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News about Movie Masterclasses

Movie Masterclass Revisited – Stray Dog

On June 13 2013, we posted an introduction to Kurosawa’s STRAY DOG at the National Film & Television School.
At the time the question of the use of clips was not clear and we chose not to risk infringing copyright.

We now include clips under the conditions of ‘Fair Dealing’ in the UK, or ‘Fair Use’ in the US.

So we are here with the first, ‘Revisit’ to Movie Masterclass introductions.

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A few views of ‘A Closer Look – The Apu Trilogy’

Although it has been a while since the release of the magnificent Criterion box set of ‘The World of Apu Trilogy’, it is worth reflecting on some of the the responses to the ‘extra’ Mamoun contributed to the set.

The Criterion forum  Chris Galloway wrote: ‘We next get a piece on the trilogy, featuring the former head of the BFI, Mamoun Hassan. Entitled The Apu Trilogy: A Closer Look, it features Hassan offering a rather thorough examination of the trilogy as a whole, giving detailed analysis of Ray’s framing, how he introduces characters, the flow of editing, and how the visual language of the films can be broken down into “sentences and paragraphs.” He goes through each film, talking about particular scenes and sequences. It’s lengthy at 43-minutes but found it a very strong scholarly supplement that does make up somewhat for the lack of commentaries, an item that I’m surprised is missing from the set.’

Brian Tallerico on RogerEbert.com : “”This is Ray’s first film, and it is amazing.” So says Mamoun Hassan in a fantastic, detailed examination of “The Apu Trilogy” included in the amazing array of special features on the Criterion release. Hassan, the former head of the British Film Institute, breaks down the movies beat by beat, with such attention to detail that you further appreciate the filmmaking in new ways.”

Peggy Earle of HamptonRoads.com cited Mamoun’s extra as the ‘best extra’ in the collection. “Mamoun Hassan, former head of the British Film Institute, gives a fine overview of the trilogy, Ray’s directorial style, and the significance of the three films. He points to Ray’s ability to show emotions with no dialogue, and urges viewers to “give themselves up” to the films. “Ray had ambiguity. And that’s why we participate in his films. He’s given us room to interpret.””

Jake Cole for Slant magazine“For a deeper dive into the films themselves, a 43-minute analysis from filmmaker Mamoun Hassan is so minutely observed that even actors’ body language and orientation to the camera is fodder for discussion.”

It is always nice to be appreciated, and we must acknowledge the work of Abbey Lustgarten of Criterion, who worked with Mamoun on the extra with amazing focus, crafting it into the final product.

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Considering ‘All Quiet on the Western Front’ – live at the BFI Southbank

‘All Quiet on the Western Front’ (Dir. Lewis Milestone 1930 – based on the novel of the same name by Erich Maria Remarque) was shown during a season curated by Christopher Nolan to celebrate the release of his new film ‘Dunkirk’, as a film that is a major influence on his work.

Chaired by David Somerset, Kevin Brownlow and Mamoun Hassan discussed the film before a live audience following its screening at the National Film Theatre, BFI Southbank, 6 July 2017.

Kevin Brownlow is the acknowledged authority on the films and history of silent cinema. His first book, ‘The Parade’s Gone by…’ (1963), was transformative in our understanding and appreciation of that era. Satyajit Ray called it ‘one of the most important film books of our time’. Brownlow is the author of many outstanding books and documentaries, and, with Andrew Mollo, he wrote and directed two of Britain’s most controversial political films: ‘It Happened Here’ and ‘Winstanley’. In 2010 Brownlow was awarded an honorary Oscar – ‘For the wisdom and devoted chronicling of the cinema parade’.

Mamoun Hassan is a producer, director, screenwriter, film executive, teacher and deviser of C4’s innovative ‘Movie Masterclass’ series. Most recently he was co-writer on Andres Wood’s ‘Machuca’, Chile’s most successful film, and screenwriter on Andres Wood’s ‘La Buena Vida’, a winner of the coveted Goya Award.

This event took place through the determination, commitment and passion of David Somerset at the BFI.

The recording of the event was marred by the failure of the close up camera.

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Movie Masterclass – Ozu’s ‘Tokyo Story’ at the European Film College

We are pleased to share Mamoun’s masterclass on Ozu’s masterpiece, Tokyo Story. Mamoun has revisited this film several times, but this most recent visit at the European Film College in Ebeltoft allowed him to discuss the film with the students in detail.

 

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Discussion on Lindsay Anderson – BFI Southbank – Monday 14th March

lindsay-anderson-01Mamoun is pleased to have been invited to join the panel talking about the Film and Theatre Director, Film writer and influential film critic, Lindsay Anderson.

The talk is being chaired by film critic and writer, David Robinson, and the panel includes oscar winner Kevin Brownlow, and film writer Charles Drazin.

Due to the popular public response, the event has been moved from NFT3 to NFT1.

More information can be found here.

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Babylon – a Conversation at Theatre Utopia with Lee Fairweather

We are pleased to be able to share the conversation about Babylon from the event at Theatre Utopia in December 3rd 2015.

Despite the loud live music that was being played in the same building, the conversation was lively, and covered not just the film but also the issue of positive discrimination and the politics of race in cinema and society.

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Passport to Cinema: The Enigma of Kaspar Hauser (1974) by Werner Herzog

51EjuEKAvULMamoun would like to thank Dominic Power of the NFTS for inviting him to introduce Werner Herzog’s landmark movie, The Enigma of Kaspar Hauser on Monday 2nd November at the BFI Southbank in NFT2.

Mamoun has this to say about the New German Cinema:

It is a mystery how and why a country suddenly finds a distinct cinematic voice and creates a ‘new’ cinema. Political, social and economic factors provide only partial insights. In Europe, the ‘new’ cinema moved from Italy to France, to the UK (culturally colonised by Hollywood, we preferred ‘free’ over ‘new’) to Poland to Czechoslovakia and, in the 70s, to Germany, or, more significantly, West Germany.

600full-ali--fear-eats-the-soul-posterThe creators of the New German Cinema – Werner Herzog, Rainer Werner Fassbinder, Margarethe von Trotta, Volker Schlöndorff , Werner Schröter and Wim Wenders, had diverse styles but collectively they were all radical-left/anarchist. At one end, Fassbinder was hostile to all institutions – and individuals as part of institutions – past and present; at the other end, Herzog focused on individuals whose obsessions, delusions, dreams, fantasies, aspirations made them impossible to assimilate – and led them to destruction.

urlThe question that is rarely addressed is how the filmmakers were supported and financed: public funding from the Länder, the federal government and private sector support from television, film distributors and exhibitors ensured the flowering of the talents of the New German Cinema.

Die_BlechtrommelHerzog has to date written and directed 18 features, including epics shot in the Amazon. Fassbinder made 41 films, intimate in scale, in 14 years – 41 ‘personal’ films, while Lindsay Anderson, Tony Richardson and Karel Reisz together made only some 30 feature films in their entire careers. But then our investors didn’t like politics (still don’t) – they followed Sam Goldwyn, who said: ‘If you want to send a message use Western Union’. Commercial viability was (and is) their only criterion. And we know how certain that is…

 

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