Three years after the original “Danger Man” series concluded, it was revamped and continued in a longer format. (1 hour/episode instead of 30 minutes). John Drake was now a Special Security Agent for M9, getting his exotic assignments exclusively from Her Majesty’s Secret Service. This version of the series introduced far more Bond-like gadgets, from exploding tie-pins to tape-recording shavers, and emphasized fast action. Written by Marg BaskinRead More »
IMDB:
Superb!, 30 June 2005
10/10
Author: P_Cornelius
A terrific show, Danger Man. Just how terrific was it? Several of the scripts were recycled for use in color episodes of The Saint. But the originals in Danger Man are the best. As for Patrick McGoohan, he has never surpassed his role in this series. And, yes, that statement applies to his over-hyped and underwhelming portrayal as Number Six in The Prisoner. All the Danger Man episodes, including the earlier run of 30 minute episodes, are available on DVD. And that’s probably the only way anyone will ever see them in this day and age, as even cable channels are now becoming averse to running black and white hour long dramas from forty or more years ago. Read More »
CAVALCANTI MAAS PETERSON BROUGHTON BUTE KESSLER WHITNEY KIRSANOFF MURPHY MARC’O WATSON HUFF
From THE Collection of THE GEORGE EASTMAN HOUSE AND FROM THE RAYMOND ROHAUER COLLECTION
From the little theaters of the 1920s to the ad hoc film societies of the ’50s, avant-garde cinema knew no established form and held no predictable position. The boundaries of its history are still hotly debated, but its rough sensibilities informed and permeated the city symphonies of Alberto Cavalcanti, the visual music of Mary Ellen Bute and John Whitney, the classroom films of Sidney Peterson, the confessional film poems of Willard Maas and John E. Schmitz, the Lettrist cinema of Marc’O, and even marginal exploitation films and home movies. Drawn from the rich collections of Raymond Rohauer and the George Eastman House, Kino’s third volume of experimental films continues to illuminate the degree to which cinema’s evolution has been influenced by those filmmakers who occupy its periphery.Read More »
Quote:
The 24 avant garde shorts of the 1920s and ’30s chosen for this Kino set from the collection of curator Raymond Rohauer span the gamut of movements and styles—dada, surrealism, city symphony, environmental terrarium, direct exposure. The diversity already makes the proposition of plowing through the pair of discs from start to finish not only daunting but perhaps ill-advised. Especially when lurking among the unassailable landmarks of silent avant garde cinema like Joris Ivens’s Regen (an evocative socio-environmental replication of the civic reaction to a rainy downpour on city streets) and Fernand Léger’s Ballet Méchanique (a rhythmic Parisian melange that’s kaleidoscopic in both its prismatic cinematography and its undulating circles of repetition) are at least two (possibly three) works that aim to take the piss out of the concept of non-narrative art cinema. The Hearts of Age, Orson Welles’s fraternal collaboration with William Vance (made when Welles was a mere 19 years of age), is a backyard farce that Welles later admitted to Peter Bogdanovich was made in benign mockery of the Buñuel/Dali collaborations that were inescapable in the day, though it scarcely owes any tangible debt to the style of Un Chien Andalou.Read More »
Quote:
The 24 avant garde shorts of the 1920s and ’30s chosen for this Kino set from the collection of curator Raymond Rohauer span the gamut of movements and styles—dada, surrealism, city symphony, environmental terrarium, direct exposure. The diversity already makes the proposition of plowing through the pair of discs from start to finish not only daunting but perhaps ill-advised. Especially when lurking among the unassailable landmarks of silent avant garde cinema like Joris Ivens’s Regen (an evocative socio-environmental replication of the civic reaction to a rainy downpour on city streets) and Fernand Léger’s Ballet Méchanique (a rhythmic Parisian melange that’s kaleidoscopic in both its prismatic cinematography and its undulating circles of repetition) are at least two (possibly three) works that aim to take the piss out of the concept of non-narrative art cinema. The Hearts of Age, Orson Welles’s fraternal collaboration with William Vance (made when Welles was a mere 19 years of age), is a backyard farce that Welles later admitted to Peter Bogdanovich was made in benign mockery of the Buñuel/Dali collaborations that were inescapable in the day, though it scarcely owes any tangible debt to the style of Un Chien Andalou.Read More »
Description: – ”The 40 Labor [the manufacturer firm] as a faithful conservative reaches back – his generation only – to the tradition looking like the lost one. To the twentyfold years’ avantgarde, the ones of sixty filmlanguage-his narration revolution, to the seventy ones’ experimentation. And to the postmodern one which recalling was kept always, for which all this fits shakily under the world’s big umbrella, ( everything else – and the contrary of everything – too).
Buharov brothers strong and effective pictures are dreamed onto the linen, their work lasts caught if we understand nothing from him. We do not recognise their world’s rules, we feel it though these rules his strength.” – Báron GyörgyRead More »
8 episodes, ranging from experimental to documentary to conventional narrative cinema, made by the most prominent Swedish film directors of the time to answer the question of what stimulates them most.Read More »
In 1968, the Popular Swiss Bank asked to three directors to give their vision about the future of Switzerland. This is their answer.Read More »
