Category Archives: Venice International Film Festival

#AFI, #AFIFEST, Venice International Film Festival

AFI FEST 2016 State of the Art Technology Showcase

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AFI FEST 2016 presented by Audi has jumped on the virtual reality (VR) bandwagon in a big way on Saturday, November 12th, with its State of the Art Technology Showcase Presented by Google Spotlight Stories. Keynote Speaker, Anthony Blatt, Co-Founder of Wevr, kicked off the Showcase at 11:00 A.M inside the Hollywood Roosevelt Hotel’s AFI FEST Cinema Lounge.

Blatt spoke extensively on where VR is today as behemoths Google and Microsoft are investing billions of dollars in an uncertain VR future. Nevertheless, VR filmmaking is presently bringing together filmmakers as they explore emerging VR technologies including 360 degree VR. It is Blatt’s hope these new technologies will continue to bring together filmmakers, introduce them to what is possible and that they will collaborate to present stories in years to come.

Some Hollywood directors have been outspoken and semi-critical of the new VR

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Hollywood Director Steven Spielberg at 2016 Cannes Film Festival (Photo: The Guardian)

filmmaking that attempts to arrange circumstances with bits of code that give the viewer agency. This differs from traditional filmmaking where one view is presented by the director. At the 2106 Cannes Film Festival, veteran Hollywood Director Steven Spielberg was quoted saying, “I think we’re moving into a dangerous medium with virtual reality,” he said. “The only reason I say it is dangerous is because it gives the viewer a lot of latitude not to take direction from the storytellers but make their own choices of where to look. ” (The Guardian)

While Spielberg may have a point, most legitimate VR filmmakers have techniques to gently guide the viewer in a linear or specifically designed narrative through either sound, color schematic or lighting. One intriguing aspect of VR viewing is its capacity to immerse a viewer in the presentation. Once a headset or goggle are in place, peripheral vision that occurs in a theatrical experience is removed. Blatt stipulates this will create a more “real” experience and, in addition, will stimulate lucid dreaming about the experience.

To illustrate and to help substantiate his claims on the VR experience, Blatt related a story of Jon Favreau‘s first VR viewing experience. Favreau was so overwhelmed after donning the VR goggles that upon their removal he stated he had to make a story and began sketching right away.

VR stories are similar to traditional film stories as both initially start in the writing process in script format, proceed to story-boarding and then to analysis. However, as noted earlier, the VR viewer has some agency. So, the VR experience is still a narrative story. However, VR also adds additional aspects of gamesmanship and puzzles. Another aspect under development in VR is the introduction of artificial intelligence (AI). The introduction of AI turns a viewing experience into an interactive experience potentially. Here again, is where production design aids the filmmaker in gently leading the viewer towards the pre-defined narrative. Blatt refers to the process as story to puzzle, puzzle to story. And, he strongly asserted that the focus for VR filmmaking needs to be on the story versus the technology or the medium.

In addition to storytelling and production design, Blatt discussed issues in editing VR and some of the challenges filmmakers are facing. He also mentioned the various uses of photogrammetry in storytelling. Ultimately, Mr. Blatt believes VR is a better experience. When asked why a viewer would want to choose VR rather than the traditional theatrical experience in the brief Q & A following the presentation, Blatt cited curiosity. Blatt culminated his remarks saying VR has the power to transform and change lives with its immersive storytelling techniques much like his 1977 Saturday afternoon matinee viewing of George Lucas’s first installment of the Star Wars saga.

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VR Viewing Room at the 2016 Venice International Film Festival (Photo credit: Larry Gleeson/HollywoodGlee)

Recently, I attended a 40-minute segment viewing of what is being marketed as the first feature-length VR film with human actors, Jesus VR, set for release on Christmas Day. The portion I viewed contained a scene where a parable was used to illustrate a teaching point. To me, I believe the application of VR for storytelling and teaching is astounding. The issue seems to be how to get there. Currently, the technology costs associated with VR filmmaking are prohibitively high.

Nevertheless, in my opinion, VR is here to stay. So lace up your boots and hop on. You’ll be glad you did. It’s going to be quite a ride!

Documentary, Venice International Film Festival, Whistler Film Festival

‘Unlike anything I’ve ever seen’: Filmmakers create documentary of a documentary

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Posted by Larry Gleeson

By Jon Hernandez, CBB News

A new film explores the trials, hardships and endless problem solving required in documentary filmmaking — by putting the entire process itself under the lens.

Academy Award-winning Vancouver-based documentary filmmaker John Zaritsky is in front of the camera for the first time in John Zaritsky on TV, a film that follows him as he takes on his latest project, chronicling survivors of the controversial pharmaceutical thalidomide.

The film, co-directed and co-produced by Michael Savoie and Jennifer diCresce, candidly follows Vancouver’s Zaritsky as he embarks on what he believes is his tour de force. It is an official selection for the 2016 Whistler Film Festival.

“I was uncertain about it,” Savoie told host Sheryl MacKay on CBC’s North by Northwest. “But the film is unlike anything I’ve ever seen about the filmmaking process. It’s not the kind of film that gets tacked onto the end of a DVD … this is really getting into the head of a fellow on the top of his game.”

The Thalidomide Saga

The film follows Zaritsky as he shoots No Limits: The Thalidomide Saga — a documentary that explores the after-effects of the controversial drug.

Thalidomide was first synthesized in the former West Germany and marketed worldwide as a “wonder drug” that provided “safe and sound sleep,” according to the Association of Canadian Victims of Thalidomide.

However, when the drug was taken during pregnancy, it led to serious birth defects and many infant deaths. The drug was available in Canada for three years before being pulled off the shelves in 1962.

Zaritsky and survivor

John Zaritsky talks to a subject and thalidomide survivor, explaining that he is also the subject of a documentary. (Michael Savoie and Jennifer diCresce/John Zaritsky on TV)

Zaritsky decided to catch up with some of the survivors to showcase how the after-effects of the drug linger, and that it is allegedly being re-branded in Germany. The timing of the project aligned with Savoie’s desire to create a documentary that turned the genre on its head by shining a light on the filmmaking process.

“It seemed to me to be the perfect time to do this,” he said. “But what we didn’t expect was that eight weeks before [production], John wanted me to shoot his film.”

A character in his own film

Savoie, who had worked with Zaritsky in the past as well, accepted the role of cameraman, and in so doing, ended up becoming the subject of his own film. He says at first, being one of the characters was strange — until the harsh reality of documentary filmmaking set it in.

“We just got so tired. Over the course of 25 days we traveled 25,000 kilometers. And eventually, you’re just surviving out there. You’re eating when you can, sleeping when you can, so the crew that was [filming us] really disappeared.”

Michael Savoie

Michael Savoie is both filmmaker and subject as he tiredly looks at his watch after little sleep and many days of shooting for John Zaritsky’s No Limits: The Thalidomide Saga. (Michael Savoie and Jennifer diCresce/John Zaritsky on TV)

“It’s such a difficult way to live your life. Making a documentary is hard. And the whole process of raising funds and bank accounts and tax credits is a really hard thing to do with your life. And when you finally do get to do the fun part and start filming it, you don’t want to make any mistakes.”

And he says once a filmmaker is out on the field, things always fall apart.

For example, at one point, one of Zaritsky’s essential characters drops out of the film. The camera catches the moment as it happens, lingering on the filmmaker as he takes it in and begins to work around it.

Character falls out

Savoie (left) tells Zaritsky (right) a key character has dropped out of the film while they’re in the middle of a shoot.

“A major building block of his film just disappeared, and he had to think fast and get back on his feet … that’s one of my favorite sequences of the film. That’s real cinéma vérité.”

The film premiers at the Whistler Film Festival on Dec. 1.

(Source: http://www.cbc.ca)

#AFI, #AFIFEST, Documentary, Feature Film, Hollywood, Venice International Film Festival

FILM REVIEW: Mifune: The Last Samurai (Okazaki, 2015): Japan

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Reviewed by Larry Gleeson

Viewed during AFIFEST 2016 presented by Audi, Mifune: The Last Samurai, directed by Steven Okazaki, is a feature-length documentary about the life and films of legendary Japanese actor Toshiro Mifune. Okazaki utilizes archival clips, photographic stills and interviews with those who worked with Mifune. The film is narrated by Keanu Reeves.

Interestingly, the film is more of a creative interpretation of specific formative elements, both personal and cultural, that led to Mifune’s distinct personality. Okazaki presents Mifune is a non-linear fashion. He opens the film with the infamous rape scene from Rashomon. From there he discusses Mifune’s approach to some of his Rashomon scenes. Apparently, to embody the untamed animal instinct of his character, Mifune studied the movements and behavior of a lion. To add substance to such a claim, Okazaki shows, much to the audience’s delight, Mifune closing in on his samurai opponent in a lion-like fashion.

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Iconic Japanese Director Akira Kurasaw, left, and legendary Japanese Actor Toshiro Mifune, during a set break.

The 1950’s and 60’s were a Golden Age for Japanese Film. Iconic Japanese Director Akira Kurasawa had won the Golden Lion at Venice with Rashomon in 1951 putting Japanese films on the world scene. Kurasawa and Mifune would go on to collaborate on 16 films over an eighteen year period including renowned, classic films such of Rashomon (1950), Seven Samurai (1954), Throne of Blood (1957) and Yojimbo (1961). 

Telling interviews from Kyoko Kagawa, Takeshi Kato, Haruo Nakajima, Yosuke Natsoki and Sadao Nakajima reveal Mifune’s ardent preparation for roles, painstakingly researching and laborious rehearsal processes. Kurasawa rarely, if ever, gave Mifune specific direction on creating characters. Other interviews came from American directors Martin Scorcese and Steven Spielberg revealing the admiration and respect Mifune garnered not only in Japan but in Hollywood as well.

With the advent of war in 1931 and Japan invading Manchuria every able-bodied Japanese male was conscripted into service including Mifune. Mifune and his parents were Japanese Nationalists living in China at the time. Mifune’s early experiences in the war consisted of a lot of beatings as his superior officers found his tone of voice off-putting and insubordination charges followed. By war’s end males as young as eleven years old were brought into the army and referred to as Little Citizens and Children of the Emperor. Mifune’s role became training the young men as Kamakazi’s. Both of Mifune’s parents were casualties of the war.

After the war, time were tough for the Japanese. Men sold their suits and women sold their socks just to have enough to eat. Mifune made himself a pair of trousers and a matching coat from his army blanket. Such a look, coupled with his strong voice, gave Mifune a big presence. He applied for a camera assistant position with a film studio and got the position. However, in 1947, Mifune made his entrance as an actor in Kurasawa’s Snow Trail. Kurasawa was impressed with Mifune’s work and began writing bigger and better roles for Mifune. Mifune would not go back to being a camera assistant.

Kurasawa was a well-known director in Japan before the war and continued filmmaking during the war years with propaganda films. The US banned swordplay films after the war for seven years. When the ban was lifted Kurasawa was ready with one of the great films in cinematic history, Seven Samurai, with Mifune playing a often humorous, wanna-be Samurai. Mifune’s father had been a photographer and young Toshiro often posed as a Samurai for photos.

Mifune became an inspiration for young actors who found his minimalist approach accessible. Often referred to as the John Wayne of Japan, Toshiro Mifune is The Last Samurai. Warmly recommended…a cinephile’s dream!

Palm Springs International Film Festival, Press Conference, Venice International Film Festival

LA LA LAND to Receive the Vanguard Award at Palm Springs

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Palm Springs, CA (November 21, 2016) – The 28th annual Palm Springs International Film Festival (PSIFF) will present the film La La Land with the Vanguard Award at its annual Film Awards Gala.  The award is presented to the film’s cast and director recognizing its outstanding creative ensemble. Cast members Ryan Gosling and Emma Stone and director/writer Damien Chazelle are expected to attend. The Film Awards Gala, hosted by Mart Hart, will be held Monday, January 2 at the Palm Springs Convention Center. The Festival runs January 2-16.

“Director and writer Damien Chazelle delivers a resonant cinematic masterpiece with La La Land,” said Festival Chairman Harold Matzner. “This visually stunning film pays tribute to classic Hollywood musicals with a contemporary love story driven by pitch-perfect performances by Ryan Gosling and Emma Stone.  It is our honor to present the Vanguard Award to La La Land.”

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La La Land Director/Writer Damien Chazelle  (Photo courtesy of ASCA Images/Biennale Cinema di Venezia)

Written and directed by Academy Award® nominee Damien Chazelle, La La Land, from Lionsgate’s Summit Entertainment label, tells the story of an aspiring actress, Mia (Emma Stone), and a dedicated jazz musician, Sebastian (Ryan Gosling), both struggling to make ends meet in a city known for crushing hopes and breaking hearts. Set in modern-day Los Angeles, this original musical about everyday life explores the joy and pain of pursuing your dreams.

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About The Palm Springs International Film Festival
The Palm Springs International Film Festival (PSIFF) is one of the largest film festivals in North America, welcoming 135,000 attendees last year for its lineup of new and celebrated international features and documentaries. The Festival is also known for its annual Film Awards Gala, an upscale black-tie event attended by 2,500, honoring the best achievements of the filmic year by a celebrated list of talents who, in recent years, have included Ben Affleck, Javier Bardem, Cate Blanchett, Sandra Bullock, Bradley Cooper, George Clooney, Daniel Day-Lewis, Leonardo DiCaprio, Clint Eastwood, Tom Hanks, Matthew McConaughey, Julianne Moore, Brad Pitt, Eddie Redmayne, Julia Roberts, David O. Russell, Meryl Streep, and Reese Witherspoon.

For more information, call 760-322-2930 or 800-898-7256 or visit www.psfilmfest.org.

MEDIA CONTACTS:
Steven Wilson / Lauren Peteroy
B|W|R Public Relations
212-901-3920
steven.wilson@bwr-pr.com / lauren.peteroy@bwr-pr.com

David Lee
Palm Springs International Film Society
760-322-2930
david@psfilmfest.org

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(www.psfilmfest.org)

 

#BIFF, distribution, Venice International Film Festival

Eros joins hands with Russian film distribution company Central Partnership

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Posted by Larry Gleeson
By Guarav Laghate

MUMBAI: Indian film studio Eros International has entered into a strategic partnership with Russian distribution and production company Central Partnership (CP) – an affiliate screen-shot-2016-11-21-at-7-21-01-amof Gazprom Media Holding – to promote and distribute Indian and Russian content across multiple platforms in both countries.

This association includes exploitation via licensing of intellectual property rights owned by each party in their respective markets and distribution of film projects for both

India and Russia, opening up the market for the two companies to explore new geographies.

As part of the deal, CP will dub films from Eros’ film library in Russian language enabling the company to cater to a much larger audience in Russia and can further utilise the dubbed content on its digital platform, Eros Now, to reach out to a wider audience in Russia.

jyoti-deshpande_rg_7056_090615043512Jyoti Deshpande, group CEO Eros International, said, “India and Russia have historically always enjoyed a strong and strategic relationship. With our entry into the Russian market, we continue to build our strong global position and are delighted to take the lead in associating with Central Partnership.”She added, “Russia’s domestic market potential is promising and coupled with the rise in digital consumption by local audiences, we see a huge opportunity in exploiting exciting, unique and high-quality content together to reach audiences across the two Diasporas.”

With the growth of satellite pay TV in Russia, there is an increased demand for premium digital and television content. This alliance, Eros said, will pave the way for CP to showcase extensive repository of Bollywood films from the Eros library on pay TV.

CP will also approach free TV channels to explore showcasing of Indian titles, while Eros will distribute CP media assets on Indian television.

This collaboration will also enable the launch of Eros Now, the on-demand OTT digital platform of Eros, in Russia and CIS. CP will showcase Eros Now’s VOD content on digital distribution network RUFORM through Rutube (web video streaming service targeted in Russia) while Eros will facilitate featuring Russian content on Eros Now.

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Pavel Stepanov, CEO, Central Partnership, added, “Our strategic partnership with Eros is a big step for both companies in their international expansion, since content from India is now underrepresented in Russia and vice-versa. Our plan is to benefit from both companies’ leading positions in domestic markets to change this layout. Moreover, historically India and Russia have been close, and we expect this collaboration to flourish in the light of the current political climate.”
Palm Springs International Film Festival, Venice International Film Festival

PSIFF Announces 2017 Dates

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The Palm Springs International Film Festival (PSIFF) has announced the dates of the 28th edition. The Awards Gala will take place on Monday, January 2, 2017, followed by the screening portion of the festival, which will open on January 5 and run through January 16, 2017.

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The festival’s Awards Gala will be held on Monday, January 2 at the Palm Springs Convention Center. This past year’s star-studded event, hosted by Mary Hart, honored Cate Blanchett, Bryan Cranston, Matt Damon, Johnny Depp, Michael Fassbender, Brie Larson, Rooney Mara, Tom McCarthy, Saoirse Ronan, Alicia Vikander and the cast of The Big Short.

The festival will begin on Thursday, January 5 with an Opening Night screening followed by a reception at the Palm Springs Art Museum. Closing Night will take place on Sunday, January 15 with the Best of the Fest screenings on Monday, January 16.

The festival will begin accepting film submissions on July 1, 2016. Awards gala tickets and screening passes will go on sale August 1, 2016.

For additional information visit http://www.psfilmfest.org.

About The Palm Springs International Film Festival
The Palm Springs International Film Festival (PSIFF) is one of the largest film festivals in North America, welcoming 135,000 attendees last year for its lineup of new and celebrated international features and documentaries.  The Festival is also known for its annual Black Tie Awards Gala, honoring the best achievements of the filmic year by a celebrated list of talents who, in recent years, have included Ben Affleck, Javier Bardem, Cate Blanchett, Sandra Bullock, Bradley Cooper, George Clooney, Daniel Day-Lewis, Leonardo DiCaprio, Clint Eastwood, Tom Hanks, Matthew McConaughey, Julianne Moore, Brad Pitt, Eddie Redmayne, Julia Roberts, David O. Russell, Meryl Streep, and Reese Witherspoon.

For more information, call 760-322-2930 or 800-898-7256 or visit http://www.psfilmfest.org .

MEDIA CONTACT:
Steve Wilson
B|W|R Public Relations
212-901-3954 / 310-248-6126
Steven.Wilson@bwr-pr.com

David Lee
PSIFF
760-322-2930
david@psfilmfest.org

(Source: http://www.psfilmfest.org)

#AFI, #AFIFEST, Feature Film, Featured, Hollywood, Venice International Film Festival

FILM REVIEW: Jackie (Larrain, 2016): USA

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Reviewed by Larry Gleeson. Viewed during the 2016 American Film Institute’s (AFI) FILMFEST 2016 presented by Audi.

screen-shot-2016-11-18-at-12-23-06-pmJackie is Chilean Director Pablo Larrain’s love letter about First Lady Jacqueline Kennedy in the days following the assassination of her husband, John Fitzgerald Kennedy (JFK).  Drawing extensively from a series of private letters between the First Lady, played by Oscar Award-winning actress, Natalie Portman and her Catholic priest, played by John Hurt, Larrain attempts to address what it was like for Jackie as she tries to cope with an overwhelming grief, tend to the psychological needs of her children and to create a legacy for her husband’s short-lived administration.

Portman skillfully channels the spirit of Jackie Kennedy. Larrain chose to recreate archival film clips with Portman. Having seen the original clips of the First Lady showcasing her masterful interior decorating of the White House, I believed Larrain had inserted the originals into the film. Only when the camera pushed in to a medium full frame was I able to discern the subject. It was Natalie Portman!

Several other scenes provided an astonishingly likeness as well. Most notably are the veiled widow walking in the funeral procession and the interview that would result in a Life magazine feature. Veteran stage and and film actor Billy Crudup, portrays the journalist (a dramatization of the four-hour interview Jackie had with journalist Theodore H. White on November 29th, 1963 that evoked the Camelot myth). Noah Oppenheim wrote the script. Greta Gerwig, currently one of Hollywood’s most sought after actresses, warmly portrays Nancy Tuckerman, the Kennedy’s Social Secretary. Peter Sarsgaard embodies Bobby Kennedy, the late President’s brother, protector and consoler of the First Lady. Last, but certainly not least, is Danish actor Caspar Phillipson as a spot-on JFK lookalike.

Most people know the story of the Kennedy assassination and some are familiar with the Kennedy Administration and the Camelot myth. What most people are not aware of is what a thirty-four year-old Jackie Kennedy experienced in the moments and days after the fateful day in Dallas and her need to secure her husband’s historical legacy. After watching Jackie, and seeing Mrs. Kennedy retrieve the portion of the President’s brain matter from the trunk of the convertible and place it back inside the gaping hole on the left side of his skull, I realized magnitude and scope of her love.

I believe this is what Larrain had in mind as he created Jackie. Intensely private, the world knew very little of Jackie Kennedy’s private life despite her immense popularity as a public figure. Photographed as much as almost any woman in the 20th century, Jackie emanated style and sophistication and evoked desire becoming known simply by her first name.

Larrain poses questions of how she must have felt in those days following the assassination. She became a queen without a crown. Her throne and her husband had been taken from her. Showing undaunted courage and concern for her husband’s legacy, she fought despite the challenges and obstacles placed in her way. Admittedly, most will probably never know exactly what was going through her mind and what feelings she was experiencing in their entirety during these days. Nevertheless, Larrain weaves together an extraordinary narrative that attempts to piece together a brief moment in time that became the genesis of Camelot and the Kennedy Administration. Highly recommended.

#SBIFF, Press Conference, Santa Barbara International Film Festival, Venice International Film Festival

#SBIFF Outstanding Performers of the Year Award honoring Ryan Gosling and Emma Stone

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Posted by Larry Gleeson

Emma Stone and Ryan Gosling will be presented with the 2017 Outstanding Performers of the Year award on Friday, February 3rd, 2017for their performances in La La Land, directed by Damien Chazelle (Whiplash). This is Stone’s first time being honored by the Santa Barbara International Film Festival (SBIFF). Gosling was the inaugural recipient of the Cinema Vanguard Award in 2008.

Emma Stone in Venice for Birdman - she'll be back this year for La La Land.
Actress Emma Stone will be the Santa Barbara International Film Festival’s Outstanding Performer Award recipient along with her La La Land co-star Ryan Gosling on February 3rd, 2017 at the historic Arlington Theater in Santa Barbara Calif.

The tribute, which will take place at Santa Barbara’s historic Arlington Theatre, will be moderated by SBIFF’s Executive Director Roger Durling. The 32nd annual Santa Barbara International Film Festival will take place from Wednesday, February 1 through Saturday, February 11. Click here to attend.

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Santa Barbara International Film Festival Executive Director Roger Durling

Durling stated, “Ryan and Emma’s luminous performances in La La Land remind us of the transformative and magical role of cinema.  We are so proud to celebrate them and this incredible film and its nod to the classic love stories of Old Hollywood with a contemporary twist.”

Gosling and Stone will join a recognized group of previous Outstanding Performer Award recipients, including Brie Larson and Saoirse Ronan, Steve Carell, Cate Blanchett, Jennifer Lawrence, Viola Davis, James Franco, Colin Firth, Penelope Cruz, Angelina Jolie, Helen Mirren, Heath Ledger, Kate Winslet and Charlize Theron.

Written and directed by Academy Award® nominee Damien Chazelle, La La Land, set in modern day Los Angeles, tells the story of Mia (Stone), an aspiring actress, and Sebastian (Gosling), a dedicated jazz musician, who are struggling to make ends meet in a city known for crushing hopes and breaking hearts. (Source: sbiff.org)

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Venice International Film Festival

New Day Christian Distributors & Word Entertainment Announce New Distribution Relationship

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Posted by Larry Gleeson

By Herb Longs

New Day Christian Distributors and Word Entertainment are pleased to announce an expanded distribution relationship. Effective January 2, 2017, all titles from Word Entertainment will be exclusively distributed in the physical format to Christian Retail by New Day. The agreement encompasses Word Entertainment’s record and film partners and all artists on the Word and Curb Christian rosters, including: Meredith Andrews, Chris August, Francesca Battistelli, Big Daddy Weave, Blanca, Castro, Everfound, Family Force 5, for KING & COUNTRY, Natalie Grant, Group 1 Crew, Mallary Hope, Love & The Outcome, Dara Maclean, Steven Malcolm, OBB, Plumb, Sarah Reeves, Selah, Sidewalk Prophets, Todd Smith, Stars Go Dim, VERIDIA, We Are Messengers and Zealand Worship.

“The first major label relationship we established after starting New Day in 1981, was with Word Records,” shared Dottie Leonard Miller, President & CEO of New Day. “Serving Christian Retail is our entire focus at New Day. To be able to exclusively represent Word Entertainment and Curb Records to Christian Retail, along with products from their distributed labels and film partners, is a career highlight. We are humbled by Mike Curb’s and Rod Riley’s trust in New Day.”

This exclusive distribution arrangement brings together two great, independent, Christian-owned companies. According to Nielsen Music’s SoundScan, combined Christian music market share YTD for New Day/Word exceeds 16%.

Rod Riley, President & CEO, Word Entertainment, adds, “I have been a big fan of Dottie, Ed, and the New Day team for many years now, and it is an honor to bring our companies together as we effectively move forward into the future of the music industry. As we sharpen our focus on content creation while continuing to be committed to Christian Retail, this new relationship will strengthen how we are able to serve our artists and our catalog of 65 years.”

Today’s announcement comes on the heels of New Day signing the TillyMann (Tamela Mann) label for Christian Retail distribution, and extending its exclusive Christian Retail distribution relationships with Reach Records (Lecrae, Andy Mineo, Trip Lee, Tedashii, KB) and Tooth & Nail/BEC/Solid State Records (Kutless, 7eventh Time Down, Disciple, Demon Hunter, David Dunn). New Day will now exclusively represent a historic collection of independent Christian labels and artists under one roof with artists representing all styles of the Christian genre, including: AC, Hip Hop, Rap, Rock, Gospel, Southern Gospel, Jazz, Bluegrass, Country, and Inspirational. Also, for the first time, New Day will offer Word performance tracks, adding to the market leadership of their Daywind line which features over 4,400 titles across genres.

#TCM, #TCMFF, Venice International Film Festival

FILM REVIEW: Shanghai Express (von Sternberg, 1932): USA

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Viewed by Larry Gleeson during TCM Classic Film Festival.

screen-shot-2016-11-14-at-10-37-09-amShanghai Express,  a 1932 Pre-Code U.S. production, based on a book by Harry Harvey, written by Jules Furthman, and directed brilliantly by Joseph von Sternberg, is a story of one-time lovers, Shanghai Lily, played by Marlene Dietrich, and Captain “Doc” Harvey played by Clive Brook, who rediscover each other during an exciting, yet dangerous, train ride from Peiping (Peking) to Shanghai. Complete with stabbings, machine gun fire, and plenty of physical altercations the Shanghai Express is a non-stop action/adventure with high production values encapsulated within a melodramatic narrative.

Interestingly enough, most passengers on the train are more concerned that the notorious Shanghai Lily is on board rather than the fact that the country is enmeshed in a bloody civil war. Shanghai Lily is referred to as a “coaster, a woman who lives by her wits along the China Coast.” In essence, it is a nice way of saying she is a woman who indulges in casual affairs as a means to an end – a lavish lifestyle of beautiful gowns and stunning jewelry. Yet, when Chinese guerillas stop the train and Captain Harvey is selected to be the hostage, Shanghai Lily foregoes her honor and manages to entice the elusive Mr. Chang, played by Warner Oland, to release the doctor by “praying all night,” and by agreeing to visit Mr. Chang at his castle. By the film’s end, the core group of passengers’ real identities have emerged. None of the characters were who they seemed to be when the train ride began.

Von Sternberg, nominated for an Oscar for Best Director for his work in Shanghai Express, makes exquisite use of  the camera and lighting in creating the effect of tight space with mesmerizing shadows and his extensive use of netting in delivering a phenomenal atmospheric of a train ride in the Orient is a visual treat. Dietrich’s performance as Shanghai Lily was alluring and she captivates with her emotionally wrought physicalities  and exotic costuming. We first get a glimpse of her dressed in black with her face partially covered with a veil. She is often seen puffing on a cigarette as she paces sluggishly back and forth. Her heavy eyelids and sultry good looks, however, offset any semblance of an awkward accent.  provided the cinematograpy and received an Oscar for his efforts. Controlling most of this production in China for Paramount Pictures, Sternberg claims to have collaborated extensively with Garmes and felt he was as much deserving of an Oscar as Garmes. In addition, the costuming, handled by Travis Banton (gowns) and Eugen Joseff (jewelry), was right on the mark. The film utilized over 1,ooo extras, primarily in the locales where the train made stops.

The screening was followed by a Q & A with Nicholas von Sternberg, son of Director Joseph von Sternberg, along with author and film historian, Jeremy Arnold. The younger von Sternberg shared an original script book from the 1932 film, Shanghai Express as well as how his father discovered Marlene Dietrich on a cabaret scene. The elder von Sternberg saw something in Dietrich he believed would be perfect for his upcoming film, The Blue Angel. The two would go on to collaborate on seven films between 1930 and 1935 with most film historians agreeing the 1932 Shanghai Express to be the team’s best work.

In my opinion, Shanghai Express is a must-see treasure from Hollywood’s Golden Age of Glamour. This digitally restored version of Shanghai Express kept the refinement of the original film and provided a seamless viewing. Highly recommended.