Editorial – Rediscovering Welles, Guy-Blaché, Rohmer and Rivette

Following a couple of weeks of heavy Editorials I thought it perhaps apt to take a more restrained approach this week. Fear not 1000 words on the state of being a writer on cinema in the age of the digital, nor worry not of a 900 word rant on Cameron’s flawed approach to internet safety. This week I’d just like to touch on a couple of items that came to the fore whilst I was on vacation.

First up, the makers of Be Natural: The Untold Story Of Alice Guy-Blaché, a film seeking Kickstarter got in touch recently to bring my attention to their project. Examining the status of now-forgotten film pioneer Alice Guy-Blaché, the project will hopefully lead to a greater, wider recognition for the filmmaker. More on that can be found here.

On a related Gallic note, French home video label Potemkine early this week announced plans to release the complete oeuvre of Eric Rohmer on Blu-ray, in a lavish thirty-disc box-set. Rumour has it that the UK’s Arrow Video are working on a number of Rohmer titles for Blu-ray release in the Winter too, but as this set is English-friendly Arrow’s work needs to be pretty impressive to out-do what the French are offering. On a similar note, A Nos Amours, boutique film-programming extraordinaires are looking for help with a potential screen of Jacques Rivette’s OUT 1, which they hope to put on in London in the Autumn. They need fluent French speakers to help with a live subtitling challenge. More on that here. The A Nos Amours collective are also attempting a complete retrospective of Belgian filmmaker Chantal Akerman over the course of the next 18 months.  

The final item that I would like to bring to your attention this week is the news that a print of early Orson Welles film Too Much Johnson has been discovered in Italy. It premiere’s at Pordenone in October, but ought to be available to the public soon after. This discovery is important for two reasons: Firstly, it acts as a vital insight in to the filmmakers amalgamation of stage and screen (Too Much Johnson was designed to play on-screen with interruption from live-action players), and secondly, it serves as a reminder that it’s never to late to hope that a major rediscovery of a film written off as lost isn’t just around the corner. Now, check in your cellar’s for that stray print of The Magnificent Ambersons. 

Adam Batty – Editor-In-Chief

Further Reading

The Myth Of The Consecrated Movie Theatre. Glenn Kenny chimes in on a debate concerning cine-etiquette that ran thru the internet earlier this week. 


The CriticWire Survey. This week’s Survey is on great coming of age stories. My response will surprise no one.


One Comment

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  1. Hello Adam, just discovered this site, great work. Will definitely be on the lookout for the “new” Orson Welles film. Sounds good. Rick

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