All posts by Graham Williamson

The Lady from Shanghai

Orson Welles once claimed he only saw thrillers as a means to an end, that if it wasn’t for the unfortunate necessity of getting films funded he wouldn’t have made any. As if to demonstrate this, he would often tell a story about the genesis

My Twentieth Century

“We live in the flicker”, Joseph Conrad famously wrote, referring to the breathless speed of technological advancement in the crossover from nineteenth to twentieth century.  In addressing the same historical period, Ildikó Enyedi’s debut film My Twentieth Century – released on DVD and Blu-Ray by

Story of Sin

Story of Sin begins with a quintessentially Walerian Borowczyk image; the doors of a church confessional booth being opened.  Already, we can see so many things that fascinate this director, from what’s on screen (the frame-within-a-frame, the old-fashioned handmade props and sets) to the implicit (the unlocking

Alice

In his book Crackpot, John Waters devotes a chapter to his guilty pleasure movies – the joke being that the trash cinema most people would describe as a guilty pleasure is exactly what you’d expect Waters to unashamedly love.  Instead, the chapter is devoted to achingly

Crime and Misdemeanors

No matter how many times actors, writers and directors repeat that old saw about dying being easier than comedy, critics are still more likely to go into raptures about hard-hitting Oscar-season dramas than summer comedies.  One rare exception, enshrined as a great living American director

The Glass Shield

African-American cinema’s relationship to the American mainstream is kind of like Halley’s comet; it’s always there, it’s just not always visible.  Charles Burnett’s career has lasted long enough to intersect with two major movements in black cinema; he may yet connect with the ongoing one.  After

The Cabinet of Dr Caligari

The film with the wonky sets?  Yes, the film with the wonky sets – but Robert Wiene’s silent horror landmark has so much more to offer, and that’s never been as apparent as it will be when you watch Eureka Masters of Cinema’s new loaded-up

Pick of the Geek – Alice in Wonderland (1966)

Whether it’s the colourful whimsy of Walt Disney’s 1951 cartoon, the Victorian ghoulishness of Jan Švankmajer’s 1988 Alice or the CGI empowerment fantasy of Tim Burton’s 2010 version, film-makers have always enjoyed using Lewis Carroll as a springboard for visual excess.  The one exception is

Cinema Eclectica’s 2017 Preview

Forecasting the year ahead in cinema releases has always been a bit tricky thanks to the disparity between blockbuster releases announced years in advance and smaller films which squeeze in wherever they can.  Over recent years, the divide has deepened, with the major studios apparently