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
Bit rate:	1 793 kb/s
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.

Robert Jones (Nigel Havers) works as a Russian translator at GCHQ in Cheltenham. Meanwhile, a couple of operatives suspected of being Soviet agents have died in apparent accidents, and GCHQ staff are encouraged to look out for suspicious behaviour in their colleagues. He confides to his father Frank (Michael Caine), a former GCHQ operative turned business-machine salesman, that he thinks the CIA are insisting that the British “plug the leaks” and that British Intelligence themselves, anxious to preserve their relationship with and funding from the Americans, may be behind the killings. The two men don’t know that they themselves are under surveillance. Then one day Robert dies in a fall…

996MB | 1h 43m | 688×384 | avi

https://nitro.download/view/15781DD8C0212D3/Whistle_Blower.avi
https://nitro.download/view/BC897B4D4D8A934/Whistle_Blower_-English.srt
https://nitro.download/view/D1CEA9A87F9BDD1/Whistle_Blower_-French.srt
https://nitro.download/view/C50F3E1A9090368/Whistle_Blower_-Spanish.srt

Language:English
Subtitles:English,French and Spanish .srt

The post Simon Langton – The Whistle Blower (1986) first appeared on Cinema of the World.

Quote:
Performance is a 1970 British crime drama film directed by Donald Cammell and Nicolas Roeg, written by Cammell and starring James Fox and Mick Jagger of The Rolling Stones, in his film acting debut. The film was produced in 1968 but not released until 1970. Cammell was heavily influenced by the Argentinian writer Jorge Luis Borges (a portrait of Borges on a book cover can be seen at a crucial moment in the film).

Performance was initially conceived by Donald Cammell as “The Performers” and was to be a lighthearted swinging 60’s romp. At one stage, Cammell’s friend Marlon Brando (with whom he later collaborated on the posthumously published novel Fan Tan) was to play the gangster role which became “Chas”. At that stage the story involved an American gangster hiding out in London. James Fox, previously cast in rather upper crust roles, eventually took the place of Brando, and spent several months in South London among the criminal underworld researching his role.[1]

As the project evolved the story became significantly darker. Cammell was heavily influenced by the Argentinian writer Jorge Luis Borges (a portrait of Borges on a book cover can be seen at a crucial moment in the film) as he redrafted the script to create an intense, intellectual film dealing with issues of identity crisis.[2] Artaud’s theories on the links between performing and madness also influenced Cammell. Cammell and co-director Nicolas Roeg (mainly responsible for the ‘look’ of the film) also benefited from a lack of interference from Warner Bros. studio executives, who believed they were getting a Rolling Stones equivalent of the Beatles’ A Hard Day’s Night (1964). Instead, Cammell and Roeg delivered a dark, experimental film which included graphic depictions of violence, sex and drug use.

It was intended that the Rolling Stones would write the soundtrack but due to the complicated nature of the various relationships both on and off-screen, this never happened. It was widely rumoured that Anita Pallenberg, then in a relationship with Keith Richards, and Mick Jagger played out sexual scenes in the film ‘for real’ (out-takes of these scenes apparently won a prize at an Amsterdam adult film festival). When Keith Richards heard the rumours, he apparently took to sitting in his car outside the house where the film was being shot. Needless to say, this didn’t do much for the Jagger-Richards musical chemistry and the soundtrack came together from a number of sources.

The film has gained notoriety due to the difficulties it faced in getting on screen. The film’s content was a surprise to the studio. It has been reported that during a test screening, one Warner executive’s wife vomited in shock.[3] James Fox notes in Richard Lester’s TV series British Cinema of the Sixties that a Warner exec said of the scene depicting Jagger in a bath with Pallenberg and Breton, “Even the bath water was dirty.” The response from the studio was to deny the film a cinematic release. It has been claimed that at one stage Warner Bros. wanted the negative to be destroyed.

Performance was finally released in 1970 after several recuts, dubbing of Cockney accents and changes in Warner’s administration. Different edits were shown around the world. Home video versions of the 1990s used the US edit.Performance is a 1970 British crime drama film directed by Donald Cammell and Nicolas Roeg, written by Cammell and starring James Fox and Mick Jagger of The Rolling Stones, in his film acting debut. The film was produced in 1968 but not released until 1970. Cammell was heavily influenced by the Argentinian writer Jorge Luis Borges (a portrait of Borges on a book cover can be seen at a crucial moment in the film).

Performance was initially conceived by Donald Cammell as “The Performers” and was to be a lighthearted swinging 60’s romp. At one stage, Cammell’s friend Marlon Brando (with whom he later collaborated on the posthumously published novel Fan Tan) was to play the gangster role which became “Chas”. At that stage the story involved an American gangster hiding out in London. James Fox, previously cast in rather upper crust roles, eventually took the place of Brando, and spent several months in South London among the criminal underworld researching his role.[1]

As the project evolved the story became significantly darker. Cammell was heavily influenced by the Argentinian writer Jorge Luis Borges (a portrait of Borges on a book cover can be seen at a crucial moment in the film) as he redrafted the script to create an intense, intellectual film dealing with issues of identity crisis.[2] Artaud’s theories on the links between performing and madness also influenced Cammell. Cammell and co-director Nicolas Roeg (mainly responsible for the ‘look’ of the film) also benefited from a lack of interference from Warner Bros. studio executives, who believed they were getting a Rolling Stones equivalent of the Beatles’ A Hard Day’s Night (1964). Instead, Cammell and Roeg delivered a dark, experimental film which included graphic depictions of violence, sex and drug use.

It was intended that the Rolling Stones would write the soundtrack but due to the complicated nature of the various relationships both on and off-screen, this never happened. It was widely rumoured that Anita Pallenberg, then in a relationship with Keith Richards, and Mick Jagger played out sexual scenes in the film ‘for real’ (out-takes of these scenes apparently won a prize at an Amsterdam adult film festival). When Keith Richards heard the rumours, he apparently took to sitting in his car outside the house where the film was being shot. Needless to say, this didn’t do much for the Jagger-Richards musical chemistry and the soundtrack came together from a number of sources.

The film has gained notoriety due to the difficulties it faced in getting on screen. The film’s content was a surprise to the studio. It has been reported that during a test screening, one Warner executive’s wife vomited in shock.[3] James Fox notes in Richard Lester’s TV series British Cinema of the Sixties that a Warner exec said of the scene depicting Jagger in a bath with Pallenberg and Breton, “Even the bath water was dirty.” The response from the studio was to deny the film a cinematic release. It has been claimed that at one stage Warner Bros. wanted the negative to be destroyed.

Performance was finally released in 1970 after several recuts, dubbing of Cockney accents and changes in Warner’s administration. Different edits were shown around the world. Home video versions of the 1990s used the US edit.

Performance.1970.Nicolas.Roeg.Donald.Cammell.576p.BluRay.AAC2.0.x264.mkv

General
Container:  	Matroska
Runtime: 	1 h 45 min
Size: 	2.19 GiB
Video
Codec: 	x264
Resolution: 	1016x576 
Aspect ratio:  	16:9
Frame rate: 	23.976 fps
Bit rate: 	2 777 kb/s
BPP: 	0.198
Audio
#1:  	English 2.0ch AAC LC @ 167 kb/s

https://nitro.download/view/EB3CBBB0B6C0D15/Performance.1970.Nicolas.Roeg.Donald.Cammell.576p.BluRay.AAC2.0.x264.mkv

Language(s):English
Subtitles:English, French

The post Donald Cammell & Nicolas Roeg – Performance (1970) first appeared on Cinema of the World.

From the Introduction
Every age is said to have its genius. The 18th century is often called the age of philosophy. The 19th century is the age of the novel. But our own age is undoubtedly an age of the image.

Other periods had images, of course, but, in the last 100 years or so, we made more images than ever before, and they have changed not just what we see, but how we see.

This was an era that rewrote the rules of image making. Beaming pictures into our homes, manipulating them, making the impossible visible and, in the digital age, revealing them in eye-opening detail.

In these programmes, I want to ask a series of questions. Why do images give us such pleasure? How do we make sense of them? Where do they get their power? And, ultimately, can we trust them?

Episode One: A New Reality

Documentary series in which art historian James Fox explores how the power of images has transformed the modern world. James starts at the beginning of the 20th century, when an explosion of scientific and technological advances created radical new ways of looking at the world.

From the impact of aerial photography on modern art to our ability to peer inside the body and freeze time itself, the first episode is a dizzying journey of visual invention, which makes fascinating connections between the work of artists, film-makers, photographers and scientists.

Revealing Salvador Dali’s debt to Einstein, the groundbreaking trickery of Buster Keaton and shockingly modern fakery of WWI photos, James Fox offers an endlessly surprising, eye-opening look at the beginnings of our image-saturated age.

Episode Two: Power Games

James Fox explores how mass communication and new technology helped 20th-century image-makers transform society, as films, photographs, TV, art and advertising all became weapons in the ideological battles of the age.

James tells the story of Marlene Dietrich and Leni Riefenstahl, who each used cinema to pursue very different visions of power and freedom. We discover how Jewish comic book artists in New York created superheroes as their act of resistance to the Nazi threat. And we find out why a Muhammad Ali magazine cover is one of the most powerful political images of the last century.

In the UK he reveals how Picture Post photographers and directors such as Ken Loach empowered the lives of ordinary people through a new style of film-making and reportage. Travelling from the Normandy beaches where Robert Capa took his famous D-Day photographs to the Nasa control room that first witnessed live images from the moon landings, it’s an exhilarating look at how image-makers discovered the power to influence and change our lives.

Episode Three: Seductive Dreams

James Fox tells the story of how, in the second half of the 20th century, artists, advertisers and film-makers used the power of images to sell us dreams. From the influence of Kodak on our family photos to psychologists persuading us what to buy, he explores how images seduced us with fantasies of a better life.

It’s a journey that takes us from the early days of the Marlboro Man to the radical feminist art of Judy Chicago and the reaction to male-dominated visual culture. Along the way, he celebrates Fellini’s mastery of cinematic fantasy, David Hockney’s subversive visions of male desire and Madonna’s groundbreaking music videos.

Episode Four: Fake Views

James Fox explores how the image has become both more powerful and less trusted than ever before. Images increasingly surround us – on our phones, on billboards and in our homes. And the distinction between reality and image has become increasingly tenuous, from the hyper-real paintings and sculptures of artists like Audrey Flack and Ron Mueck to the seamless trickery of Hollywood special effects.

But this goes hand in hand with the power the image has to shape our attitudes and outlook. Our ability to share images within seconds has had a profound effect on the way we see and respond to the world around us.

In an age of 24-hour rolling news, smartphones and the internet, the image has taken over from the written word as the most powerful engine of change. In an era of easy image manipulation – from Photoshop and green screens to deepfake technology – can we really trust what we see?

7.56GB | 3 h 57 min | 1280×720 | mkv

https://nitro.download/view/EF832A8F3B48BC0/01_-_A_New_Reality.mkv https://nitro.download/view/61D52D8BB9325F4/02_-_Power_Games.mkv https://nitro.download/view/C4F4DDC2C5B04F6/03_-_Seductive_Dreams.mkv https://nitro.download/view/D72C9940982ACCD/04_-_Fake_Views.mkv

Language(s):English
Subtitles:English (Muxed SRT)

The post Alexander Leith – Age of the Image (2020) first appeared on Cinema of the World.

Synopsis:
In 1910, newspaper mogul Lord Rawnsley (Robert Morley) decides to offer a large cash sum to the first pilot to successfully fly over the English Channel. Aviation experts from near and far enter the race, including the underhanded Sir Percy Ware-Armitage (Terry-Thomas), wild American flyer Orvil Newton (Stuart Whitman) and British ace Richard Mays (James Fox). Orvil and Richard come out as the front-runners, but both men are distracted by Rawnsley’s lovely daughter, Patricia (Sarah Miles).

3.57GB | 2 h 18 min | 1024×466 | mkv

https://nitroflare.com/view/E8F702103D32DC2/Those.Magnificent.Men.in.Their.Flying.Machines.1965.576p.part1.rar
https://nitroflare.com/view/A31A685A5B20BD7/Those.Magnificent.Men.in.Their.Flying.Machines.1965.576p.part2.rar
https://nitroflare.com/view/D2961FA4E6BE737/Those.Magnificent.Men.in.Their.Flying.Machines.1965.576p.part3.rar
https://nitroflare.com/view/6C329DEEC780F43/Those.Magnificent.Men.in.Their.Flying.Machines.1965.576p.part4.rar

Language(s):English+commentary
Subtitles:English (muxed)

The post Ken Annakin – Those Magnificent Men in Their Flying Machines or How I Flew from London to Paris in 25 hours 11 minutes (1965) first appeared on Cinema of the World.

Plot Synopsis by Mark Deming
In this caper comedy, Duffy (James Coburn) is a shaggy bohemian living in Tangiers who is approached for a less-than-legal business proposition by two half-brothers, carefree Stephane Calvert (James Fox) and stuffy businessman Antony Calvert (John Alderton). Though Stephane and Antony had different mothers, they share the same father, and they both hate him; Charles Calvert (James Mason) is a mean-spirited multi-millionaire who shows his sons little affection and isn’t very interested in cutting them in for the family fortune. Charles plans to transport several million dollars in banknotes by ship from Tangiers to Marseilles, and the brothers want Duffy to help them liberate the money from the ship. While the Calvert Brothers are persuasive, Stephane’s beautiful girlfriend Segolene (Suzannah York) is even more so, and Duffy finds that he not only wants to steal the cash from Charles, but the girl away from Stephane. Duffy was scripted by Donald Cammell, who gained a cult reputation for his first directorial effort, the Mick Jagger vehicle Performance.

Quote:
Some helpful hints for those who are very rich, very beautiful, very hip, elaborately oversexed, tuned in, turned on, and bored to death.

James Coburn, James Mason, James Fox and Susannah York star in this swining sixties caper about a gang of crooks planning to rob a ship on the Mediterranean Sea.

1.28GB | 1 h 40 min | 704×384 | avi

https://nitro.download/view/FE8EA236287CAE9/Duffy_(1968).avi

Language(s):English
Subtitles:None

The post Robert Parrish – Duffy (1968) first appeared on Cinema of the World.

RUNNERS (1983)
Produced in 1983, it was originally headed for a cinema release but apparently that never happened and it ended up being shown as a TV movie only.

In Stephen Poliakoff’s first film script, Tom Lindsay (James Fox) searches for his 13-year-old daughter, Rachel (Kate Hardie), two years after she ran away from their Midlands home. After an anonymous tip-off, he spots her, but the reunion is not what he has expected or hoped for….

Cast
• Kate Hardie as Rachel Lindsay
• James Fox as Tom Lindsay
• Jane Asher as Helen
• Eileen O’Brien as Gillian Lindsay
• Ruti Simon as Lucy Lindsay

https://nitro.download/view/886CB5B59D47FCD/Runners.avi

Language(s):English
Subtitles:None

The post Stephen Poliakoff & Charles Sturridge – Runners (1983) first appeared on Cinema of the World.