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20 JULY 2014

Jonathan Ross Presents for One Week Only: Aki Kaurismäki

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TAGS

1990 • Aki Kaurismaki • alcoholAmerican English • Ariel (1988) • auteurauthorial signatureblack comedyblack humour • bleakness • boredom • Calamari Union (1985) • Channel 4 • comedy (genre) • cool • Crime and Punishment (1983) • dark comedydeadpan expressiondirecting styleEstoniaEuropean cinemafilm directorfilmmakerFinlandFinnish • For One Week Only (1990) • Hamlet liikemaailmassa (1987) • happinessHelsinki • I Hired a Contract Killer (1990) • indie cinemainternational film festival • Jonathan Ross • Leningrad Cowboys Go America (1989) • Margi Clarke • Midnight Sun Film Festival • modestyquirky • Shadows in Paradise (1986) • social realism • Sodankyla • The Match Factory Girl (1990)

CONTRIBUTOR

Simon Perkins
24 NOVEMBER 2013

Thelonious Monk: Straight, No Chaser (1988)

"Expanding on footage of Monk's 1967 tour shot by Christian Blackwood, Charlotte Zwering (Gimme Shelter) has created the definitive filmic portrait of the master bop pianist–composer. This captivating DVD digs deeper into the life of the famously eccentric pianist–composer ...

Straight, No Chaser fleshes out Monk's character considerably – from his harmonic theories to his use of quarter – tones (produced by hitting two adjacent piano keys simultaneously and occasionally even striking the boards with his entire forearm or his foot) to his mysterious relationship with his patron, baroness Nica de Koenigswarter."

(Vlatko, TopDocumentaryFilms.com)

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TAGS

16mm19671988archive footageavailable light • Barry Harris • bebop • Ben Riley • black and white • Bob Jones • Bruce Ricker • Charlie Rouse • Charlotte Zwerin • Charlotte Zwering • Christian Blackwood • cinema of the streetClint Eastwood • Dick Hyman • direct cinemadissonancedocumentarydocumentary filmeccentricfilm lighting • filmic portrait • Frank Paccione • harmonic • Harry Colomby • improvised methodinfluential creators • jazz great • jazz masterjazz performancejazz pianist • Jimmy Cleveland • John Coltrane • Johnny Griffin • Juilliard School • Larry Gales • live performancelow light • Malpaso Productions • music documentary • music tour • musical genius • Nellie Monk • Nica De Koenigswarter • offbeat • Phil Woods • pianist-composer • pianoportrait • posthumous interview • Ray Copeland • recording sessionrecording studiorehearsal • Samuel Wright • sixties coolsocial realism • Straight No Chaser (1988) • Teo Macero • Thelonious Monk • Tommy Flanagan • Warner Bros

CONTRIBUTOR

Simon Perkins
14 AUGUST 2013

In Spring One Plants Alone: intimate portrait of a mother and her son

"This is the story of Puhi, an aged Maori woman and Niki, her fully grown but wholly dependent son. The world they occupy is not a world of large events but the rituals of everyday life, traditions and interdependence. 'In Spring One Plants Alone' documents the minutiae of their very enclosed existence. Filmed over a period of one and a half years, it emerges as a rare, haunting and powerful portrayal of their life together. This is the story of their rituals and of their survival. The small and disconnected instances that we encounter form a lone vision of the rifts and the bond between an old woman and her disturbed son."

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16mm1980 • Alun Bollinger • Aotearoa New Zealand • Chris Lancaster • cultural traditionscultural valuesdirect cinemadisableddocumentary filmdocumentary truth • enclosed existence • everyday lifefeature-length documentaryFirst Nations • In Spring One Plants Alone (1980) • Indigenousinterdependenceintimate lives • intimate perspectives • intimate portrait • isolated communities • isolationiwiJack BodyLeon NarbeyMaoriMaori eldersMaori people • Maori woman • minutiae • New Zealand cinema • Niki • personal rituals • personal storyportrait of everyday life • Puhi • Queen Elizabeth II Arts Councilremote communitiessocial realismsocial reality • Stephen Upston • student filmstraditionsVincent Ward

CONTRIBUTOR

Simon Perkins
19 FEBRUARY 2011

Maysles Brothers: Salesman (1968)

"A landmark American documentary, Salesman captures in vivid detail the bygone era of the door–to–door salesman. While laboring to sell a gold–embossed version of the Good Book, Paul Brennan and his colleagues target the beleaguered masses–then face the demands of quotas and the frustrations of life on the road. Following Brennan on his daily rounds, the Maysles discover a real–life Willy Loman, walking the line from hype to despair."

(mubi.com)

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1968Albert Maysles • all-American • American dreamAmerican lifeBiblebygone era • Charles McDevitt • Charlotte Zwerinconstructed realityDavid Maysles • Death of a Salesman • desperationdirect cinemadocumentary filmdocumentary truth • door-to-door salesman • emotive manipulationethicseverydayfilm • Good Book • hype • James Baker • landmarkMaysles Brothers • Paul Brennan • profilmic • Raymond Martos • realreal-lifesales and profitSalesman (1968) • salesmen • salespeoplesocial realismsocial realitytruth • Willy Loman

CONTRIBUTOR

Simon Perkins
17 FEBRUARY 2011

Martin Scorsese: ItalianAmerican

"After having made four well–received feature films, among them Mean Streets (1973), an uncompromising story of petty criminals in New York City's Little Italy, and Alice Doesn't Live Here Anymore (1974), the tale of a single mother's journey to self–sufficiency, Martin Scorsese stepped back briefly from his commercial film career to make a small, deeply personal documentary. Shot on 16mm film in the Manhattan apartment where he grew up, ItalianAmerican is the record of a conversation between Scorsese and his parents, Charles and Catherine. In three–quarters of an hour, the three manage to cover a great deal of ground, most notably the parents' experiences growing up in the rough–and–tumble New York tenements during the early years of the twentieth century. Scorsese's presentation of his parents is highly particularized and subtly nuanced, yet he also manages to make their words speak for the larger immigrant experience. When the setting shifts from the living room to the dining room and everyone sits down to dinner, the mood becomes looser and more animated, with Scorsese and his mother moving into the kitchen for a quick lesson on how to make tomato sauce–or 'gravy,' as Catherine (and an entire generation of Italian Americans) would call it. Throughout, the affection that the three Scorseses have for each other is palpable, as is the respect with which the son presents his parents' story. At the end, Catherine's recipe for her tomato sauce scrolls by on–screen, making ItalianAmerican not only a historical record, but also a family legacy."

(The Museum of Modern Art)

1974. USA. 35mm print, colour, sound, 49 min. Original 16mm materials on indefinite loan from the artist. Preserved in 35mm with funding from the Celeste Bartos Film Preservation Fund.

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TAGS

16mm1974authorship • Catherine Scorsese • Charles Scorsese • direct cinemadocumentary filmfilmimmigrantimmigrant experienceinterviewItalian • Italian American • Italianamerican (1974) • ManhattanMartin ScorseseNew Yorkpersonalpersonal filmrealismsocial historysocial realismsocial realitytruth

CONTRIBUTOR

Simon Perkins
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