Sir Anthony Blunt was a Soviet agent in Britain for 25 years, the fourth man (after Maclean, Burgess and Philby) in the infamous Cambridge spy ring. Caught out in 1964, Blunt is granted immunity from prosecution and his treason is kept secret in exchange for a full confession. Meanwhile, he continues to work as an art historian, Director of the Courtauld Institute and Surveyor of the Queen’s Pictures. Continually hounded by MI5, he presents his interrogator with a puzzle in the shape of a doubtful Titian painting. He also does art restoration work in Buckingham Palace, where he gets into an ambiguous conversation with the Queen. Meanwhile the investigators demand that he disclose the name of the elusive Fifth Man in the ring as part of his immunity deal, otherwise threatening to expose him to the nation.

A.Question.of.Attribution.1991.x264.DVDRip.mkv

General
Container:	Matroska
Runtime:	1h 10mn
Size:	1.02 GiB
DXVA:	Compatible
Minimum settings:	Met
Video
Codec:	x264
Resolution:	692x572 ~> 762x572
Aspect ratio:	4:3
Frame rate:	25.000 fps
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Audio
English 2.0ch AC-3 @ 256 kb/s

https://nitro.download/view/DF1B2D56E273119/A.Question.of.Attribution.1991.x264.DVDRip.mkv

Language(s):English
Subtitles:English

The post John Schlesinger – A Question of Attribution (1991) first appeared on Cinema of the World.

Quote:
Made by major Hollywood director John Schlesinger for British Transport in 1961, Terminus is widely regarded as one of the very best railway films of all time.
A celebration of London’s Waterloo station in all its glory on a busy day, the film boasts a truly exceptional jazz soundtrack from Ron Grainer music, and songs from Julian Cooper. It uniquely captures the essence of a British station at the beginning of the 1960s, with the camera taking you behind the scenes as well as on the platforms and concourse.Presenting a single day in the life of Waterloo station Terminus is a revealing exploration of how, in 1961, practically everybody used the railway. From children to adults, through marriage, work, crime & punishment, to old age and death, in its vignettes Terminus is successfully able to capture the moment and emotions of them all.

However, the Film was actually shot over three weeks, and one of the Film’s most memorable sequences – the lost boy in search of his mother – was in fact pre-arranged. Where the Mother (a relative of the Director) was persuaded to lose her son for ten minutes without the child’s knowledge!

Terminus.1961.576p.BluRay.AAC.x264-HANDJOB.mkv

General
Container:  	Matroska
Runtime: 	33 min 30 s
Size: 	905 MiB
Video
Codec: 	x264
Resolution: 	768x576 
Aspect ratio:  	4:3
Frame rate: 	25.000 fps
Bit rate: 	3 624 kb/s
BPP: 	0.328
Audio
#1:  	English 2.0ch AAC LC @ 148 kb/s

https://nitro.download/view/8D1C4592030E245/Terminus.1961.576p.BluRay.AAC.x264-HANDJOB.mkv
https://nitro.download/view/1927925B90BF6FA/Terminus.1961.576p.BluRay.AAC.x264-HANDJOB.srt

Language(s):English
Subtitles:English

The post John Schlesinger – Terminus (1961) first appeared on Cinema of the World.

Synopsis:
John Schlesinger directs the war romance Yanks, based on the story by Colin Welland. Set in England at the end of WWII, the story concerns three American GIs and their affairs with British women of varying social status. The central romance concerns Sgt. Matt Dyson (Richard Gere) and Jean Moreton (Lisa Eichhorn making her film debut), who is the daughter of shopkeepers (Rachel Roberts and Tony Melody). He falls in love with her but she is still infatuated with her boyfriend Ken (Derek Thompson). Higher up on the class scale, the officer John (William Devane) has a brief extramarital affair with socialite Helen (Vanessa Redgrave). The third pairing involves Sgt. Danny Ruffelo (Chick Vennera) in a fling with Mollie (Wendy Morgan). Eventually, the Americans and the Britains find themselves surrounded by racism at a New Year’s Eve dance. Annie Ross from the vocal jazz group Lambert, Hendricks, & Ross appears briefly as a Red Cross nurse. Yanks won two BAFTA awards in 1980: to Shirley Russell for Best Costume Design and to Rachel Roberts for Best Supporting Actress. ~ Andrea LeVasseur, All Movie Guide

3.16GB | 2 h 18 min | 1024×576 | mkv

https://nitro.download/view/B2076E23BDD9AB6/Yanks.1979.mkv
https://nitroflare.com/view/1A55B4433EE1620/Yanks.1979.en.srt

Language:English
Subtitles:English

The post John Schlesinger – Yanks (1979) first appeared on Cinema of the World.

Quote:
In 1969, following an anti-establishment path blazed famously by Bonnie and Clyde, then-X-rated Midnight Cowboy lumbered into the cinema consciousness and swiped the Best Picture Oscar. While Hollywood was producing Hello, Dolly! (also nominated that year), Dustin Hoffman, Jon Voight and director John Schlesinger were chronicling the bizarre tale of a wannabe male prostitute and a sickly cripple trying to survive together on the New York City streets.

Academy voters had a lot to be impressed with — tenacious, unrelenting performances, Waldo Salt’s fearless screenplay adaptation — but, perhaps they were also swayed by Midnight Cowboy’s distinct feeling Schlesinger paints New York as an uncomfortable amalgam of society ladies and society dregs, a city slathered in advertising messages, covered in money and hopping with cheap hustlers. In the last 35 years, the word “gritty” has often been used to sum up the film, accurately, usually referring to the disgusting abandoned apartment our two protagonists call home.

Hoffman, in his first lead role since The Graduate, is Enrico “Ratso” Rizzo, a limping, slimy looking loser who wanders the streets aimlessly, trolling payphones for change and dreaming of moving to Florida. Voight, in his breakout after six years of TV work, plays Joe Buck, an ultra-naïve Texas boy who comes to New York with delusions of Park Avenue women paying him for sex.

A fool and his money are soon parted, of course, and Buck (“I’m not a real cowboy, but I’m one hell of a stud!”) is broke and homeless quickly. After Ratso meets Joe at a bar — and promptly rips him off — he eventually offers up his condemned, heat-free living space, and the two bond in an unexpected way that is both awkward and touching.

There’s a sad symbolism to the lead roles that makes the characters’ simpatico even more tragic. Buck, the strapping Texan, eyes his New York future like a modern-day immigrant. His image of rich dames in bed is about as false as the adage about streets made of gold, and his lack of urban savvy means he doesn’t speak the language either. Ratso is New York itself circa 1969, welcoming to a point, cynical, and heading toward certain crumbling. Together, they work low-level shoplifting, attend a Factoryesque party — where they pretty much fit in — and fantasize about magic bus tickets to Miami.

In the years since the film’s initial release, as Voight’s become an acclaimed performer and Hoffman an acting superstar, images from Midnight Cowboy have become iconic. Nearly every movie fan has seen the lonely photo of Voight with his trademark cowboy hat and a scruffy Hoffman with greased-back hair. There’s Hoffman hollering, “Hey, I’m walking here!” at a stray taxicab. And there’s the pair’s freaky pas de deux set to a radio jingle for orange juice.

In perfect step with the acting and setting is the superb editing by Hugh A. Robertson, also nominated for his work. In addition to choosing an ideal rhythm for the one-on-one sequences, he also creates uncomfortable jigsaw puzzles of images, rat-a-tatting troubled pasts and a troubling New York to an unsuspecting audience. The editing contributes in making Midnight Cowboy a maverick effort, much like the editing of another tide-turner from 1969… Easy Rider. The world was going to change.

https://nitro.download/view/45773347686D1B8/John_Schlesinger_-_(1969)_Midnight_Cowboy.mkv

Language(s):English, Italian
Subtitles:English, French, Portuguese

The post John Schlesinger – Midnight Cowboy (1969) first appeared on Cinema of the World.

Quote:
John Schlesinger followed his iconic Midnight Cowboy with this deeply personal take on love and sex. Sunday Bloody Sunday depicts the romantic lives of two Londoners, a middle-aged doctor and a prickly thirtysomething divorcée—played with great sensitivity by Peter Finch and Glenda Jackson—who are sleeping with the same handsome young artist (Murray Head). A revelation in its day, this may be the seventies’ most intelligent, multitextured film about the complexities of romantic relationships.
— The Criterion Collection

http://www.nitroflare.com/view/059D55D750D58F7/Sunday_Bloody_Sunday.mkv

no pass

The post John Schlesinger – Sunday Bloody Sunday (1971) (HD) first appeared on Cinema of the World.