Tag Archives: Movie Masterclass
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.
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.
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).
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.
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.
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.
There was a vigorous discussion following the screening of BABYLON at Theatre Utopia in Croydon. Apart from the social references, a recurring question was whether BABYLON would have been financed and made today – whether the political and financial barriers are too great. Strong views were expressed. BABYLON is still relevant; BABYLON is still alive.
Mamoun wrote an article in 2008 to accompany the DVD release by ICON FILMS. Things had changed between 1980 and 2008, and more dramatically since then. It is not the same country anymore. The generation in BABYLON are now parents, even grandparents. We are now suffering the birth pangs of a multicultural Britain. It is more tumultuous in every way. I hope to see the new BABYLON soon.
Thank you Lee Fairweather.