365 Movies in 365 Days - 52
Drive (2011) - 3.5/5
This is the first film I saw at the Prince Charles Cinema in London, pretty much my favourite place. Ryan Gosling literally stamps some guy’s head in at one point, but make no mistake, this isn’t just some film full gratuitous violence. This film is a visual masterpiece, and I adore the soundtrack as well. Oh, and Carey Mulligan. She’s great. It’s one of those films where they manage to not name the main character, and I didn’t notice until the end titles when Gosling only credited as ‘Driver’. Cool. You’ve probably already noticed the film, because you care. If you haven’t though, get on it. Peace.
Peter Bogdanovich: Was it true that one director told you not to call them “movies,” but “motion pictures”?
Orson Welles: Ah, that was a friend of yours, Peter—that was George Cukor, and remember, he was from the New York stage. That probably had something to do with it. Nowadays, I’m afraid the word is rather chic. It’s a good English word, though—“movie.” How pompous it is to call them “motion pictures.” I don’t mind “films,” though, do you?
Peter Bogdanovich: No, but I don’t like “cinema.”
Orson Welles: I know what you mean. In the library of Eleonora Duse’s villa in a little town in Veneto where we’ve been shooting just now [The Merchant of Venice], I found an old book—written in 1915—about how movies are made, and it refers to movie actors as “photoplayers.” How about that? Photoplayers! I’m never going to call them anything else.
Peter Bogdanovich: I have a book from 1929, and they list 250 words to describe a talking picture, asking readers to write in their favorites. And “talkie” was only one of them. Others were things like “actorgraph,” “reeltaux,” and “narrative toned pictures.”
Orson Welles: I went with my father to the world premiere in New York of Warner’s first Vitaphone sound picture, which was Don Juan starring Jack Barrymore. I think it was opening night. It was really a silent, with a synchronized sound track full of corny mood music, horse hooves, and clashing swords. But it was preceded by a few short items of authentic talkies—Burns and Allen, George Jessel telephoning his mother, and Giovanni Martinelli ripping the hell out of Pagliacci. My father lasted about half an hour and then went up the aisle dragging me with him. “This,” he said, “ruins the movies forever.” He never went back to a movie theatre as long as he lived.
This is Orson Welles [x]
The original premiere cut of Metropolis eventually disappeared, and a quarter of the original film was long believed to be lost forever. However on July 1st 2008, film experts in Berlin announced that a 16 mm reduction negative of the original cut of the film had been discovered in the archives of the Museo del Cine in Buenos Aires, Argentina. Along with additional footage found in New Zealand, a long restoration process began. The fully restored film was finally shown on large screens in Berlin and Frankfurt simultaneously on February 12th 2010