#Robert Krasker

[karingottschalk]

The Observer: Who was Muriel Box, Britain’s most prolific female film director? – Commentary

[museu-degrandes-novidades]

O Terceiro Homem (The Third Man - 1949)

Dir.: Carol Reed

Fotografia: Robert Krasker

[streamondemand]

'Odd Man Out' – Irish noir on Max and Criterion Channel

Odd Man Out (1947) has been called Carol Reed’s first masterpiece, and with good reason. His first film after World War II is drenched in a darkness (both visually and dramatically) and a sense of isolation and doom. It also made a star of James Mason, who plays the IRA leader who leads a bank robbery gone wrong. Wounded and alone, he stumbles through Belfast at night as the police and his mates…

[lamiaprigione]

Senso (1954)

[moviesteve]

Henry V https://bit.ly/3AVrJei Laurence Olivier didn’t want to direct Henry V. He was nervous about taking it on, what with having no actual directing experience and this being a film hoping to raise British morale during the Second World War (it was part financed by the government). Olivier asked William Wyler, his Wuthering Heights director, to take it … Read more

[junior-stargazer-goke91]

Brief Encounter (1945)

Director: David Lean

Cinematographer: Robert Krasker

[nine-frames]

The Third Man, 194

Dir. Carol Reed | Writ. Graham Greene | DOP Robert Krasker

[filmnoirfoundation]

NOIR CITY Returns to Oakland's Grand Lake Theatre Today!

Full schedule, tickets and Passports (All-Access Passes) available at NoirCity.com. Eddie Muller in person!

Saturday Matinée • January 20

DOUBLE FEATURE

UNION STATION

1:30 PM

Cops William Holden and Barry Fitzgerald race to foil a kidnapping plot in Chicago's Union Station. The film packs a double-feature's worth of thrills into its brief running time, including some brutality decades ahead of its time. Ace crime scenarist Sydney Boehm keeps the plot humming like a runaway train and director (and renowned cinematographer) Rudolph Maté makes the ride more vivid through use of actual locations. Costarring Nancy (Sunset Blvd.) Olson and a terrifying Lyle Bettger.

UNITED STATES (1950) Dir. Rudolph Maté. 80 min.

CAIRO STATION/ BAB EL HADID

3:30 PM

A newspaper hawker (played by the director himself) at the eponymous train depot develops a frightening obsession with a sexy lemonade vendor. That's the premise for a suspenseful drama which cunningly uses the bustling station to depict clashing strata of Egyptian society. Chahine's combination of gritty authenticity and psychosexual Expressionism created a landmark of Egyptian cinema—despite public boycotts over its unflinching perversity and politics. Costar Hind Rustum was nicknamed "The Arab Marilyn Monroe." In Arabic with English subtitles

EGYPT (1958) Dir. Youssef Chahine. 77 min.

TICKETS FOR SATURDAY MATINÉE DOUBLE FEATURE

Saturday Evening • January 20

DOUBLE FEATURE

ODD MAN OUT

7:00 PM

This intense manhunt thriller won the inaugural "Best Film" prize from the British Academy of Film Awards, and it remains one of the most highly regarded movies ever made in the United Kingdom. James Mason plays fugitive Irish Nationalist Johnny McQueen, roped into a heist that goes fatally wrong. Can Johnny navigate his way safely through a nocturnal nightmare of danger and deceit? Robert Krasker's cinematography is as good as his legendary work with Reed on The Third Man. An all-time classic!

UNITED KINGDON (1947) Dir. Carol Reed. 116 min.

VICTIMS OF SIN / VICTIMAS DEL PECADO

9:30 PM

NEW 4K RESTORATION  A film that virtually leaps off the screen. The music, the characters, the confrontations, the emotions—all boil over the top in this uniquely Mexican version of noir dubbed rumberas. Sexy Ninón Sevilla dances up a storm in a club featuring some of Latin America's top performers—Pérez Prado, Rita Montaner and Pedro Vargas—all while dodging a vicious pimp, defying her boss, and rescuing an abandoned baby from the trash. As André Breton is reputed to have said, "In Europe we talk about surrealism, in Mexico they live it every day." In Spanish with English subtitles

MEXICO (1951) Dir. Emilio Fernández. 90 min.

TICKETS FOR saturday evening DOUBLE FEATURE

[ljones41]

Unpopular Opinion: "GREAT EXPECTATIONS" Adaptations

I have seen three onscreen adaptations of Charles Dickens' 1861 novel, "Great Expectations". Needless to say, I have mixed feelings about them:

Directed by David Lean and starring John Mills, this adaptation from the 1940s seemed to be the benchmark of all versions of Dickens' novel. And for the likes of me, I cannot see why. Thanks to Guy Green and Robert Krasker's photography, it is a beautiful looking movie. The movie also featured some excellent performances, especially from Jean Simmons, Finlay Currie and Alec Guinness. However, I ended up feeling less than satisfied with the screenplay written by Lean and co-screenwriters Anthony Havelock-Allan and Ronald Neame. I found the movie's second half rushed and unfulfilling.

Directed by Julian Jarrold and starring Ioan Gruffudd, this adaptation seemed to be an improvement over the 1946 movie. I thought it did an excellent job of conveying Pip's obsession with Estella and in becoming a gentleman. And I loved Odile Dicks-Mireaux's costume designs, along with Ian McDiarmid as the attorney Jaggers. I was also impressed by Gruffudd's portrayal of "Pip" Pirrip. But . . . I thought Charlotte Rampling had been miscast as Miss Haversham. Her take on the character seemed to lack bite. And I did not care for the ending. Following a major character's death, the narrative's ending seemed to peter out in a vague manner.

Directed by Brady Hood and Samira Radsi, and starring Fionn Whitehead; this television adaptation was loathed by the critics. I actually enjoyed it, but I had some quibbles that included the heavy and unnecessary use of profanity, the resolution of Magwitch's arc occurring at Miss Haversham's home, instead of the Thames River; and Pip's fate regarding his profession. On the other hand, I really liked the performances, especially those from Olivia Colman as Miss Haversham and Ashley Thomas as Jaggers. I also liked how the miniseries conveyed how Pip's obsession with Estella and in becoming a gentleman, along with the access of easy money came dangerously close to corrupting him.

But if I must be frank, I have yet to see an adaptation of "Great Expectations" that knocked my socks off.

[thethirdman8]

I posted 9,080 times in 2022

That's 1,287 more posts than 2021!

305 posts created (3%)

8,775 posts reblogged (97%)

Blogs I reblogged the most:

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I tagged 9,037 of my posts in 2022

#thethirdman8 - 384 posts

#oh man - 372 posts

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#merry christmas baby - 98 posts

#horsebarn hill - 97 posts

Longest Tag: 80 characters

#hokey religions and ancient weapons are no match for a good blaster at your side

My Top Posts in 2022:

#5

@thethirdman8 cats & dogs 🐈 🐕

108 notes - Posted September 3, 2022

#4

The last rose of 2022 most definitely

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112 notes - Posted October 15, 2022

#3

On my friends refrigerator, d'oh!

I need some pi 🥧e

@thethirdman8 d'oh!

123 notes - Posted March 14, 2022

#2

Common hawker dragonfly female enjoys the early evening air..

@thethirdman8 🖤

328 notes - Posted June 5, 2022

My #1 post of 2022

Brief Encounter 1945 David Lean director Robert Krasker photography

856 notes - Posted January 22, 2022

Get your Tumblr 2022 Year in Review →

[disappointingyet]

Odd Man Out

Director Carol Reed Stars James Mason, Kathleen Ryan, Robert Newton UK 1947 Language English 1hr 56mins Black & white

IRA man on the run in one, long, very strange day and evening in Belfast

This is a much stranger film than I thought it was going to be. How? Maybe two-thirds of the way through what could be described as a man-on-the-run thriller, we get the arrival of the second-billed actor, Robert Newton, playing a hugely eccentric and obsessive painter of fevered, El Greco-ish portraits. He lives in a vast, seemingly semi-abandoned house with two other weird guys. At this point, the film started reminding me a lot more of After Hours than I would have expected. 

Or how about the fact that this is a British-made film from 1947 whose central character – one who seems to be treated as something like a religious martyr – is an Irish republican freedom fighter/terrorist, and the antagonist is an officer in the Royal Ulster Constabulary.  

Or that you’ve got a big star actor, but for important sections of the story, he’s slumped passed out in one of various hiding places.

There’s more, but that would go heavily into spoiler territory. 

The film starts during the final preparation of a heist. The man in charge is Johnny McQueen (James Mason), the leader of something referred to in the film as The Organisation but which I think we can understand as the IRA. This is to be McQueen’s return to action after escaping from prison and then laying low for six months. There’s scepticism from various characters about whether Johnny is ready for a mission, and he privately expresses some doubts about whether the armed struggle is the way forward, but he insists on leading the raid anyway. 

Of course, it goes wrong and Johnny is ends up wounded and alone on the streets of Belfast. Based on the idea of the film and what I remembered from having seen bits of it, I thought Odd Man Out would mostly follow McQueen as he tries to stay alive and free. Instead, we cut between that and the attempts to find him by the other members of organisation, by the RUC, later by the inhabitants of the big strange house, and (most importantly) by Kathleen (Kathleen Ryan), who is in love with him. 

Odd Man Out was directed by Carol Reed, who two years later would make what’s generally accepted as the greatest British film noir, The Third Man. This is recognisably the work of the same director plus cinematographer (Robert Krasker). It opens with a long aerial shot flying over Belfast and then for a few minutes, it looked older than it is and a bit stagey. But it doesn’t take long to reach full noir mode, with some great shots of alleyways plus inventive moments of Johnny’s hallucinations. 

This is not a lean, taut thriller. For instance, we get what felt to me a very long discussion between Kathleen and Father Tom (WG Fay), which broadly pits a noir existentialism versus the teachings of the church. And, as I mentioned, there’s all the stuff with Lukey (Newton), who arrives with enormous camera-hogging energy just at the point where you might anticipate the story coming to an end. But I think it is atmospheric enough, immersive enough, to keep the audience hooked. 

Maybe my biggest gripe is that this isn’t the best use of James Mason – I think he’s at his most effective when deploying his charm (whether acting for or against the forces of good) and we don’t get much of that here 

This is a film about Belfast, but not one made by people from Belfast. The director and the writers were English.* The cast is mostly a mixture of actors from southern Ireland and Brits, with the ones playing locals seemingly aiming for southern Irish accents too. The exceptions are a group of children who hang out on the pavements and who you can tell instantly actually did come from Belfast. 

I have a major weakness for movies that take place over a short space of time. I’m a big fan of film noir, and of James Mason. Which is to say, I was massively predisposed to like Odd Man Out, and I did enjoy it, but it is so much weirder than you might think.

*Minor spoiler: at one point Johnny is taken in by some English people, who eventually work out who he is and who treat him with some sympathy while expressing the idea that the politics of this place is none of their business. 

[karingottschalk]

'Babylon Berlin', Set In Germany's Weimar Republic When The Great Australian Cinematographer Robert Krasker Was Studying Photography There, Launches Season 4

‘Babylon Berlin’, Set In Germany’s Weimar Republic When The Great Australian Cinematographer Robert Krasker Was Studying Photography There, Launches Season 4

[calledeitaca]

135 planos que harán que recuperes la fe en el cine

Un maravilloso vídeo ensayo de hace diez años que en su momento se hizo viral. En el verano de 2012, Flavorwire solicitó a sus lectores que sugirieran aquellas películas que consideraban eran las mejores de la historia del cine. El resultado, un montaje que la revista de cultura editó con los títulos propuestos por sus lectores y que rinde un hermoso homenaje al séptimo arte. Si eres amante del cine, seguro que disfrutarás de los magníficos ocho minutos que dura el montaje de Flavorwire. Las películas de las que se han extraído los planos, en orden de aparición:

Man with a Movie Camera (Mikhail Kaufman), The Assassination of Jesse James by the Coward Robert Ford (Roger Deakins), Baraka (Ron Fricke), Koyaanisqatsi (Ron Fricke), Days of Heaven (Nestor Almendros), Akira Kurosawa’s Dreams (Takao Saito, Shoji Ueda), What Dreams May Come (Eduardo Serra), Legends of the Fall (John Toll), Lawrence of Arabia (Freddie Young), El Topo (Rafael Corkidi), La Dolce Vita (Otello Martelli), The Tree of Life (Emmanuel Lubezki), Daughters of the Dust (Arthur Jafa), Chinatown (John A. Alonzo), Hero (Christopher Doyle), Kagemusha (Takao Saito, Shoji Ueda), The Night of the Hunter (Stanley Cortez), Ugetsu (Kazuo Miyagawa), Songs from the Second Floor (Istvan Borbas, Jesper Klevenas, Robert Komarek), The Black Stallion (Caleb Deschanel), Vertigo (Robert Burks), Manhattan (Gordon Willis), Apocalypse Now (Vittorio Storaro), Lovers of the Arctic Circle (Gonzalo F. Berridi), The Duellists (Frank Tidy), Powaqqatsi (Graham Berry, Leonidas Zourdoumis), Ran (Asakazu Nakai, Takao Saito, Shoji Ueda), Bombay Beach (Alma Har’el), 2001: A Space Odyssey (Geoffrey Unsworth), The Thin Red Line (John Toll), Cave of Forgotten Dreams (Peter Zeitlinger), The New World (Emmanuel Lubezki), Solaris (Vadim Yusov), The Diving Bell and the Butterfly (Janusz Kaminksi), I Am Love (Yorick Le Saux), A Matter of Life and Death (Jack Cardiff), Onibaba (Kiyomi Kuroda), Blue Velvet (Frederick Elmes), No Country for Old Men (Roger Deakins), I Am Cuba (Sergei Urusevsky), The Fountain (Matthew Libatique), There Will be Blood (Robert Elswitt), The Human Condition (Yoshio Miyajima), The Proposition (Benoit Delhomme), Raise the Red Lantern (Lun Yang, Fei Zhao), The Godfather Part II (Gordon Willis), 2046 (Christopher Doyle, Pung-Leung Kwan), Beauty and the Beast (Henri Alekan), Melancholia, (Manuel Alberto Claro), Road to Perdition (Conrad L. Hall), Alexander Nevsky (Eduard Tisse), Sunrise (Charles Rosher, Karl Struss), Blade Runner (Jordan Cronenweth), Citizen Kane (Gregg Toland), House of Flying Daggers (Xiaoding Zhao), Wings of Desire (Henri Alekan), Atonement (Seamus McGarvey), The Last Emperor (Vittorio Storaro), Before Night Falls (Xavier Perez Grobet, Guillermo Rosas), The Last Picture Show (Robert Surtees), The Red Shoes (Jack Cardiff), Down by Law (Robby Müller), Amelie (Bruno Delbonnel), Chungking Express (Christopher Doyle, Wai-keung Lau), Children of Men (Emmanuel Lubezki), Black Orpheus (Jean Bourgoin), The Leopard (Giuseppe Rotunno), The Age of Innocence (Michael Ballhaus), Perfume: The Story of a Murderer (Frank Griebe), Raging Bull (Michael Chapman), The Fall (Colin Watkinson), The Pillow Book (Sacha Vierny), Martha Marcy May Marlene (Jody Lee Lipes), Nosferatu the Vampyre (Jorg Schmidt-Reitwein), The Third Man (Robert Krasker), Good Night and Good Luck (Robert Elswitt), The Scarlet Empress (Bert Glennon), The Man Who Wasn’t There (Roger Deakins), Talk to Her (Javier Aguirresarobe), In The Mood for Love (Christopher Doyle, Pung-Leung Kwan, Ping Bin Lee), The Man Who Cried (Sacha Vierny), Santa Sangre (Daniele Nannuzzi), The Passion of Joan of Arc (Rudolph Maté), In Cold Blood (Conrad L. Hall), 8 ½ (Gianni Di Venanzo), Brazil (Roger Pratt).

_________________ Fuente: Flavorwire.

[byneddiedingo]

Celia Johnson in Brief Encounter (David Lean, 1945) Cast: Celia Johnson, Trevor Howard, Stanley Holloway, Joyce Carey, Cyril Raymond, Everley Gregg, Marjorie Mars, Margaret Barton, Valentine Dyall. Screenplay: Anthony Havelock-Allan, David Lean, Ronald Neame, based on a play by Noël Coward. Cinematography: Robert Krasker. Art direction: Lawrence P. Williams. Film editing: Jack Harris. Music: Percival Mackey, Muir Mathieson. Brief Encounter is set in 1938, which explains why there is no visual evidence of or reference to World War II, which was still going on when it was made. It also helps explain some of the film's jitteriness or reticence about sex. Why, given the facility with which Laura Jesson (Celia Johnson) lies about her relationship with Alec Harvey (Trevor Howard), don't they just go ahead and have sex? The film is a portrait of prewar middle-class morality, something the war helped break down, especially with the arrival of American troops, proverbially "oversexed and over here," in Britain. When it gained great popularity after the war ended, it was possible to debate whether Brief Encounter was a validation or an indictment of this morality. Is it really healthy for Laura to spend the rest of her life with her pleasantly stuffy husband (Cyril Raymond), dreaming of what might have been? Is it necessary for Alec to uproot his family and emigrate to South Africa just because of sexual frustration? The resolution to their dilemma seems easier to us: We wish Laura and Alec could unbend, the way the working class characters Albert (Stanley Holloway) and Myrtle (Joyce Carey) seem to do. (For all her pretense at refinement, it's easy to see that Myrtle has a healthy off-duty sex life.) But then we get glimpses of the social milieu in which Laura and Alec move: He has to contend with the catty nudge-nudge-wink-wink of Stephen Lynn (Valentine Dyall), the friend whose apartment almost becomes a venue for the consummation of their passion; she is surrounded by friends whose only pleasure in life seems to be to talk. There is a real brilliance in the way which David Lean, greatly aided by Robert Krasker's noir-expressionist black-and-white cinematography, suggests the entrapment of the lovers in a world they are afraid to break out of. Johnson is magnificent, of course, and it was a stroke of genius to cast Howard opposite her. For all his kindness and attentiveness, there is something faintly menacing about him, a hint of danger and possibility that can only attract but also subtly frighten a woman whose life consists of helping her husband with the crossword and spending Thursdays in town returning her library book and shopping for an ugly desk tchotchke for his birthday. Everything in this movie is so well judged and efficiently presented that it only makes me regret that Lean turned from such intimate stories and entered on his epic phase.

[hezigler]

The Third Man - 4K Restoration Trailer

Not only one of the best B&W movies ever made and a great motion picture, but the finest film noir made in Europe.

[junior-stargazer-goke91]

Brief Encounter (1945)

Director: David Lean

Cinematographer: Robert Krasker