Search results for ""Author Brian McFarlane""

This is a book for all those who have been absorbed and moved by Brief Encounter in the seventy or so years since its first appearance. It explores the central relationship of the film, where two people who fall unexpectedly in love come to realise that there is more to life than self-gratification. Mores have undoubtedly changed, for better or worse, but that essential moral choice has never lost its power. While acknowledging this, the book goes further in an effort to account for the way the film has passed into the wider culture. People born decades after its first appearance are now adept at picking up references to it, whether a black-and-white scene in a much later film or a passing joke about a bald man in a barber’s shop.

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Anyone who has loved British films will want to read this book. In choosing twenty films, many of them classics of their kind – think of Brief Encounter, The third man, Genevieve – as well as some less well-known titles, the author communicates his enthusiasm for the sheer range of British cinema as well as a keenly critical interest in what has made these films stay in the mind often after many decades and many viewings. Not that it is just a nostalgic wallow: it comes nearer to the present day with titles such as Last Orders and In the Loop and it is intended to provoke discussion as much as recollection. Though it is rigorous in conducting its ‘guided tour’ of these films, it does so in ways that make it accessible to anyone with a passion for cinema. You don’t have to be a specialist to enjoy the tour.

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Fred Schepisi is one of the crucial names associated with the revival of the Australian film industry in the 1970s. The Films of Fred Schepisi traces the lead-up to his critical successes in feature filmmaking, via his earlier award-winning success as a producer in advertising commercials in the 1960s and the setting up of his own company. Unlike some directors, he derived from this experience a sure sense of the commercial aspects of filmmaking, as well as its aesthetic considerations. The volume also considers stories of his early education in a Catholic seminary, which he drew on in his semiautobiographical film, The Devil’s Playground, the success of which launched him as an exciting new feature director. The volume expands on Schepisi’s success story to chart his development as a director in demand in other countries, notably in the US and the UK, as well as continuing to make major films in Australia. Brian McFarlane argues that Schepisi’s career is symptomatic of Australian directors who have made their presences felt on the international stage. Whereas other key directors of the Australian film revival, such as Peter Weir and Bruce Beresford, have been the subject of book-length critical studies, Schepisi’s career has not to-date been so explored. McFarlane takes a critical account of Schepisi’s film output—including such standouts as The Chant of Jimmie Blacksmith, Plenty, Roxanne, Six Degrees of Separation, Mr. Baseball, and Last Orders—and he augments analysis with interviews with the director. By discussing the production histories and both critical and popular receptions, McFarlane’s study shines a new light on Schepisi’s work and his rise to prominence in the global film industry.

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Anyone who has loved British films will want to read this book. In choosing twenty films, many of them of classics of their kind – think of Brief Encounter, The Third Man, Genevieve – as well as some less well-known titles, the author communicates his enthusiasm for the sheer range of British cinema as well as a keenly critical interest in what has made these films stay in the mind often after many decades and many viewings. Not that it is just a nostalgic wallow: it comes nearer to the present day with titles such as Last Orders and In The Loop; and it is intended to provoke discussion as much as recollection. Though it is rigorous in conducting its ‘guided tour’ of these films, it does so in ways that make it accessible to anyone with a passion for cinema. You don’t have to be a specialist to enjoy the tour.

Read more less