Tag Archives: British Film Institute

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

‘All Quiet on the Western Front’ 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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Discussion with Andres Wood at the BFI Southbank

Mamoun Hassan was on hand to introduce the contemporary classic, Machuca, one of his Spanish language collaborations at the National Film Theatre on Thursday 1 September.
David Somerset, of the BFI, spoke to director Andres Wood live from Santiago de Chile via Skype, with Mamoun on hand, about the development of the script and the filming of this highly acclaimed and influential film. Despite a few technical hitches, the discussion was lively, and gave an insight into the production process and the inspiration behind it.

Special thanks must go to David Somerset, who organised the event, for his cool head when Skype occasionally lost connection with Chile, and for his enthusiastic support over the past years.

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Panel discussion on Lindsay Anderson at the BFI Southbank, curated by David Somerset

Mamoun Hassan appeared recently at the British Film Institute’s Seniors talk on the work of  film, television and stage director, critic and actor Lindsay Anderson (1923 – 1994) at the National Film Theatre, Southbank, London March 14 2016. The panel event was curated by David Somerset, Adult Community Education Programmer. Filmed by Sherief Hassan and edited by David Somerset. The video opens with a clip from Free Cinema 1956 – ?’An Essay on film by Lindsay Anderson (1985).

Lindsay Anderson panel discussion, BFI Southbank from david somerset on Vimeo.

Mamoun writes

Nowadays Lindsay Anderson, if he is remembered at all, is equally loved and disliked by film makers, film critics and writers. Not so in the late 50s, 60s and 70s. He was almost wholly admired not only for his films and theatre work but also for his writings on cinema, which were incendiary. Of course, he had his detractors, who often belonged to the establishment: the successful, the comfortable, the conformist, the smug and the paralysed conservatives. He argued and carried the flame for an authentic British cinema. He influenced a whole generation of film makers and critics. He was cerebral, emotional, provocative, censorious, intimidating, generous, inspiring. Never before had a British film director spoken with such clarity about what we should make films about and how we might make them – about style. Critics tend to belabour the genre, as if audiences can’t tell the difference between a hand and a hacksaw, between a musical and a thriller. They avoid the responsibility that Lindsay stressed: that good cinema grows out of good criticism – not of Hollywood ‘product’ but of our own films. Passion and insight start at home.

Legendary film critic David Robinson, chairman of the Lindsay Anderson Memorial Foundation, chairs a panel consisting of Kevin Brownlow, director, writer, editor and Oscar-winning film historian, Charles Drazin, author and film critic, Andrew Eaton, film producer, and me. We speak of the man we knew and sometimes worked with and of his films.

Mamoun Hassan

 

 

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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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L’Avventura at the BFI Southbank


Mamoun introduced L’Avventura at the BFI Southbank on 14th December to a packed NFT3. It was the last ‘Passport to Cinema’ curated by Dominic Power as Head of Screen Arts at the NFTS.

Mamoun did not have enough time to talk about many aspects of Antonioni’s work, so there will be a follow up soon: Antonioni and what the Eye can See.

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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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