Recent content by Malcolm Bmoor

It wasn't just some of the audience who didn't appreciate it. I knew two people involved in the making: One of the actors playing an ape and they were tediously kept filming until there was enough for an entire feature. And an electrician who made a great deal of overtime when the schedule...

I can't resist pointing out: Grammy Awards nomination: Best Original Score -Maurice Jarre Was it still An Original Score when he reused some of it in Passage To India? Sorry for the disruption as I do find the film oddly persuasive, despite its vulnerability to criticism, and would buy it on...

When David Lean protested he felt resentment that he'd not made the film in standard ratio black & white I feel it's a valid aspect of continuing controversy. It seems to me that the overhelming attraction most people have for this picture is how it looks in an ideal presentation, which I too...

Lest we become too accustomed to the title THE COPPOLA VERSION we should note that it is an adaptation of the Kevin Brownlow/Thames/BFI version that Kevin began when he was a schoolboy playing with a 9.5 projector.

My mistakes and cast offs go to my partner's church fundraising sales and I always felt guilty about this one as her church is a very nice one - undeserving of members of its congregation being reduced to mind-numbing bafflement. I can't remember how much of the Blu-ray I saw before being...

I think academy ampas members must be all hard of hearing when it comes to nomination voting. It's sadly true that you can't depend upon voting being on the basis of ideal cinema viewing. Here in the UK I know of a BAFTA member who works through a pile of DVDs of nominations on a sub-standard...

I'd have bought it if it was the Bob Dylan concert. But of course, what the world needs more is another violent thriller.

In addition to being an exceptionally nice man with whom to work he was also very knowledgable about Silent Cinema. When he was in a production of MACK AND MABEL in London the cast went to the NFT to see a Mabel Normand picture, which he introduced superbly. I was included in the invitation...

so I'm genuinely curious .... That's a very fair question and the answer is probably secret admiration allied to fatal fascination. Knowing the production story from FINAL CUT adds a dimension but it's also true that after seeing it for the second time, which was the NFT full length 70mm way...

HG was in short terrible. It doesn't work on this forum to dismiss anything, however dreadful you think it is. I agree about this film but you'll receive extremely rude answers from people who won't accept the reality of gross self indulgence from the director. If he'd been spending his own...

'I'll never buy MFL.' Many a long year ago, one of the great conductors of the day was assailed after a concert by a fearsomely pushy lady who was part of the coterie whose excessive money was essential to support the orchestra: 'Oh Maestro, I really enjoyed the concert, especially the...

If I were to see this film it would be at home so I'd be able to have as many intervals as I wanted. But the intense violence of Mr Scorcese's films (excluding THE LAST WALTZ and SHINE A LIGHT) makes that unlikely. In brief summaries of the film I've noted the phrase 'killing one by one'...

I've always heard it that there are three indisputable truths in life: (1) The sun rises in the east. (2) Water is wet. (3) It's a long way to Tipperary. (4) A man has to know his limitations.

As we're all agreed that this is a terrific film here's an anecdote about trying to see it with appropriate respect. At the time it was first issued I visited a friend away from Central London and we went to her local smallish multi, which was also showing either a new Star Wars or Harry Potter...

"I'll give you a few days, if I don't like what I see you're out". Oh - so that should have been the answer. If Mr Eastwood had produced his other films there wouldn't have been any nonsense with double/triple/quadruple budgets and vast overshooting and schedules.