FILM AND THE LAW No16
Film,Women & the Law
Film has always been in the hands of men, from producers (money) right through to the “creatives” – the screenwriters, directors and of course the artists ( the actors).
Cinema basically tells the story of men through the eyes of men.
There have of course been exceptions to this rule. Dorothy Arzner (Dance Girl Dance 1940) & Ida Lupino (The Hitch Hiker1953) were directing Hollywood films long before Kathryn Bigelow was let loose on The Hurt Locker(2008).and Leontine Sagan is famous for directing an all female cast in Madschen in Uniform(1931) – still sadly considered something of an oddity. “Wot? No men?” Whilst here in the UK we have a clutch of highly talented female directors, such as Andrea Arnold, Lynne Ramsey, Joanna Hogg etc, knocking out really engaging films, as quickly as they can say, “thanks mum” as they pick up their awards.
Amongst the war, western, and gangster films there was always a smattering of “womens” films. These usually involved an upper or middle class woman transgressing the rules (Anna Kerenina 1935, Letter from an Unknown Woman, 1948) resulting in a tragic ending. Even when it was just a perceived transgression (Effi Briest 1972, The House of Mirth 2007), it still ended tragically – for the woman that is.
One exception to this is Diary of a Lost Girl 1929 where the heroine, played by the quirky Louise Brooks strikes back in victory not with a vengeance but with an act of a surprising charity to her erstwhile nemesis.
By the 1950’s transgressing the rules such as a middle-class widow having a relationship with a much younger gardener, has a penalty not of death but merely being snubbed at the country club. whilst in more recent times “fallen” women from an Irish working-class background suffered being placed in the not so tender loving care of the Catholic church (Magdalene Sisters, 2002).
But what about the real stories of real women?
If this country’s film culture is famous around the world for one thing it is The Documentary Movement. (1935-1950). In fact it is right to say that the term documentary was coined by the movement’s driving force John Grierson.
The man who epitomised documentary was of course Humphrey Jennings whose film Listen to Britain 1942, an extraordinary juxtaposition of images and sound that still transfix’s audiences today. Whilst Documentary isn’t the crowd-puller it once was, mercifully there are still film makers who are drawn to this unique pedagogic way of giving us the audience a window on the world.
KIM LONGINOTTO a graduate of the national Film School, has spent her working life documenting the oppression of women throughout the world, and FILM NITE gives you an opportunity to hear KIM speak about her extraordinary cinematic output, when she comes along to SOHOHOUSE next term, and you will have an opportunity to see extracts from some of her following award -winning films:-
Shinduku Boys (1995) explores the lives of three transgender women to men (FTM) who work at the New Marilyn Club in Tokyo Japan.
The film introduces three ONNABEES who work as hosts at the NEW MARILYN CLUB. ONNABEES are women who live as men and have girlfriends although they don’t usually identify as lesbians. All free talk freely about their gender bending lives revealing their view about women, sex tranvestitism and lesbianism. Alternating with these illuminating interviews are fabulous sequences shot inside the club patronised almost exclusively by heterosexual women who have become disappointed with real men. They often have relationships with them but the underlying fear is whether such a relationship can with stand the pressure on a woman to get married and have children. In 1995, the film won awards al lover the world including The San Franscisco Gay & Lesbian festival, and the Chicago & Houston festivals.
Sisters in law(2005)
The film centres around four cases in Cameroon involving violence by men against their spouses. It shows women seeking justice and effecting change on Universal human interest issues. It also shows strong and positive images of women and children in Cameroon. Screened at over 120 festivals around the world and awarded many prizes.
Divorce Iranian Style( 1998)
Several weeks shooting in an Iranian Divorce court provides a unique window into the intimate circumstances of Iranian women’s lives. Following Jamileh, whose husband beats her; Jibah a 16yr old trying to divorce her 38 yr old husband; and Maryam who is desperately trying to gain custody of her daughters.
Wednesday, 25 July 2012
Tuesday, 8 May 2012
MAY CHEAPO TUESDAY PROGRAMME
Two re-released CLASSICS: LE QUAI DES BRUMES (new print) &
THE LIFE & DEATH OF COLONEL BLIMP (newly restored /new print)
AND WINSTANLEY - the story of the Diggers from the English Revolution (1649)
& Max Ophuls' so pleasing LE PLAISIR
Tues 8th May NFT3 6.20pm
LE QUAI DES BRUMES (1938) dir Marcel Carne - France
Derided as "counter-revolutionary" by fellow director Jean Renoir upon its
release, Le Quai des Brumes is now seen as a classic. A marvellously moody
thriller, that gave Jean Gabin (remember him in La Grande Illusion?) one of his
most memorably iconic roles as an Army deserter on the run. Holed up in foggy Le
Havre and trying to escape to S America, his plans run aground when he falls
for beret -wearing Michele Morgan. Seldom has the seedy side of life seemed so
seductive and the film can be seen as a precursor for film noir that
evolved in Hollywood a few years later.Carne's most famous film LES ENFANTS DU
PARADISE(1945) was one of the first post-War French films to capture the British
imagination. I recall the Continental in Wallasey that used to seemingly screen
this film non-stop to the intelligentsia of the Wirral with black coffee in the
intermission. Intermission?
Tues 15th May NFT2 8.45pm
WINSTANLEY ((1976) dir Kevin Brownlow - Brit
The history they never taught you at school
The film follows the historical movement of the Diggers who in 1649 created
a "alternative society" settlement at St George's Hill Surrey under the
leadership of Gerald Winstanley. Made on a limited budget with a
non-professional cast it charts the rise and dissolution of the Diggers' dream.
Not kings and queens, but people.How different our world could have been? The
film unearthed a people's history which in itself spawned in the 1970's the
highly influential radical magazine THE LEVELLER, now long since gone - not a
News International publication.Coupled with the Putney debates the film offers
us an insight into the Diggers' dream of equality for all including can you
believe women. Obligatory viewing. Brownlow also made, again with a
non-professional cast, IT HAPPENED HERE - the effect of a Nazi occupation on
the UK.
Can be see in conjunction with Michael Reeves' THE WITHCHFINDER
GENERAL
Tues 22nd May NFT2 8.40pm
LE PLAISIR ((1952) dir Max Ophuls - France
It's that man again - JEAN GABIN.
A group of prostitutes attend a girl's first communion in a country church.
A subtle tale of emotional awakening & wistful regrets. We have already
seen at Film Nite, Ophuls' masterpiece A LETTER FROM AN UNKNOWN WOMAN, and you
will be aware of the great man's camera style. LE PLAISIR opens with a
dazzling example of Ophul's trademark, the whirling dance where his camera
seems to go through walls. Based upon three short stories by Guy de Maupassant ,
each tells a tale of pleasure. The first is the story of an old man who regains
his youth with the aid of a magic mask, the second is the prostitute tale and
the third concerns two lovers, an artist, and his model. A truly lovely
film.
The greatest film made in France since the Liberation - Jean-Luc
Godard
His other admirers include Scorsese (An Age of Innocence is a homage to
Ophuls), Kubrick, Truffaut, and latterly Todd Hynes, & Paul Thomas
Anderson
Tues 29th May NFT3 5.50pm
THE LIFE & DEATH OF COLONEL BLIMP (1943) dir Michael Powell -
Brit
Considered to be one of the finest British movies ever made.
Painstakingly restored to its full Technicolor glory, this masterpiece is
probably the greatest study of "Englishness" in the cinema. It is the story of
General Candy and his love of three women all played by Deborah Kerr.Made in the
middle of the War, it is both anti-Nazi, and at the same time, sympathetic to
the "good" german as played by Anton Walbrook. As a consequence
Churchill considered having it surpressed. In all my years of teaching film
I've never known anyone not to be charmed by this film. All is fair in love
and war.
My advice is to book the films you would like to see
NOW
0207 928 3232 & bfi.org.uk
If you would like to have a pasta/pizza then please let me know. If there
are more than 10 then PIZZA EXPRESS will accept a booking.
Please download any current vouchers from the PIZZA EXPRESS WEBSITE and
bring them with you.
To keep the price down we just have a main course plus a
drink.
For further info on above films try BFI website/BFI GUIDE/google/wikipedia
etc.
CHEAPO TUESDAY is a FREE service open to existing and former members of
FILM NITE.
Sunday, 8 April 2012
Film and the Law No.15: Horsie or Doggie?
The choice was between an over-indulged dog that did tricks or a horse forced to work in an unhealthy environment. The dog won, and so my film class was obliged to sit through 1 hour 40 mins of silence as opposed to 2 hours 26mins of Steven Spielberg’s DEAFENING warfare.
Far be it from me to have reservations about Pete Bradshaw’s glowing review of The Artist , because after all, he is the Guardian’s esteemed film critic and to boot a former guest speaker of Film Nite. What’s more, the doyen of film scribes Philip French also turned in a favourable piece two days later in the Observer. As long -serving Film Nite members will testify, my over-riding consideration when choosing a film for viewing is not whether it is likely to be favourably received by the group, but rather, whether I have sufficient relevant material to sustain a two hour presentation the following Tuesday at SohoHouse. The Silent period of Hollywood
For those of you with little or no knowledge of The Artist, the story consists of a couple of silent screen stars, George and Preppy, and their attempts to survive the coming of sound, and it is true to say the film’s director makes no secret of the fact that he purloined the experiences of Greta Garbo and John Gilbert - Tinsel Town’s premier couple of the 1920’s – to form the basis of the story. Though whilst it must be accepted George does bare a passing resemblance to Gilbert, Preppy and Greta are as alike as chalk and cheese
Garbo and Gilbert, as every film buff knows, were the Brangelina of their day, although unlike today’s equivalent goodies who are ensconced in holy matrimony, the 1920’s pair made no secret of the fact that they were living in sin. Mind you Gilbert , to his credit, tried his darndest to tie the knot. But despite Greta getting two invites to two of her own weddings , the lady saw fit not to attend on both occasions – a couple of juicy breaches of promise there, I hear you musing.
Of the extracts I screened to the class, the one that got the most favourable response was Queen Christina (1933) dir: Reuben Mamoulian. Whilst Garbo & Gilbert had starred together in many highly successful silents, their transition to the talkies like George & Preppy’s in The Artist was a troubled affair. “Garbo Speaks”, the posters proclaimed and true to form the icon’s seductive Swedish lilt wooed American and World audiences alike. Gilbert on the other hand, seemed to struggle, as it was put about that he had a squeaky voice, and would never make the transition. In fact he had fallen fowl of the studios who wanted him out. Just as Preppy insisted on alcohol dependent George, being in her latest film , so Garbo sweet- talked Mamoulian into casting Gilbert in the story of a cross-dressing 17th century Swedish Queen, which was to be played by his erstwhile lover.
The film opens with Garbo being enthroned as the Queen of Sweden at the tender age of 6. We then cut to her in adult life, clonking around the court in boots, trousers and what could almost be mistaken for a cowboy hat. Her dissatisfaction is apparent, and she escapes by riding off into the snow to mingle with her people. She comes across the Spanish ambassador (Gilbert) stuck in the snow. and proceeds to organise his rescue in a work-man like manner. Then with a wave of that hat the incognito queen rides off and stops at an inn. The innkeeper addresses his guest as Sir and gives him the last remaining room. Clearly when Gilbert arrives, there is no room at the inn but the innkeeper manages to persuade the two gentlemen to share. Fearful of appearing unsporting and maybe revealing her dual disguise, Garbo reluctantly agrees. There then follows perhaps the most sensuous 25 minutes of celluloid ever to pass through a projector.
The year is 1933 and the infamous Hayes Code is about to be enforced. If the film had been made subsequently we would be looking at a very different product. Instead we have been bequeathed a source of wonderment and for that we are grateful to the feminist film critics who re-discovered it in the 1970’s.
To continue
Female Garbo is disguised not only as one of her subjects but also as a man. She finds herself about to share a one-bed -bedroom with another man (Gilbert) who finds her intriguingly attractive even though he perceives her to be a fellow chap - just like himself. The Hayes Code frowned not only on men & women sharing a bed, married or not, but also they would have thrown the book at any studio depicting two men slyly ensconced under the duvet. The way the scene is shot clearly reveals that the director had his roots in the silent period when stories were told visually and without the constant clatter of dialogue The film was a passion project for both the star and her confidante, the script writer Salka Viertel, who was privy to Garbo’s relationships with women and her dissatisfaction with the scripts Hollywood was giving their most successful leading lady.
The film that actually made it to the screen is somewhat different to what Garbo and Viertel had intended. Although elements of the true story of the monarch’s relationship with her lady-in-waiting can be detected through their looks and glances, most of it ended up on the cutting room floor. However the film is still a maelstrom of ambiguity that is a glory to behold. No cutsie little doggie to charm the audience. Just a very adult story of passion and sensuousness that has its roots four centuries ago in snow covered Sweden
FilmNite: Cheapo Tuesdays
Many thanks to the five people who came along to the excellent talk by
RICHARD DYER @ NFT on VINCENTE MINNELLI and subsequently wined &
dined with me at Piz Xcess.Total cost: film + meal = £17.00. My apols
for notifying you so late in the day. As a consequence I append below
the programme for the rest of the month of April - all on tuesdays @
NFT.
Tuesday 10th April NFT2 LATE SPRING Ozu (1949) Japan 6.10pm
Some of you will recall us seing TOKYO STORY a few terms back. LATE
SPRING is often thought to be Ozu's best film so I am really looking
forward to seeing it again.It stars the amazing Setsuko Hara who
played the dutiful daughter -in- law in TOKYO STORY. In this she plays
the daughter of a widower reluctantly pressed into marriage.
Resistance, secretness, holding back was central to Ozu's domestic
dramas and Hara (tagged as the 'perennial virgin in Japanese cinema')
often its fulcrum. TOKYO STORY was instrumental in opening the eyes of
Western film critics to Japanese cinema with its subtle focus on
family life coupled with low angle camera shots.
Tuesday 17th April LA GRANDE ILLUSION Renoir (1937) France 6.30pm
Newly restored for its 75th anniversary, Renoir's classic about WW1
prisoners of war is one of the most comprehensively beautiful films
made about friendship and freedom, respect & responsibility. The son
of the famous painter Auguste, Renoir is generally considered to be
the father of French cinema and this film together with LA REGLE DU
JEU are considered to be true masterpieces of cinema. Those of you
present when I gave a presentation on L'ATALANTE will recall the
extract from LA GRANDE ILLUSION that featured Dita Parlo who of course
was the star of Vigo's 1933 film.Other scenes of note include the
performance of Erich Von Stroheim, and the show put on by the
prisoners. Renoir's lateral fluid camerawork together with a refusal to
deal with heroes & villains makes for a film of immense humanity.
Tuesday 24th April THE BAD & THE BEAUTIFUL minnelli ( 1952) USA 6.10pm
Minnelli is famous for his musicals and his melodramas.The Bad & the
Beautiful is a melodrama par excellence and has to be seen (many times
if possible) to be believed. Winner of a clutch of oscars it has gone
on to become one of the most enjoyable movies Hollywood made about
itself.Kirk Douglas plays down on his luck producer Jonathan Shields
who wants to work once more with the director, star & writer whose
careers he had helped foster. Shields is loosely (some say not so
loosely) based on David O Selzsnik, Orson Welles, and even producer
extraordinaire John Houseman who actually produced this film
himself. Interesting that Richard Dyer in his presentation on Minnelli
screened the very same extract that I recently screened at a Film Nite
class. You know the one that includes the line, "To be a great
director you need humility. Do you have humility Mr Shields?"
CHEAPO TUESDAYS
I started this last summer and it has proved to be a great success. It
is FREE and open to existing, former and future Film Nite members.
It's purpose is to take advantage of the cheap £5.00 (£6.50 to non-NFT
members) admission to the NFT on Tuesdays, AND to give you the
opportunity to catch definitive films that you need to see in order to
take full advantage of Film Nite presentations. They are films that
both myself and guest speakers will be referencing by screening a
relevent extract. Cheapo Tuesday gives you the opportunity to see and
enjoy a new print of the film in its entirity on the big screen.
It is your responsibility to book your ticket and bring along a
current discount voucher that you can download from the PIZZA EXPRESS
website. This keeps the price of the evening down, and it goes without
saying that that we just order the main course & a drink. Obviously
the meal is optional but it u are def coming then please let me know
because if there are more than 10 of us then the restaurant will
accept a reservation which makes everything a little more convenient.
NEXT TERM
starts up on Tuesday 2nd October 2012 @ SohoHouse.
Already I have booked British Comedy expert RICHARD DACRE and author
of the definitive book on Norman Wisdom, to give a presentation on
Norman Wisdom's very funny film THERE WAS A CROOKED MAN on 9th Oct.
SUMMER
Now the warm weather is with us I will organise a few Sunday walks to
keep us fit and healthy.
Hope you are all keeping well,
All best wishes,
Vincent
RICHARD DYER @ NFT on VINCENTE MINNELLI and subsequently wined &
dined with me at Piz Xcess.Total cost: film + meal = £17.00. My apols
for notifying you so late in the day. As a consequence I append below
the programme for the rest of the month of April - all on tuesdays @
NFT.
Tuesday 10th April NFT2 LATE SPRING Ozu (1949) Japan 6.10pm
Some of you will recall us seing TOKYO STORY a few terms back. LATE
SPRING is often thought to be Ozu's best film so I am really looking
forward to seeing it again.It stars the amazing Setsuko Hara who
played the dutiful daughter -in- law in TOKYO STORY. In this she plays
the daughter of a widower reluctantly pressed into marriage.
Resistance, secretness, holding back was central to Ozu's domestic
dramas and Hara (tagged as the 'perennial virgin in Japanese cinema')
often its fulcrum. TOKYO STORY was instrumental in opening the eyes of
Western film critics to Japanese cinema with its subtle focus on
family life coupled with low angle camera shots.
Tuesday 17th April LA GRANDE ILLUSION Renoir (1937) France 6.30pm
Newly restored for its 75th anniversary, Renoir's classic about WW1
prisoners of war is one of the most comprehensively beautiful films
made about friendship and freedom, respect & responsibility. The son
of the famous painter Auguste, Renoir is generally considered to be
the father of French cinema and this film together with LA REGLE DU
JEU are considered to be true masterpieces of cinema. Those of you
present when I gave a presentation on L'ATALANTE will recall the
extract from LA GRANDE ILLUSION that featured Dita Parlo who of course
was the star of Vigo's 1933 film.Other scenes of note include the
performance of Erich Von Stroheim, and the show put on by the
prisoners. Renoir's lateral fluid camerawork together with a refusal to
deal with heroes & villains makes for a film of immense humanity.
Tuesday 24th April THE BAD & THE BEAUTIFUL minnelli ( 1952) USA 6.10pm
Minnelli is famous for his musicals and his melodramas.The Bad & the
Beautiful is a melodrama par excellence and has to be seen (many times
if possible) to be believed. Winner of a clutch of oscars it has gone
on to become one of the most enjoyable movies Hollywood made about
itself.Kirk Douglas plays down on his luck producer Jonathan Shields
who wants to work once more with the director, star & writer whose
careers he had helped foster. Shields is loosely (some say not so
loosely) based on David O Selzsnik, Orson Welles, and even producer
extraordinaire John Houseman who actually produced this film
himself. Interesting that Richard Dyer in his presentation on Minnelli
screened the very same extract that I recently screened at a Film Nite
class. You know the one that includes the line, "To be a great
director you need humility. Do you have humility Mr Shields?"
CHEAPO TUESDAYS
I started this last summer and it has proved to be a great success. It
is FREE and open to existing, former and future Film Nite members.
It's purpose is to take advantage of the cheap £5.00 (£6.50 to non-NFT
members) admission to the NFT on Tuesdays, AND to give you the
opportunity to catch definitive films that you need to see in order to
take full advantage of Film Nite presentations. They are films that
both myself and guest speakers will be referencing by screening a
relevent extract. Cheapo Tuesday gives you the opportunity to see and
enjoy a new print of the film in its entirity on the big screen.
It is your responsibility to book your ticket and bring along a
current discount voucher that you can download from the PIZZA EXPRESS
website. This keeps the price of the evening down, and it goes without
saying that that we just order the main course & a drink. Obviously
the meal is optional but it u are def coming then please let me know
because if there are more than 10 of us then the restaurant will
accept a reservation which makes everything a little more convenient.
NEXT TERM
starts up on Tuesday 2nd October 2012 @ SohoHouse.
Already I have booked British Comedy expert RICHARD DACRE and author
of the definitive book on Norman Wisdom, to give a presentation on
Norman Wisdom's very funny film THERE WAS A CROOKED MAN on 9th Oct.
SUMMER
Now the warm weather is with us I will organise a few Sunday walks to
keep us fit and healthy.
Hope you are all keeping well,
All best wishes,
Vincent
Monday, 6 February 2012
FilmNite: 7 February 2012 - Film to see
Film to see L'ATALANTE at 6.30pm at BFI followed by pasta/pizza at Pizza Express SouthBank at 8.30pm.
Tues 14th Feb @ Sohohouse 7-9pm Presentation/Discussion on L'Atalante.
More gloss on Jean Vigo director of L'ATALANTE.
Not only did he die young at 29 after only making four films, but also he was the son of a famous anachist who was shot dead by the French police.
Many distinguished directors have claimed that it was seeing Vigo's films that inspired them to make films themselves. Jean-Luc Godard, Francois Truffaut and Bernardo Bertolucci are great admirers of his work, whilst our very own Lindsay Anderson based his film IF.... on Vigo's other masterpiece ZERO De CONDUIT. The latter film is set in a French boarding school where the children revolt against the
repressive regime. Vigo's own influences can be seen in MADCHEN in UNIFORM (1931) and the film DIARY OF A LOST GIRL an extract from which I screened last week. Madchen in Uniform made 2 years before the rise of Hitler is generally thought to be the first openly pro-lesbian story line and like Queen
Christina (extract shown last week) is a cult film within the lesbian community.
JEAN VIGO by Salles Gomes is a book worth dipping into.
Tel: 0207 928 3232
BOOK YOUR TICKET NOW
Note: Only £5.00 on a tuesday so HURRY.
(later screening 8.40pm)
It is also on Weds Thurs Fri Sat & Sun @ BFI and at other Art House cinemas, so you can see it in your own time.
L'Atalante. Funny heart-rending, erotic, suspenseful exhileratingly inventive....Jean Vigo's only full-length feature satisfies on so many levels, it's no surprise it's widely regarded as one of the greatest films ever made.
Sadly Jean Vigo died at the age of 29 after having just completed L'Atalante. He only made only 4 films - of which two are undisputed masterpieces.
A brand new print. AN EVENING NOT TO BE MISSED.
Tues 14th Feb @ Sohohouse 7-9pm Presentation/Discussion on L'Atalante.
More gloss on Jean Vigo director of L'ATALANTE.
Not only did he die young at 29 after only making four films, but also he was the son of a famous anachist who was shot dead by the French police.
Many distinguished directors have claimed that it was seeing Vigo's films that inspired them to make films themselves. Jean-Luc Godard, Francois Truffaut and Bernardo Bertolucci are great admirers of his work, whilst our very own Lindsay Anderson based his film IF.... on Vigo's other masterpiece ZERO De CONDUIT. The latter film is set in a French boarding school where the children revolt against the
repressive regime. Vigo's own influences can be seen in MADCHEN in UNIFORM (1931) and the film DIARY OF A LOST GIRL an extract from which I screened last week. Madchen in Uniform made 2 years before the rise of Hitler is generally thought to be the first openly pro-lesbian story line and like Queen
Christina (extract shown last week) is a cult film within the lesbian community.
JEAN VIGO by Salles Gomes is a book worth dipping into.
Sunday, 8 January 2012
FilmNite: starts up again on Tuesday 10 Jan 2012
Good friend of Film Nite Richard Dacre has been working very hard for quite some time on an innovative double session on the work of Leytonstone's very own ALFRED HITCHCOCK.He will be examining the conflicting claims about Hichcock's two periods of work, namely, (1) Up to 1940's - BRITISH HITCHCOCK, and (2) 1940's onwards - AMERICAN HITCHCOCK.
A lot of British film critics were dishearted by Hitch's decision to leave his homeland for Hollywood and saw the move as having a negative effect on the maestro's output. A later generation of critics came to a different conclusion. Some of you are aware of French director, Francois Truffaut's pioneering book based upon many hours of interviews with the great man.
Richard will also be looking at the connections between Hitch's British films and his later Hollywod work. All in all the two sessions will be as comprehensive as is possible in two 2-hour sessions, and I have little doubt that you will be seeing extracts from some of Hitch's rarer films particularly his earlier British ones.
These sessions promise to be of the highest standard which is of course what we expect from Richard who thoroughly researches his presentations.
A lot of British film critics were dishearted by Hitch's decision to leave his homeland for Hollywood and saw the move as having a negative effect on the maestro's output. A later generation of critics came to a different conclusion. Some of you are aware of French director, Francois Truffaut's pioneering book based upon many hours of interviews with the great man.
Richard will also be looking at the connections between Hitch's British films and his later Hollywod work. All in all the two sessions will be as comprehensive as is possible in two 2-hour sessions, and I have little doubt that you will be seeing extracts from some of Hitch's rarer films particularly his earlier British ones.
These sessions promise to be of the highest standard which is of course what we expect from Richard who thoroughly researches his presentations.
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