We Are The Lambeth Boys The London Short Film Festival has announced the full programme for its 14th edition, which will run from January 6 to 15 2017.
Among the festival highlights is a night entitled David Bowie Sound & Vision, a series of screenings at 19 Picturehouse cinemas across the UK. The showcase, featuring Michael Armstrong's The Image, Alan Yentob's The Cracked Actor and Julien Temple's Jazzin' For Blue Jean, aims to tell the story of his career, taking in three decades, from his experimental beginnings of the Sixties to the golden era of the Seventies to his world of domination in the Eighties.
Also dipping into the archives are two evenings celebrating youth culture across the decades - the Fifties, Sixties and Seventies night will feature Karel Reisz's We Are The Lambeth Boys while the Eighties, Nineties, Noughties and beyond includes Heavy Metal Parking Lot by Jeff Krulik and John Heyn along with.
Among the festival highlights is a night entitled David Bowie Sound & Vision, a series of screenings at 19 Picturehouse cinemas across the UK. The showcase, featuring Michael Armstrong's The Image, Alan Yentob's The Cracked Actor and Julien Temple's Jazzin' For Blue Jean, aims to tell the story of his career, taking in three decades, from his experimental beginnings of the Sixties to the golden era of the Seventies to his world of domination in the Eighties.
Also dipping into the archives are two evenings celebrating youth culture across the decades - the Fifties, Sixties and Seventies night will feature Karel Reisz's We Are The Lambeth Boys while the Eighties, Nineties, Noughties and beyond includes Heavy Metal Parking Lot by Jeff Krulik and John Heyn along with.
- 12/17/2016
- by Amber Wilkinson
- eyeforfilm.co.uk
Pyjama Party: John Hughes Edition | Glasgow Youth Film Festival | Vive Le Punk | Middle East Film Festival
Pyjama Party: John Hughes Edition, London
Ever since the discovery of the teenager, film-makers have struggled to come up with the perfect movie for them, but John Hughes cracked the formula. Mixing smart comedy, hip music and empathetic observation of teen social rituals, his movies are equally at home in the arthouse cinema or the home slumber party, but that's a choice you don't have to make here. Turn up in your PJs or in Hughes-movie fancy dress and veg out to 80s classics such as Pretty In Pink, Weird Science, Ferris Bueller's Day Off and The Breakfast Club.
Prince Charles Cinema, WC2, Sat
Glasgow Youth Film Festival
Officially it's a precursor to the Glasgow Film Festival, but there's plenty to justify this as a festival in its own right, and not just for the kids.
Pyjama Party: John Hughes Edition, London
Ever since the discovery of the teenager, film-makers have struggled to come up with the perfect movie for them, but John Hughes cracked the formula. Mixing smart comedy, hip music and empathetic observation of teen social rituals, his movies are equally at home in the arthouse cinema or the home slumber party, but that's a choice you don't have to make here. Turn up in your PJs or in Hughes-movie fancy dress and veg out to 80s classics such as Pretty In Pink, Weird Science, Ferris Bueller's Day Off and The Breakfast Club.
Prince Charles Cinema, WC2, Sat
Glasgow Youth Film Festival
Officially it's a precursor to the Glasgow Film Festival, but there's plenty to justify this as a festival in its own right, and not just for the kids.
- 2/2/2013
- by Steve Rose
- The Guardian - Film News
Karel Reisz's 1966 film about a young man broken down by the new consumer culture is a bizarre, brilliant portrait of changing times. Jon Savage explains its influence
Morgan Delt is in court. In the preceding hour or so of screen time, he has ignored an injunction preventing him from contacting his ex-wife Leonie, broken into their once shared house, run a sequence of extremely loud animal noises to disturb Leonie and her new partner Charles Napier, exploded a thunderflash under his mother-in-law, and finally, kidnapped Leonie in an abortive attempt to live in the wilderness of deep Wales.
This rapidly escalating sequence of harassment has been undercut by Morgan's ineptitude, but there's no doubt he's in big trouble. So what does he do? He daydreams. A giraffe is being lassoed by a group of horsemen: then we see a number of these wild animals run free through the veldt.
Morgan Delt is in court. In the preceding hour or so of screen time, he has ignored an injunction preventing him from contacting his ex-wife Leonie, broken into their once shared house, run a sequence of extremely loud animal noises to disturb Leonie and her new partner Charles Napier, exploded a thunderflash under his mother-in-law, and finally, kidnapped Leonie in an abortive attempt to live in the wilderness of deep Wales.
This rapidly escalating sequence of harassment has been undercut by Morgan's ineptitude, but there's no doubt he's in big trouble. So what does he do? He daydreams. A giraffe is being lassoed by a group of horsemen: then we see a number of these wild animals run free through the veldt.
- 2/11/2011
- by Jon Savage
- The Guardian - Film News
When directors wanted their films to ooze cool, they called on Johnny Dankworth. Richard Williams on the man who made British cinema swing
There was a time when jazz and film formed a natural partnership. When a director wanted a hectic accompaniment to criminal activity, or a splintered melody to echo an on-screen psychodrama, or a cool, lush sound to accompany a cocktail-lounge seduction, jazz was the sound to use. And Johnny Dankworth was one of the men who could provide it, on time and to length.
Dankworth, who died at the weekend, was a fine musician, although not perhaps a great one. His playing and his composing did not alter the course of jazz, and he has no disciples. His real achievement, and his knighthood, came as a result of his ambition to make jazz acceptable on the concert platform and in the conservatory. He will also be remembered...
There was a time when jazz and film formed a natural partnership. When a director wanted a hectic accompaniment to criminal activity, or a splintered melody to echo an on-screen psychodrama, or a cool, lush sound to accompany a cocktail-lounge seduction, jazz was the sound to use. And Johnny Dankworth was one of the men who could provide it, on time and to length.
Dankworth, who died at the weekend, was a fine musician, although not perhaps a great one. His playing and his composing did not alter the course of jazz, and he has no disciples. His real achievement, and his knighthood, came as a result of his ambition to make jazz acceptable on the concert platform and in the conservatory. He will also be remembered...
- 2/9/2010
- by Richard Williams
- The Guardian - Film News
Celebrated figure of British jazz with a 60-year career as a performer, composer, bandleader and educationist
Late last November, Sir John Dankworth, who has died aged 82, elicited the most heartfelt standing ovation of his 60-year career in music for what was possibly his briefest and quietest performance. He had been taken to hospital during the run-up to the London Jazz Festival show for him and his singer wife, Cleo Laine, at the South Bank. But the frail Dankworth emerged in a wheelchair just before the interval. Laine, his daughter Jacqui, a singer-actress, his bassist son Alec and a good many of the big band looked as if they could hardly bear to watch the old star slowly bring the alto saxophone to his lips. Then the opening notes of the Duke Ellington ballad Tonight I Shall Sleep filled the hall, vibrating gently with Dankworth's delicate, richly clarinet-like ballad sound and everybody breathed out.
Late last November, Sir John Dankworth, who has died aged 82, elicited the most heartfelt standing ovation of his 60-year career in music for what was possibly his briefest and quietest performance. He had been taken to hospital during the run-up to the London Jazz Festival show for him and his singer wife, Cleo Laine, at the South Bank. But the frail Dankworth emerged in a wheelchair just before the interval. Laine, his daughter Jacqui, a singer-actress, his bassist son Alec and a good many of the big band looked as if they could hardly bear to watch the old star slowly bring the alto saxophone to his lips. Then the opening notes of the Duke Ellington ballad Tonight I Shall Sleep filled the hall, vibrating gently with Dankworth's delicate, richly clarinet-like ballad sound and everybody breathed out.
- 2/7/2010
- by John Fordham
- The Guardian - Film News
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