Harry Gulkin, best known for producing classic Canadian films like Lies My Father Told Me and Jacob Two-Two Meets the Hooded Fang, has died. He was 90.
Gulkin, who was also revealed to be the father of Hollywood actress and director Sarah Polley in a 2012 documentary, died Monday in Montreal after a bout of pneumonia.
"We extend our deepest condolences to the family and friends of Harry Gulkin. We will always remember him for his outstanding vision and undeniable contribution to the film community. May he rest in peace," the Academy of Canadian Cinema and Television said Tuesday on ...
Gulkin, who was also revealed to be the father of Hollywood actress and director Sarah Polley in a 2012 documentary, died Monday in Montreal after a bout of pneumonia.
"We extend our deepest condolences to the family and friends of Harry Gulkin. We will always remember him for his outstanding vision and undeniable contribution to the film community. May he rest in peace," the Academy of Canadian Cinema and Television said Tuesday on ...
- 7/26/2018
- The Hollywood Reporter - Movie News
Harry Gulkin, best known for producing classic Canadian films like Lies My Father Told Me and Jacob Two-Two Meets the Hooded Fang, has died. He was 90.
Gulkin, who was also revealed to be the father of Hollywood actress and director Sarah Polley in a 2012 documentary, died Monday in Montreal after a bout of pneumonia.
"We extend our deepest condolences to the family and friends of Harry Gulkin. We will always remember him for his outstanding vision and undeniable contribution to the film community. May he rest in peace," the Academy of Canadian Cinema and Television said Tuesday on ...
Gulkin, who was also revealed to be the father of Hollywood actress and director Sarah Polley in a 2012 documentary, died Monday in Montreal after a bout of pneumonia.
"We extend our deepest condolences to the family and friends of Harry Gulkin. We will always remember him for his outstanding vision and undeniable contribution to the film community. May he rest in peace," the Academy of Canadian Cinema and Television said Tuesday on ...
- 7/26/2018
- The Hollywood Reporter - Film + TV
Cate Blanchett, Jared Leto: New York Film Critics go for movie stars in each acting category (photo: Cate Blanchett in ‘Blue Jasmine’) (See previous post: "Hot Jennifer Lawrence, Wet Robert Redford: New York Film Critics Winners.") Cate Blanchett was chosen as the New York Film Critics Circle’s Best Actress for Woody Allen’s comedy-drama Blue Jasmine. Blanchett, already touted as an Oscar 2014 favorite, plays a role with elements in common with Vivien Leigh’s Blanche DuBois in Elia Kazan’s A Streetcar Named Desire. Leigh was both the New York Film Critics’ and the Academy Awards’ Best Actress of 1951. (Full list of Nyfcc 2013 award winners.) Cate Blanchett has already won an Oscar — Best Supporting Actress for Martin Scorsese’s The Aviator, in which she plays Katharine Hepburn — but this is her first Nyfcc win. Back in 2007, Blanchett, as one of several Bob Dylan characters in Todd Haynes’ I’m Not There,...
- 12/3/2013
- by Andre Soares
- Alt Film Guide
I've come to Sarah Polley's Stories We Tell after hearing about how great it is for over a year now. I had no idea what it was about and I feel it's best not to know what it's about before viewing it. That said, this review will spoil the revelations that sprout up throughout this documentary so if you wish to remain in the dark before seeing it for yourself you may not want to read any further. Directing her first documentary after two narrative films, Polley sets about this latest feature as she sits down with members of her family, friends and others to explore the secrets of her family's past. That, however, is a rather cold description of what is really a film filled with familial warmth. The facts of the matter are Sarah was born in January 1979 and for the better part of her life grew...
- 10/9/2013
- by Brad Brevet
- Rope of Silicon
I've come to Sarah Polley's Stories We Tell after hearing about how great it is for over a year now. I had no idea what it was about and I feel it's best not to know what it's about before viewing it. That said, this review will spoil the revelations that sprout up throughout this documentary so if you wish to remain in the dark before seeing it for yourself you may not want to read any further. Directing her first documentary after two narrative films, Polley sets about this latest feature as she sits down with members of her family, friends and others to explore the secrets of her family's past. That, however, is a rather cold description of what is really a film filled with familial warmth. The facts of the matter are Sarah was born in January 1979 and for the better part of her life grew...
- 10/9/2013
- by Brad Brevet
- Rope of Silicon
Sarah Polley reveals more about herself than she may have realised in this complex documentary love-letter to her parents
This tender, painful, intimate film is the work of Canadian actor and director Sarah Polley. It is a portrait of her troubled parents, a complex labour of love – part of what is fascinating and even thrilling about this movie is that Polley may not be aware of what it reveals about her personally. This is the second time I have watched it since last year's premiere at Venice, savouring its humour, its heartbreak and its unintentional disclosures, revealing the director's vulnerability and her formidable composure.
Polley has been an object of fascination for me since I saw her charismatic, icily assured performance in Doug Liman's 1999 thriller Go!, and assured everyone that she was going to be bigger than that year's other up-and-comer Angelina Jolie; I still think I may have been right.
This tender, painful, intimate film is the work of Canadian actor and director Sarah Polley. It is a portrait of her troubled parents, a complex labour of love – part of what is fascinating and even thrilling about this movie is that Polley may not be aware of what it reveals about her personally. This is the second time I have watched it since last year's premiere at Venice, savouring its humour, its heartbreak and its unintentional disclosures, revealing the director's vulnerability and her formidable composure.
Polley has been an object of fascination for me since I saw her charismatic, icily assured performance in Doug Liman's 1999 thriller Go!, and assured everyone that she was going to be bigger than that year's other up-and-comer Angelina Jolie; I still think I may have been right.
- 6/28/2013
- by Peter Bradshaw
- The Guardian - Film News
When Sarah Polley decided to make a documentary about the mother she lost as a girl of 11, she had no idea of the extraordinary family secret she would unearth. The acclaimed Canadian film-maker talks about the often painful burden of exploring the lives of loved ones – and why she thinks marriage is a 'crazy and optimistic' institution
As I fly to Canada to meet Sarah Polley, I think about the glimpses of her in Stories We Tell – her first full-length documentary feature, which bowled over critics at Sundance and the Venice film festival and has won Canada's Film of the Year award. She looks like a contemplative Madonna on screen, with long, fair hair. She listens more than she talks. She encourages her family to speak. Her film may be her story – but she gets others to tell it. Michael Polley, her British-born father – an actor who worked for an...
As I fly to Canada to meet Sarah Polley, I think about the glimpses of her in Stories We Tell – her first full-length documentary feature, which bowled over critics at Sundance and the Venice film festival and has won Canada's Film of the Year award. She looks like a contemplative Madonna on screen, with long, fair hair. She listens more than she talks. She encourages her family to speak. Her film may be her story – but she gets others to tell it. Michael Polley, her British-born father – an actor who worked for an...
- 6/23/2013
- by Kate Kellaway
- The Guardian - Film News
Sarah Polley is an amazing actress, but now she is proving to be an amazing filmmaker as well. Her third film, Stories We Tell, marks the first documentary she has ever made, but it also deals with the same themes Away From Her and Take This Waltz dealt with as well: the troubles faced in long standing relationships as well as issues with memories and truth. It also proves to be a genre-twisting film as Sarah uses different methods to get at the truth surrounding a very important person in her life, her mother Diane.
We learn that Diane died when Sarah was only 11 years old, and Stories We Tell represents Sarah’s quest to find out more about the person she was. In addition to being the director, Sarah also acts as a detective as she interviews various members of her family as well as friends of her mom...
We learn that Diane died when Sarah was only 11 years old, and Stories We Tell represents Sarah’s quest to find out more about the person she was. In addition to being the director, Sarah also acts as a detective as she interviews various members of her family as well as friends of her mom...
- 5/17/2013
- by Ben Kenber
- We Got This Covered
We have all come to love Sarah Polley as an actress in films such as The Sweet Hereafter, Exotica and Zack Snyder’s remake of Dawn of the Dead, but in the past few years she has proven to be as big a talent behind the camera as she is in front of it. While many actors can have an awkward time going from acting in a movie to directing one, Polley made one of the most confident and assured feature-length directorial debuts with Away From Her, which earned its star Julie Christie an Oscar nomination for Best Actress. Polley then went on to direct last year’s Take This Waltz which starred Michelle Williams and Seth Rogen as a married couple that wonders if they’re truly satisfied with the state of their relationship.
Polley’s latest film as a director is Stories We Tell, and it also marks...
Polley’s latest film as a director is Stories We Tell, and it also marks...
- 5/14/2013
- by Ben Kenber
- We Got This Covered
Sarah Polley's portrait of her parents' marriage is a gripping tale, full of richness, tenderness and emotional complexity
After the disappointment of Sarah Polley's recent feature Take This Waltz – a treacly, implausible and bafflingly inert love triangle – it is a relief, and in fact a thrill, to report that her new film is a joy.
Stories We Tell is a cine-memoir of Polley's parents, the British-born actor Michael Polley and Canadian actor and casting director Diane Polley. Using Super-8 home-movie footage, faux Super-8 reconstructions, interviews with siblings and, crucially, a memoir written by Michael, Polley has created a portrait of a marriage that is full of enormous richness, tenderness and emotional complexity.
Polley tackles painful issues with candour and tact. She has a gripping tale to tell. It's a film that raises questions about the ownership of memory and ownership of narrative. On this point, and perhaps without fully realising it,...
After the disappointment of Sarah Polley's recent feature Take This Waltz – a treacly, implausible and bafflingly inert love triangle – it is a relief, and in fact a thrill, to report that her new film is a joy.
Stories We Tell is a cine-memoir of Polley's parents, the British-born actor Michael Polley and Canadian actor and casting director Diane Polley. Using Super-8 home-movie footage, faux Super-8 reconstructions, interviews with siblings and, crucially, a memoir written by Michael, Polley has created a portrait of a marriage that is full of enormous richness, tenderness and emotional complexity.
Polley tackles painful issues with candour and tact. She has a gripping tale to tell. It's a film that raises questions about the ownership of memory and ownership of narrative. On this point, and perhaps without fully realising it,...
- 8/29/2012
- by Peter Bradshaw
- The Guardian - Film News
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