The new trailer for the landmark film noir starring Humphrey Bogart and directed by John Huston – back in cinemas UK-wide from 17 September to celebrate its 80th anniversary.
John Huston’s directorial debut, this year celebrating its 80th anniversary, turned Bogart into a major star. Adapted from Dashiell Hammett’s novel about a San Francisco detective’s investigations into the murder of his business partner, Huston’s snappily witty script retains the plot’s labyrinthine complexity while revelling in colourful characterisations of the villains Sam Spade encounters during his quest. Inspired casting includes Lorre as volatile Joel Cairo, Greenstreet as menacingly amiable Kasper Gutman, and Cook as his gunman. But it’s the fraught, febrile relationship between Bogart’s Spade and Mary Astor’s femme fatale – who persuaded his partner to take on her case – that shapes the deep, dark core of desire, doubt and duplicity pervading the film from beginning to memorable end.
Wes Anderson’s new movie, “The French Dispatch,” which will open this summer, is about the doings of a fictional weekly magazine that looks an awful lot like—and was, in fact, inspired by—The New Yorker. The editor and writers of this fictional magazine, and the stories it publishes—three of which are dramatized in the film—are also loosely inspired by The New Yorker. Anderson has been a New Yorker devotee since he was a teen-ager, and has even amassed a vast collection of bound volumes of the magazine, going back to the nineteen-forties. That he has placed his fictional magazine in a made-up French metropolis (it’s called Ennui-sur-Blasé), at some point midway through the last century, only makes connecting the dots between “The French Dispatch” and The New Yorker that much more delightful.
Hooker’s novel MASH: A Novel About Three Army Doctors. The picture is the only theatrically released feature film in the M*A*S*H franchise, and it became one of the biggest films of the early 1970s for 20th Century Fox.
Boomers Daily 