Miloš Forman, right, will be celebrated by short season. Photo: Courtesy of London Czech Centre The Czech Centre in London is showcasing a short season of films to mark the 85th birthday of Czech director Miloš Forman from April 22 to 30.
The events will also explore the principles - such as the importance of the everyday, the rejection of cinematic norms and the belief in artistic freedom - which Forman shared with the British Free Cinema movement by presenting his films alongside British directors such as Lindsay Anderson and Ken Loach.
Although Forman became famed for his Oscar-winning films One Flew Over the Cuckoo’s Nest (due for re-release in British cinemas on April 14) and Amadeus, he began his started his career in opposition to classic narrative cinema, using mainly non-professional actors and scripts that eschewed conventional dramatic development.
The full programme is as follows:
Sat 22 April, 5.30pm
Poor Cow - Dir: Ken Loach,...
The events will also explore the principles - such as the importance of the everyday, the rejection of cinematic norms and the belief in artistic freedom - which Forman shared with the British Free Cinema movement by presenting his films alongside British directors such as Lindsay Anderson and Ken Loach.
Although Forman became famed for his Oscar-winning films One Flew Over the Cuckoo’s Nest (due for re-release in British cinemas on April 14) and Amadeus, he began his started his career in opposition to classic narrative cinema, using mainly non-professional actors and scripts that eschewed conventional dramatic development.
The full programme is as follows:
Sat 22 April, 5.30pm
Poor Cow - Dir: Ken Loach,...
- 4/1/2017
- by Amber Wilkinson
- eyeforfilm.co.uk
“Everything But The Kitchen Sink”
By Raymond Benson
In the late 1950s, a film movement emerged in Britain known as “Free Cinema.” Some of the U.K.’s most celebrated filmmakers of the 1960s and 70s were among its practitioners—Lindsay Anderson, Karel Reisz, Lorenza Mazzetti, and Tony Richardson. The directors made low budget, short documentaries about the working class with an almost deliberate “non commercial” sensibility. It was radical and exciting, and it was a precursor to the British New Wave that dovetailed with the French New Wave that was so influential on filmmakers everywhere.
Many of the pictures of the British New Wave, released between 1959 and 1964, focused on characters described as “angry young men,” and the films themselves were referred to by critics and theorists as “kitchen sink dramas.” This was because the movies were presented in a harsh, realistic fashion and were indeed about the gritty, working...
By Raymond Benson
In the late 1950s, a film movement emerged in Britain known as “Free Cinema.” Some of the U.K.’s most celebrated filmmakers of the 1960s and 70s were among its practitioners—Lindsay Anderson, Karel Reisz, Lorenza Mazzetti, and Tony Richardson. The directors made low budget, short documentaries about the working class with an almost deliberate “non commercial” sensibility. It was radical and exciting, and it was a precursor to the British New Wave that dovetailed with the French New Wave that was so influential on filmmakers everywhere.
Many of the pictures of the British New Wave, released between 1959 and 1964, focused on characters described as “angry young men,” and the films themselves were referred to by critics and theorists as “kitchen sink dramas.” This was because the movies were presented in a harsh, realistic fashion and were indeed about the gritty, working...
- 8/13/2016
- by nospam@example.com (Cinema Retro)
- Cinemaretro.com
I. The Landmine
In August 1955, George Devine, director of London’s Royal Court Theatre, ventured to meet a promising writer, living on a Thames houseboat. “I had to borrow a dinghy… wade out to it and row myself to my new playwright,” he recalled. Thus began a partnership between Devine, who sought to rescue the English stage from stale commercialism, and the 26 year old tyro, John Osborne. Together, they’d revolutionize modern theater.
Born in London but raised in Stoneleigh, Surrey, Osborne lost his father at age 12, resented his low-born mother and was expelled from school for striking a headmaster. While acting for Anthony Creighton’s repertory company, his mercurial temper and violent language appeared. In 1951 he wed actress Pamela Lane, only to divorce six years later. Osborne soon immortalized their marriage: their cramped apartment, with invasive friends and intruding in-laws, John and Pamela’s pet names and verbal abuse,...
In August 1955, George Devine, director of London’s Royal Court Theatre, ventured to meet a promising writer, living on a Thames houseboat. “I had to borrow a dinghy… wade out to it and row myself to my new playwright,” he recalled. Thus began a partnership between Devine, who sought to rescue the English stage from stale commercialism, and the 26 year old tyro, John Osborne. Together, they’d revolutionize modern theater.
Born in London but raised in Stoneleigh, Surrey, Osborne lost his father at age 12, resented his low-born mother and was expelled from school for striking a headmaster. While acting for Anthony Creighton’s repertory company, his mercurial temper and violent language appeared. In 1951 he wed actress Pamela Lane, only to divorce six years later. Osborne soon immortalized their marriage: their cramped apartment, with invasive friends and intruding in-laws, John and Pamela’s pet names and verbal abuse,...
- 3/7/2015
- by Christopher Saunders
- SoundOnSight
Film-maker whose documentaries allowed the subjects to speak for themselves
The documentary film-maker Michael Grigsby, who has died aged 76, strove to convey the experiences of ordinary people, and those on the margins of society. His subjects ranged from Inuit hunters in northern Canada and North Sea fishermen to Northern Irish farmers, Vietnamese villagers and, most recently, ageing American veterans of the Vietnam war.
He made more than 30 films – many of them for Granada TV's World in Action and Disappearing World – which were marked by the way in which they allowed their subjects to speak for themselves. Taking his films back to the communities he had filmed for their approval became a vital part of Grigsby's process of securing trust. Some – like the Inuit – would subsequently use his films to explain their lives to outsiders.
Grigsby's questions were never heard and he abhorred commentary, preferring brief captions or the overlaid voices...
The documentary film-maker Michael Grigsby, who has died aged 76, strove to convey the experiences of ordinary people, and those on the margins of society. His subjects ranged from Inuit hunters in northern Canada and North Sea fishermen to Northern Irish farmers, Vietnamese villagers and, most recently, ageing American veterans of the Vietnam war.
He made more than 30 films – many of them for Granada TV's World in Action and Disappearing World – which were marked by the way in which they allowed their subjects to speak for themselves. Taking his films back to the communities he had filmed for their approval became a vital part of Grigsby's process of securing trust. Some – like the Inuit – would subsequently use his films to explain their lives to outsiders.
Grigsby's questions were never heard and he abhorred commentary, preferring brief captions or the overlaid voices...
- 3/21/2013
- by Ian Christie
- The Guardian - Film News
A pioneering film collective brings Free Cinema to Manchester
A report about Unit Five Seven, a Manchester film-making collective formed by Michael Grigsby in 1960, appeared in the From the Archive column on 18 October (see how the piece originally appeared in the Guardian here).
The work of Unit Five Seven, as Grigsby himself says in the article, was influenced by the Free Cinema movement in London, a series of documentary programmes shown at the National Theatre, representing a new approach to film-making. The Guardian's London film critic, reviewing the Look at Britain programme in 1957, welcomed the "introduction of a little fresh air into the fusty notions of our film studios".
The Free Cinema movement, whose founders included Lindsay Anderson, Karel Reisz and Tony Richardson, encouraged Grigsby and his work was shown at the final Free Cinema programme in 1959.
Grigsby's film Enginemen captured both the ethos of Free Cinema and the aims...
A report about Unit Five Seven, a Manchester film-making collective formed by Michael Grigsby in 1960, appeared in the From the Archive column on 18 October (see how the piece originally appeared in the Guardian here).
The work of Unit Five Seven, as Grigsby himself says in the article, was influenced by the Free Cinema movement in London, a series of documentary programmes shown at the National Theatre, representing a new approach to film-making. The Guardian's London film critic, reviewing the Look at Britain programme in 1957, welcomed the "introduction of a little fresh air into the fusty notions of our film studios".
The Free Cinema movement, whose founders included Lindsay Anderson, Karel Reisz and Tony Richardson, encouraged Grigsby and his work was shown at the final Free Cinema programme in 1959.
Grigsby's film Enginemen captured both the ethos of Free Cinema and the aims...
- 10/18/2011
- by Lauren Niland, Guardian Research Department
- The Guardian - Film News
CineVue were honoured guests of American Express this past Thursday for a screening of three extraordinary film treasures from the BFI National Archive, as part of the Watch This Space Festival at London's National Theatre Flytower. The selected films - Momma Don't Allow (1956), Lindsay Anderson's Every Day Except Christmas (1957) and Nice Time (1957) - provided a compelling, and at times hilarious insight into post-war British domestic life, and are some of the finest pieces to come from the Free Cinema movement.
Read more »...
Read more »...
- 9/24/2011
- by Daniel Green
- CineVue
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