Another in the series The Director’s Place.

Filmmaker John Boorman pulls an “8 1/2”-and a good one-in I Dreamt I Woke Up. In this rambling reflection on Boorman’s life and career, the director appears as himself, while John Hurt shows up as his alter ego. Boorman’s son Charley plays “The Green Man,” a far-from-veiled reference to his starring appearance in his dad’s The Emerald Forest. And Janet McTeer rounds out the cast as an “everywoman”, essaying all sorts of hallucinatory roles. Short (1944) and bittersweet, I Dreamt I Woke Up was filmed in County Wicklow, Ireland; it was first shown in the US at the Telluride Film Festival ~ Hal Erickson, All Movie Guide

I dreamt I woke up.avi

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Language(s):English
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The post John Boorman – I Dreamt I Woke Up (1991) first appeared on Cinema of the World.

Point Blank is a 1967 American crime film directed by John Boorman, starring Lee Marvin and featuring Angie Dickinson, adapted from the crime noir pulp novel The Hunter by Donald E. Westlake, writing as Richard Stark. Boorman directed the film at Marvin’s request and Marvin played a central role in the film’s development and staging. The film was not a box office success in 1967 but has since gone on to become a cult classic, eliciting praise from such critics as film historian David Thomson.

Production
Director John Boorman met Lee Marvin while on the set of The Dirty Dozen in London. Boorman and Marvin talked about a script based on the book The Hunter. Both hated the script but loved the main character of Walker. When they agreed to work on the film, Marvin threw the script out the window. Marvin called up a meeting with the head of the studio, the producers, his agent and Boorman. Boorman recalls, “[Marvin] said, ‘I have script approval?’ They said ‘yes’. ‘And I have approval of principal cast?’. ‘Yes’. He said, ‘I defer all those approvals to John [Boorman].’ And he walked out. So on my very first film in Hollywood, I had final cut and I made use of it.”

The unusual structure of the film was due in part to the original script and developments during the course of shooting the film. Rehearsals took place at Marvin’s house in Los Angeles. On the rehearsal day in which Marvin asked Sharon Acker what happened to the money, Marvin had lines which he did not speak and forced Acker to continue the conversation on her own. “I saw right away he was right,” replied Boorman, “Lee never made suggestions. He would just show you.” So Boorman changed the lines in the script so that Acker would essentially ask and answer Marvin’s questions, and the result is in the finished film. “It made a conventional scene something more,” added Boorman.

This was the first film ever to shoot at Alcatraz, the infamous prison which had been shut down since 1963, only three years before the production. Two weeks in the abandoned prison facility required the services of 125 crew members. While Marvin and Wynn enjoyed shooting on location, Wynn was concerned about the weather and the need to loop half the dialogue. During the shoot, Angie Dickinson and Sharon Acker modeled contemporary fashions for a Life magazine exclusive against the backdrop of the prison. Acker was accidentally hurt by the blanks that Vernon used to shoot at Marvin early in the film.

Director Boorman chose locations that were “stark.” For example, the airplane terminal walkway that Marvin walked down originally had flower pots lining the walls. Boorman had the pots taken out to “make it all bare.”

After Boorman showed the finished cut to executives, they were “very perplexed and mumbling about reshoots”. Margaret Booth, a legendarily traditional-minded supervising editor on the picture, told Boorman as the execs filed out, “You touch one frame of this film over my dead body!”
Reception

In her 1967 New Yorker review of Bonnie and Clyde, Pauline Kael wrote: “A brutal new melodrama is called Point Blank, and it is.” Kael later called the film “intermittently dazzling”. Roger Ebert gave the film three out of four stars and said “as suspense thrillers go Point Blank is pretty good.” Leonard Maltin gave the film three and a half stars: “Taut thriller, ignored in 1967, but now regarded as a top film of the decade.”

Slant Magazine reviewer Nick Schager notes in a 2003 review: “What makes Point Blank so extraordinary, however, is not its departures from genre conventions, but Boorman’s virtuoso use of such unconventional avant-garde stylistics to saturate the proceedings with a classical noir mood of existential torpor and romanticized fatalism.”

The film has a 97% fresh rating on Rotten Tomatoes.

Themes
Viewers and critics have often questioned whether or not the film is really a dream that Walker has after he is shot in the very beginning. Director Boorman claims to not have an opinion on the matter. “What it is is what you see,” responded Boorman. Steven Soderbergh has described Point Blank as “memory film” for Marvin. Boorman believes the film is about Lee Marvin’s brutalizing experiences in World War II, which dehumanized him and left him desperately searching for his humanity.

Style
Point Blank combines elements of film noir with stylistic touches of the European nouvelle vague. The film features a fractured time-line, disconcerting narrative rhythms (long slow passages contrasted with sudden outbursts of violence) and a carefully calculated use of film space (stylized compositions of concrete riverbeds, sweeping bridges, empty prison cells). Boorman credits Marvin with coming up with a lot of the visual metaphors in the film. Boorman said that as the film progressed, scenes in the film would be filmed monochromatically around one particular color (the chilly blues and grays of Acker’s apartment, Dickinson’s butter yellow bathrobe, the startling red wall in Vernon’s penthouse) to give the proceedings a “sort of unreality”.

To establish Walker’s mythic stature, Soderbergh noted in the commentary that the film cuts from a shot of Walker swimming from Alcatraz to a shot of him on a ferry overlooking the same island while a woman on the loudspeaker describes the impossibility of leaving the island. Soderbergh said that this contrast of the character’s ease of escape with the loudspeaker’s monologue makes the Walker character “mythic immediately.”
Legacy

Point Blank is hailed in the book 1,001 Movies You Must See Before You Die as “The perfect thriller in both form and vision.” Film historian David Thomson calls the film a masterpiece. Thomson adds, “[…] this is not just a cool, violent pursuit film, it is a wistful dream and one of the great reflections on how movies are fantasies that we are reaching out for all the time—it’s singin’ in the rain again, the white lie that erases night.” Director Steven Soderbergh has said that he used stylistic touches from Point Blank many times in his filmmaking career.

The Hunter was also the basis for Brian Helgeland’s Payback (1999), starring Mel Gibson. Director Boorman has joked that Payback was so bad that Mel Gibson must have taken the original script for Point Blank that Boorman and Marvin had thrown out.

Influence
On March 29, 1968, Point Blank was screened at Cinelândia movie theaters in order to protest the murder of 18-year-old high school student Edson Luís de Lima Souto by the Military Police of Rio de Janeiro. Souto was shot at point-blank range. Phrases such as “Do bullets kill hunger?”, “Old people in power, young people in coffin”, and “They killed a student… what if it was your son?” were written by protesters in the movie posters. The aftermath of Souto’s death was one of the first major public protests against the Brazilian military government.

Point Blank.mkv

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The post John Boorman – Point Blank (1967) first appeared on Cinema of the World.

Intent on seeing the Cahulawassee River before it’s dammed and turned into a lake, outdoor fanatic Lewis Medlock takes his friends on a canoeing trip they’ll never forget into the dangerous American back-country.

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Language(s):English
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The post John Boorman – Deliverance (1972) first appeared on Cinema of the World.

The General begins with the death of Martin Cahill–celebrated Dublin gangster who stole millions during the 1980s–then literally reverses the approach and assault of his IRA assassin, flashing back in time,back through Cahill’s colorful, criminal quest for his kind of ideal community. Boorman says his Cahill is a throwback to those Celtic chieftains of old who ruled by thievery and violence; as an anachronism, this charming, brutal bear of a man (perfectly incarnated by Brendan Gleeson) is undeniably reprehensible, but he stands in deliberate contrast to the institutionalized hypocrisy and corruption of church, state, and IRA alike.

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Language(s):English
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The post John Boorman – The General (1998) first appeared on Cinema of the World.

Synopsis by Hal Erickson
The Emerald Forest is based on a true story, as related by Los Angeles Times correspondent Leonard Greenwood. Powers Boothe stars as Bill Markham, a US engineer working on a dam project in the Amazonian jungles. Bill’s young son, Tomme (played by director John Boorman’s son Charley Boorman) is kidnapped in the rain forest by a tribe called “The Invisible People” because of their skills at camouflage – a group that has reportedly never experienced contact with Caucasians. The authorities give up the boy for lost, but Bill perseveres in searching for his son, for over 10 years. While fleeing for his life from The Fierce People – enemies of The Invisible People – he’s rescued at the last minute by Tomme, now an adoptee of The Invisible People’s chief. To Bill’s frustration, Tomme initially refuses to join his biological dad and return to civilization, but when The Fierce People swing in and abduct all of the women in the Invisible People tribe, Tomme seeks his dad’s help in rescuing them.

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The post John Boorman – The Emerald Forest (1985) first appeared on Cinema of the World.

A shot-down American pilot finds his way to a small, unpopulated island where he hopes to find provisions. He soon discovers that he is not alone; there is a Japanese officer marooned on the island also. Will they continue to fight each other to the death, or will they reach a modus vivendi?

Lone Japanese soldier Toshiro Mifune diligently scans the ocean from his island lookout as he must have thousands of times before, but this time he spies an abandoned life raft resting on a rocky bluff. Within minutes he’s face to face with American sea-wreck survivor Lee Marvin and the two begin an elaborate game of cat and mouse. Director John Boorman presents this two-man war as a deadly game between a pair of overgrown children, who finally tire of it (as kids will) and settle into tolerated co-existence and then even something resembling a friendship. With impressionistic strokes, Boorman paints a lush tropical paradise in colors you can drink from the screen, capturing the texture of their experience as refracted through the cinema: the look of the island as seen through the haze of smoke, the sound of a sudden rainstorm as it hushes the island in a calming roar, the timelessness of life outside of civilization. The story seems almost secondary, an allegorical drama that comes alive in the excellent performances by Marvin and Mifune (who soon enough converse despite their complete inability to understand each other’s language) and the visceral immediacy of Boorman’s gorgeous widescreen images.

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Language(s):English
Subtitles:None

The post John Boorman – Hell in the Pacific (1968) first appeared on Cinema of the World.

Edited by John Boorman and Walter Donohue
Projections is a forum for practitioners of the cinema to write about their work. The first issue includes a journal compiled by John Boorman which records his responses to the events and trends of 1991, and their implications for the future of cinema. Like his Emerald Forest diary, Money into Light, it is a fascinating mix of anecdote, personal reflections, thoughts on the nature of cinema, and comments on the practical business of making films.

Projections also contains contributions from cinematographer Nestor Almendros, who describes the craft of photographing the human face, and from Jonathan Demme, who traces the evolution of his career from his early days with Roger Corman to his chilling Silence of the Lambs. River Phoenix and Gus Van Sant discuss their work together on My Own Private Idaho; there is a script from one of the most original talents in American today, Hal Hartley, and a penetrating account by director Michael Mann of his startling new version of Last of the Mohicans.

Contents

List of Illustrations Vll
Acknowledgements IX

Fade In …
John Boorman 1
1 Bright Dreams, Hard Knocks:
A Journal for 1991
John Boorman 5
2 The Burning Question:
Absolute Freedom? 121
3 Film Fiction: More Factual than Facts
Samuel Fuller 131
4 The Early Life of a Screenwriter
Emeric Pressburger 133
5 Demme on Demme 158
6 Matters of Photogenics
Nestor Almendros 198
7 My Director and I
River Phoenix 212
8 Knowing Is Not Enough
Hal Hartley 223
9 Surviving Desire
Hal Hartley 225
10 Losing Touch
Tony Harrison 260
11 Making Some Light:
An interview with Michael Mann
Graham Fuller 262
Filmography 279

http://nitroflare.com/view/2CD46AD082630F5/ProjectionsNo1.pdf

Rip Specs:PDF 300dpi
286pp
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The post John Boorman and Walter Donohue – Projections No1 (1991) first appeared on Cinema of the World.