Noticias

Glenda Jackson: Actress and former Labour MP. Two-time Oscar winner and former Labour MP Glenda Jackson returns to acting Two-time Best Actress Academy Award winner Glenda Jackson set aside her acting career after becoming a Labour Party MP in 1992. Four years ago, Jackson, who represented the Greater London constituency of Hampstead and Highgate, announced that she would stand down the 2015 general election – which, somewhat controversially, was won by right-wing prime minister David Cameron's Conservative party.[1] The silver lining: following a two-decade-plus break, Glenda Jackson is returning to acting. Now, Jackson isn't – for the time being – returning to acting in front of the camera. The 79-year-old is to be featured in the Radio 4 series Emile Zola: Blood, Sex and Money, described on their website as a “mash-up” adaptation of 20 Emile Zola novels collectively known as "Les Rougon-Macquart."[2] Part 1 of the three-part Radio 4 series will be broadcast daily during an...

Translators introduction: This article by Mireille Latil Le Dantec, the second of two parts, was originally published in issue 40 of Cinématographe, September 1978. The previous issue of the magazine had included a dossier on "La qualité française" and a book of a never-shot script by Jean Grémillon (Le Printemps de la Liberté or The Spring of Freedom) had recently been published. The time was ripe for a re-evaluation of Grémillon's films and a resuscitation of his undervalued career. As this re-evaluation appears to still be happening nearly 40 years later—Grémillon's films have only recently seen DVD releases and a 35mm retrospective begins this week at Museum of the Moving Image in Queens—this article and its follow-up gives us an important view of a French perspective on Grémillon's work by a very perceptive critic doing the initial heavy-lifting in bringing the proper attention to the filmmaker's work.

Passion...

Translators introduction: This article by Mireille Latil Le Dantec, the first of two parts, was originally published in issue 40 of Cinématographe, September 1978. The previous issue of the magazine had included a dossier on "La qualité française" and a book of a never-shot script by Jean Grémillon (Le Printemps de la Liberté or The Spring of Freedom) had recently been published. The time was ripe for a re-evaluation of Grémillon's films and a resuscitation of his undervalued career. As this re-evaluation appears to still be happening nearly 40 years later—Grémillon's films have only recently seen DVD releases and a 35mm retrospective begins this week at Museum of the Moving Image in Queens—this article and its follow-up gives us an important view of a French perspective on Grémillon's work by a very perceptive critic doing the initial heavy-lifting in bringing the proper attention to the filmmaker's work.

Filmmaker maudit?...

The second in a short series celebrating the films of the Pathé-Natan company, 1926-1934. 

La petite Lise (1930) seems like a film from Mars. It's so dazzling and unique that it should be a textbook classic, and then it wouldn't be so startling. I suppose its failure to perform at the box office is all the explanation we need for why it didn't join the canon, although other commercially unsuccessful movies have managed it. It's finally emerging into the light, I think, and taking its place as a truly innovative early sound film: dialogue occupies such a distant third place in the film's scheme that calling it a talkie seems quite wrong.

One anecdote stands out: when producer Bernard Natan first saw the film Jean Grémillon had made for his company, he told the director that he'd never again be employed by Pathè-Natan, in such forceful terms that Grémillon...