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Chris Jansing Reports - (Nov 7th)
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2DEZIT - (Nov 7th)
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Nature - (Nov 7th)
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The Chase Australia - (Nov 7th)
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Corridor of Mirrors (1948) Even in my sleep he would be there watching me from the corridor of mirrors. Corridor of Mirrors is directed by Terence Young and adapted to screenplay by Rudolph Cartier and Edna Romney from the novel written by Chris Massie. It stars Eric Portman, Edana Romney, Joan Maude, Barbara Mullen, Alan Wheatley, Hugh Sinclair and Bruce Belfrage. Music is by Georges Auric and cinematography by Andre Thomas. A woman travels from Wales to Madame Tussauds in London for a rendezvous with her lover. The rest will be told in flashback… Laughter had a strange effect on him… Corridor of Mirrors is a hypnotic and nightmarish experience, not in that scared to death kind of way, but in a nightmare where nothing allows you to be comfortable, keeping you in a realm of purgatory, what is real – imagined – or otherwise? The crux of the story concerns a man, Paul Mangin (Portman), who lives in the past and is obsessed with Mifanwy Conway (Romney), who not only looks like the portrait of a lady that hangs in the Mangin palace, but on Mangin’s insistence was his lover centuries in the past. Would you care to continue the adventure? What follows during the course of the story are subjects ranging from reincarnation, obsessive madness, fetish kinks, seduction, fantasist leanings and murder. To passionate romance, heartfelt regret and soul cleansing. The unusual story, unique maybe? Enjoys toying with audience expectations, even taking famous literary inspirations and fusing them into this Baroque world, with seasoning of the macabre for added spice. As the Mangin/Conway relationship develops, the tension becomes palpable, fear and trepidation vie for control over wistful yearnings. What will win out in the end? What’s behind the curtain? The look, sound and feel on offer here is quite simply magnificent. This is Gothic noir nirvana. Young and Thomas shoot the film in what I think is an average of 99% shadows and low lights, it’s the darkness in daylight effect as shards of light struggle to pierce the gloom through the Venetian blind slats. Candlelight, Scotch mist, moonbeams, canted angles and otherwise all play their atmospheric part, and then there is the backdrop and props… The Mangin palace is vast in its opulence, complete with the titular corridor of mirrors. Behind each mirror is something that links Mangin’s obsession with the past, it is eeriness personified. Mannequins, wax work figures and dolls feature prominently, the Tussauds connection is the Chamber of Horrors, naturally. Spooky harp, spooky housekeeper (again, naturally), and Auric’s musical score is a blend of the sinister with poetic whimsy. And the crowning sequence is a Venetian costume ball, a decadent soirée that looks magnificent, but craftily it asks just what is beneath the costume façade of it all? It’s a little too bonkers and creaky in plot development at times, but it knows this and embraces the short comings to keep with the unstable off-kilter vibe. Unfortunately it’s a difficult film to track down in good quality home format form, but if you can find a reliable source and you love Gothic noir or Baroque fantasies, then this is for you. 8/10
Even in my sleep he would be there watching me from the corridor of mirrors. Corridor of Mirrors is directed by Terence Young and adapted to screenplay by Rudolph Cartier and Edna Romney from the novel written by Chris Massie. It stars Eric Portman, Edana Romney, Joan Maude, Barbara Mullen, Alan Wheatley, Hugh Sinclair and Bruce Belfrage. Music is by Georges Auric and cinematography by Andre Thomas. A woman travels from Wales to Madame Tussauds in London for a rendezvous with her lover. The rest will be told in flashback… Laughter had a strange effect on him… Corridor of Mirrors is a hypnotic and nightmarish experience, not in that scared to death kind of way, but in a nightmare where nothing allows you to be comfortable, keeping you in a realm of purgatory, what is real – imagined – or otherwise? The crux of the story concerns a man, Paul Mangin (Portman), who lives in the past and is obsessed with Mifanwy Conway (Romney), who not only looks like the portrait of a lady that hangs in the Mangin palace, but on Mangin’s insistence was his lover centuries in the past. Would you care to continue the adventure? What follows during the course of the story are subjects ranging from reincarnation, obsessive madness, fetish kinks, seduction, fantasist leanings and murder. To passionate romance, heartfelt regret and soul cleansing. The unusual story, unique maybe? Enjoys toying with audience expectations, even taking famous literary inspirations and fusing them into this Baroque world, with seasoning of the macabre for added spice. As the Mangin/Conway relationship develops, the tension becomes palpable, fear and trepidation vie for control over wistful yearnings. What will win out in the end? What’s behind the curtain? The look, sound and feel on offer here is quite simply magnificent. This is Gothic noir nirvana. Young and Thomas shoot the film in what I think is an average of 99% shadows and low lights, it’s the darkness in daylight effect as shards of light struggle to pierce the gloom through the Venetian blind slats. Candlelight, Scotch mist, moonbeams, canted angles and otherwise all play their atmospheric part, and then there is the backdrop and props… The Mangin palace is vast in its opulence, complete with the titular corridor of mirrors. Behind each mirror is something that links Mangin’s obsession with the past, it is eeriness personified. Mannequins, wax work figures and dolls feature prominently, the Tussauds connection is the Chamber of Horrors, naturally. Spooky harp, spooky housekeeper (again, naturally), and Auric’s musical score is a blend of the sinister with poetic whimsy. And the crowning sequence is a Venetian costume ball, a decadent soirée that looks magnificent, but craftily it asks just what is beneath the costume façade of it all? It’s a little too bonkers and creaky in plot development at times, but it knows this and embraces the short comings to keep with the unstable off-kilter vibe. Unfortunately it’s a difficult film to track down in good quality home format form, but if you can find a reliable source and you love Gothic noir or Baroque fantasies, then this is for you. 8/10
This is an eerily effective drama from Terence Young. It all centres around Eric Portman's characterisation of "Mangin". An enigmatic man who arranges to meet the young "Mifanwy" (Edana Romney) who bears a striking resemblance to a woman whose portrait hangs on a wall in his home; a woman he claims to have loved centuries earlier. Could this be possible? What makes this interesting - despite the really quite static acting performances - is the way the story develops. It's quirky. It's darkly menacing - but not in a frightening may, more a sinister and grisly theme that allows us to speculate about what did - or didn't - happen, walking a thin line between history, fantasy and sanity before an ending that left me feeling rather sorry for just about everyone. The photography lends loads to the almost claustrophobic imagery; it's almost as if it were lit by candlelight, with very few fully illuminated scenes. The drawback is the acting, though - neither Portman nor Romney quite delivered as well as I would have liked, and the dialogue is wordy which does drag it down a bit at times. That said, it's a creepy and enjoyable mystery that rarely sees the light of day now, and is certainly worth a watch. Mr. Young's directorial debut, too.
This expansive Greek drama follows a troupe of theater actors as they perform around their country during World War II. While the production that they put on is entitled "Golfo the Shepherdess," the thespians end up echoing scenes from classic Greek tales in their own lives, as Elektra plots revenge on her mother for the death of her father, and seeks help from her brother, Orestes, a young anti-fascist rebel.
A vampire seeks out an artist to paint her a portrait so that she can see her image for the first time.
An IRA operative escapes to the Americas and teams up with a circus singer to create a popular vaudeville act. When the singer falls for a rebel, they leave the circus behind to become fierce revolutionaries.
Edwardian England. A precocious girl from a poor background with aspirations to being a novelist finds herself swept to fame and fortune when her tasteless romances hit the best seller lists. Her life changes in unexpected ways when she encounters an aristocratic brother and sister, both of whom have cultural ambitions, and both of whom fall in love with her.
After a painful breakup, Ben develops insomnia. To kill time, he starts working the late night shift at the local supermarket, where his artistic imagination runs wild.
In the mid-1960s, wealthy debutant Edie Sedgwick meets artist Andy Warhol. She joins Warhol's famous Factory and becomes his muse. Although she seems to have it all, Edie cannot have the love she craves from Andy, and she has an affair with a charismatic musician, who pushes her to seek independence from the artist and the milieu.
Chris Neilson dies to find himself in a heaven more amazing than he could have ever dreamed of. There is one thing missing: his wife. After he dies, his wife, Annie killed herself and went to hell. Chris decides to risk eternity in hades for the small chance that he will be able to bring her back to heaven.
Artist Charles Ryder runs into aristocrat Julia Flyte and recalls his friendship with her eccentric family prior to the outbreak of the Second World War. Based on the classic British novel by Evelyn Waugh.
The former famous painter Frenhofer lives quietly with his wife on a countryside residence in the French Provence. When the young artist Nicolas visits him with his girlfriend Marianne, Frenhofer decides to start again the work on a painting he long ago stopped: La Belle Noiseuse. And he wants Marianne as model.