February 25, 2010 |
Pete Hamill's Reader's Digest story "The Yellow Handkerchief" inspired Yoji Yamada's appealing 1977 film of the same name, and now it has become the basis for a new movie, also of the same name but not really a remake. Screenplay writer Erin Dignam and director Udayan Prasad have taken the plot outline of the Yamada film and created original characters in a rural post-Katrina Louisiana, captured in evocative images by master cinematographer Chris Menges. This "Yellow Handkerchief" is a gentle, low-key road movie, centering on the eternal need to love and to trust, suffused in the humanist spirit that has won its veteran producer, Arthur Cohn, three Oscars.
March 27, 1987 |
"The Killing Fields" won British cinematographer Chris Menges a 1984 Oscar, and now he's been nominated again for his work on "The Mission," his second collaboration with director Roland Joffe. "I promise I'll come this time," Menges said over lunch in Hollywood the other day. He'd been kept away from the 1985 Academy Awards by the press of family responsibilities--he's the father of five children whose ages range from 9 to 22.
March 8, 1987 |
"Fatherland" (Great Britain, 1986, 7:30 p.m.). Directed by Ken Loach, with photography by Chris Menges, the marvelously well-acted "Fatherland" traces the odyssey of an East Berlin singer of protest songs who moves to the West. Part political thriller, part razor-keen depiction of high-life in the record business in today's divided Berlin, the film moves from Germany to England as its hero searches for his father, a political emigre from Berlin 30 years before him.
August 28, 1994 |
A decade ago, life was looking pretty good for William Hurt. In 1984, any filmmaker who wanted an ex plosive, sexy and thoroughly believable leading man thought first of Hurt, who had blasted onto the scene four years earlier with an attention-grabbing debut as the obsessed scientist in "Altered States."
May 11, 1992 |
"Crisscross" (citywide), set in 1969 during the days around the Apollo moon launch, captures something about that controversial decade almost perfectly. It's a mixed achievement: a small, movingly done human story swallowed up in a more conventional crime thriller. Yet, if it fails, it doesn't fail ignobly.