballet Lermontov film we are introduced to the three central characters besides Boris. They are Vicky Page (the beautiful Moira Shearer, who studied ballet and appears here in her first film) and music student Julian Craster (Marius Goring) who leaves the performance believing that her music had been plagiarized by her teacher and author of the music of the piece. After the performance Boris is introduced to Vicky and Vicky invites her to one of his rehearsals. Julian then writes a letter to Lermontov telling the circumstances of the plagiarism of his composition. Even though he regrets having written the letter, he falls into the hands of Boris who challenges the young man to play something of his original authorship and, impressed, hires Julian to join his company as a repetiteur. And during the rehearsals that Julian discreetly approaches Vicky and Boris while watching Vicky dancing, he begins to think about a new ballet piece having as a prima ballerina Vicky and this piece will be The Red Shoes with music by Julian. With the resounding success of the new ballet the company further solidifies its prestige. Vicky secretly falls in love with Julian without Boris' knowledge. I think you can imagine what would happen when Boris discovered the romance unfolding behind his back. At this point the characters converge in secrets, plots and dangerous relationships that are always represented in the brilliant cinematography of Jack Cardiff that always highlights and expresses the color red during the film. Very few times in history have colors been used in such a participative way in a d

It is somewhat curious how the mystique of red shoes works in popular myth but it is also interesting that it is always related to women almost in general. Red is fire, blood, heat, romance, passion, youth, beauty and emotion. But there is also danger and danger and even street signs represent a complete stop. Directors Michael Powell and Emeric Pressburger used the Hans Christian Andersen fairy tale "The Red Shoes" written in 1845 to make and retell the same story in 1948 in the film of the same name in ballet form and in the drama of the three main characters. .

Boris Lermontov (the always excellent Anton Walbrook more than perfect in this film) is a hugely successful manager from a Classic Ballet Company with a passion for music and dance that expresses itself in his persona and eccentricities as well as a methodical and calculating man. In the first performance of the Ballet Lermontov film we are introduced to the three central characters besides Boris. They are Vicky Page (the beautiful Moira Shearer, who studied ballet and appears here in her first film) and music student Julian Craster (Marius Goring) who leaves the performance believing that her music had been plagiarized by her teacher and author of the music of the piece. After the performance Boris is introduced to Vicky and Vicky invites her to one of his rehearsals.

Julian then writes a letter to Lermontov telling the circumstances of the plagiarism of his composition. Even though he regrets having written the letter, he falls into the hands of Boris who challenges the young man to play something of his original authorship and, impressed, hires Julian to join his company as a repetiteur. And during the rehearsals that Julian discreetly approaches Vicky and Boris while watching Vicky dancing, he begins to think about a new ballet piece having as a prima ballerina Vicky and this piece will be The Red Shoes with music by Julian. With the resounding success of the new ballet the company further solidifies its prestige. Vicky secretly falls in love with Julian without Boris' knowledge.

I think you can imagine what would happen when Boris discovered the romance unfolding behind his back. At this point the characters converge in secrets, plots and dangerous relationships that are always represented in the brilliant cinematography of Jack Cardiff that always highlights and expresses the color red during the film. Very few times in history have colors been used in such a participative way

It is somewhat curious how the mystique of red shoes works in popular myth but it is also interesting that it is always related to women almost in general. Red is fire, blood, heat, romance, passion, youth, beauty and emotion. But there is also danger and danger and even street signs represent a complete stop.

Directors Michael Powell and Emeric Pressburger used the Hans Christian Andersen fairy tale "The Red Shoes" written in 1845 to make and retell the same story in 1948 in the film of the same name in ballet form and in the drama of the three main characters. . Boris Lermontov (the always excellent Anton Walbrook more than perfect in this film) is a hugely successful manager from a Classic Ballet Company with a passion for music and dance that expresses itself in his persona and eccentricities as well as a methodical and calculating man. In the first performance of the Ballet Lermontov film we are introduced to the three central characters besides Boris. They are Vicky Page (the beautiful Moira Shearer, who studied ballet and appears here in her first film) and music student Julian Craster (Marius Goring) who leaves the performance believing that her music had been plagiarized by her teacher and author of the music of the piece. After the performance Boris is introduced to Vicky and Vicky invites her to one of his rehearsals.

Julian then writes a letter to Lermontov telling the circumstances of the plagiarism of his composition. Even though he regrets having written the letter, he falls into the hands of Boris who challenges the young man to play something of his original authorship and, impressed, hires Julian to join his company as a repetiteur. And during the rehearsals that Julian discreetly approaches Vicky and Boris while watching Vicky dancing, he begins to think about a new ballet piece having as a prima ballerina Vicky and this piece will be The Red Shoes with music by Julian. With the resounding success of the new ballet the company further solidifies its prestige. Vicky secretly falls in love with Julian without Boris' knowledge. I think you can imagine what would happen when Boris discovered the romance unfolding behind his back. At this point the characters converge in secrets, plots and dangerous relationships that are always represented in the brilliant cinematography of Jack Cardiff that always highlights and expresses the color red during the film.

Very few times in history have colors been used in such a participative way

(MON MAR 01)

(12:00am) Walk Cheerfully (1930/1h 35m/Yasujirô Ozu) (crime-drama-romance)

(2:00am) Uncle Yanco (1967/20m/Agnès Varda) (documentary short)

(2:20am) Black Panthers (1968/31m/Agnès Varda) (documentary short)

(3:15am) Lions Love (...and Lies) (1969/1h 52m/Agnès Varda) (dramedy)

(5:15am) MGM Parade Show #11 (1955/25m/?)

(6:00am) The Dawn Patrol (1938/1h 43m/Edmund Goulding) (war)

(8:00am) The Toast Of New Orleans (1950/1h 37m/Norman Taurog) (musical)

(9:45am) Eye of the Devil (1966/1h 29m/J. Lee Thompson) (horror)

(11:45am) Tonight’s The Night (1954/1h 27m/Mario Zampi) (comedy)

(1:15pm) A Kiss In The Dark (1949/1h 28m/Delmer Daves) (comedy)

(2:45pm) A Matter of Life and Death (1947/1h 44m/Emeric Pressburger and Michael Powell) (romance)

(4:45pm) Around The World In 80 Days (1956/2h 50m/Michael Anderson) (epic)

(8:00pm) Romance on the High Seas (1948/1h 39m/Michael Curtiz) (musical)

(9:45pm) My Dream Is Yours (1949/1h 41m/Michael Curtiz) (musical)

(11:45pm) Tea For Two (1950/1h 38m/David Butler) (musical)

(TUE MAR 02)

(1:30am) The West Point Story (1950/1h 47m/Roy Del Ruth) (musical)

(3:30am) Lullaby of Broadway (1951/1h 32m/David Butler) (musical)

(5:15am) It’s A Great Feeling (1949/1h 25m/David Butler) (comedy)

(7:00am) Storm Warning (1951/1h 33m/Stuart Heisler) (drama)

(9:00am) Blondie of the Follies (1932/1h 30m/Edmund Goulding) (comed)

(10:45am) Goodbye Again (1933/1h 5m/Michael Curtiz) (comedy)

(12:00pm) Make Me A Star (1932/1h 10m/William Beaudine) (comedy)

(1:45pm) Sing and Like It (1934/1h 12m/William A. Seiter) (comedy)

(3:00pm) Strictly Unreliable (1932/19m/George Marshall) (comedy short)

(3:00pm) Hill-Tillies (1936/17m/Gus Meins) (comedy short)

(3:00pm) Backs To Nature (1933/19m/Gus Meins) (comedy short)

(4:15pm) Kelly The Second (1936/1h 25m/Gus Meins) (comedy)

(5:30pm) Hips, Hips, Hooray! (1934/1h 8m/Mark Sandrich) (comedy)

(6:45pm) Smart Blonde (1936/59m/Frank McDonald) (comedy)

(8:00pm) Thoroughbreds Don’t Cry (1937/1h 20m/Alfred E. Green) (drama)

(9:30pm) Easter Parade (1948/1h 43m/Charles Walters) (musical)

(11:30pm) A Star Is Born (1954/2h 56m/George Cukor) (musical)

(WED MAR 03)

(2:45

a work in progress.

All Times E.S.T.

(THU APR 01)

(1:15am) The Son Of Kong (1933/1h 10m/Ernest B. Schoedsack) (horror)

(2:45 am) Godzilla vs. Mechagodzilla (1974/1h 20m/Jun Fukuda) (horror)

(4:15am) Rodan (1958/1h 10m/Inoshiro Honda) (horror)

(6:00am) Adam’s Rib (1949/1h 41m/George Cukor) (comedy)

(8:00am) The Adventures Of Robin Hood (1938/1h 42m/Michael Curtiz) (adventure)

(10:00am) After The Thin Man (1936) (1h 50m/W.S. Van Dyke) (suspense/mystery)

(12:00pm) Agnes Of God (1985/1h 38m/Norman Jewison) (drama)

(2:00pm) Air Force (1943/2h 4m/Howard Hawks) (war)

(4:15pm) Algiers (1938/1h 35m/John Cromwell) (crime)

(6:00pm) Alice Adams (1935/1h 40m/George Stevens) (comedy)

(8:00pm) All The King’s Men (1949/1h 50m/Robert Rossen)

(10:00pm) Almost Famous (2000/2h 2m/Cameron Crowe) (comedy)

(FRI APR 02)

(12:15am) An American In Paris (1951/1h 53m/Vincente Minnelli) (musical)

(2:15am) Anatomy Of A Murder (1959/2h 40m/Otto Priminger) (drama)

(5:15am) Anna Christie (1930/1h 14m/Clarence Brown) (drama)

(6:45am) Around The World In 80 Days (1956/2h 50m/Michael Anderson) (epic)

(10:00am) Au Revoir, Les Enfants (1987/1h 44m/Louis Malle) (drama)

(12:00pm) The Awful Truth (1937/1h 30m/Leo McCarey) (comedy)

(1:45pm) Baby Doll (1956/1h 54m/Elia Kazan) (drama)

(3:45pm) The Band Wagon (1953/1h 52m/Vincente Minnelli) (musical)

(5:45pm) Being There (1979/2h 10m/Hal Ashby) (comedy)

(8:00pm) Ben-Hur (1959/3h 32m/William Wyler) (epic)

(SAT APR 03)

(12:00am) The Best Man (1964/1h 42m/Franklin J. Schaffner) (drama)

(2:00am) The Big Chill (1983/1h 43m/Lawrence Kasden) (drama)

(4:00am) The Birds (1963/2h 0m/Alfred Hitchcock) (horror)

(6:00am) Blithe Spirit (1945/1h 36m/David Lean) (comedy)

(7:45am) Block-Heads (1938/0h 55m/John G. Blystone) (comedy)

(9:00am) Born Yesterday (1950/1h 43m/George Cukor) (comedy)

(11:00am) The Bridge On The River Kwai (1957/2h 41m/David Lean) (epic)

(2:00pm) Bullitt (1968/1h 54m/Peter Yates) (crime)

(4:15pm) Caged (1950/1h 36m/John Cromwell) (drama)

(6:00pm) Calamity Jane (1953/1h 41m/David Butler) (musical)

(8:00pm) Carefree (1938/1h 20m/Mark Sandrich) (c

What did 0 say to 8 ?

" Nice Belt "

So What did 3 say to 8 ?

" Hey, you two stop making out "