#siskel--ebert-50th-anniversary

#siskel--ebert-50th-anniversary

The film's title, an obvious reference to profanity, also alludes to an incident dramatized later on, when John, on trial after inadvertently triggering a pub brawl, must give sworn testimony in court.

Kubrick's films, from Dr. Strangelove to The Shining, offer proof of his ability to see people with all their quirks, a talent evident in his early photography.

The film was based on the 1974 book of the same name by the Washington Post reporters Bob Woodward and Carl Bernstein about their investigation into the Watergate imbroglio that brought down President Richard Nixon.

Loosely based on the life of table tennis champion Marty Reisman, Josh Safdie's Marty Supreme is set over eight months of mayhem. It's 1952, and 23-year-old Marty is working in a shoe shop in New York. The film begins with a tryst in the stockroom and ends with the birth of a child. For Marty (Chalamet), his job as a salesman is beneath him.

Even in an era of CGI and AI, nothing is more vivid than the intimacy and imagination of radio or more direct than the connection radio has with listeners. I remember when the legendary Stan Freberg drained Lake Michigan and filled it with hot chocolate, a 700-foot mountain of whipped cream, and a 10-ton maraschino cherry. We didn't have to see it. We heard it on the radio. It was Freberg's demonstration of what radio can do better than television.

Using the diary recollections of Coppola's wife, the late Eleanor Coppola, who was also disconsolately aboard and feeling thoroughly shut out of the alpha male chatting and joshing, Fischer shows our three dishevelled deities dizzied and stunned and even weirdly depressed by their staggering global acclaim.

In fact, I've made a conscious habit of seeking out successful individuals so I can learn from their experiences. But the man often nicknamed the "King of the Hollywood Blockbuster" continues to elude me. And yet, despite never meeting face to face, Spielberg taught me one of the most important lessons of my entire career. It's a lesson I've learned through engaging with his work.

The esteemed film-maker was licking his wounds: his most recent picture, Far from the Madding Crowd, which imbued its 19th-century rural characters with an anachronistic King's Road style and panache, had flopped stateside. Childers approached the date with mixed feelings. He adored Schlesinger's previous movie, the jazzy Darling, starring Julie Christie as a model on the make, and had seen it three times.