Wait Until Dark: James Bond’s director works with Audrey Hepburn (1967)

British director and screenwriter Terence Young is mainly known for his James Bond films,  Dr. No (1962), From Russia with Love (1963), and Thunderball (1965). However, in 1967, he made a little thriller called ” Wait Until Dark” starring Audrey Hepburn, Alan Arkin and Richard Krenna. Music has been made by none other than Henri Mancini. No spoilers here but more will be posted on our Facebook page, including rare images here
 For some photos of Ursula Andress and James Bond’s author Ian Fleming, click here
I am not the author of these images.

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Wait Until Dark (1967) aka Warte, bis es Dunkel ist – German poster.

wait p jakub erol

Wait Until Dark (1967) – Polish poster by Jakub Erol

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Wait Until Dark (1967) – Japanese poster

wait swWait Until Dark (1967) – Swedish poster

“The 7th Seal” is everywhere : posters

The Seventh Seal (1957) by Ingmar Bergman- posters from all over the world. No further introduction needed.
Click here to see Ingmar Bergman on the cover of TIME magazine ! And don’t forget to like us on Facebook !

I am not the author of these images. All rights go to the authors.


Sweden

Spain

Spain


South Korea

Spain


Japan

Germany

USA

Spain

Sweden

Sweden

The many faces of Ivan the Terrible : Original posters.

No introduction needed to Sergei Eisenstein’s “Ivan the Terrible, pt.I ” (1944) & pt.II (1958). Feast your eyes on these posters from all over the world with different artists, some unknown, and several styles highlighting Nikolai Cherkasov‘s terrifying look.

I am not the author of these images. All rights go to the artists.

Don’t forget to like us on Facebook, you know where !

Check out the last portrait of Eisenstein with a sugar skull here:

IVAN_1 IVAN_2 IVAN3 IVAN4 IVAN5 Polish Poster IVAN7 IVAN8 IVAN9

Ivan el terrible. Argentinian poster. By Osvaldo Venturi.

Ivan the Terrible. Russian Poster. By M. Dulgach.

Ivan the Terrible. Polish posters. By Franciszek Starowisky

Los Olvidados’ amazing posters !

One of my favorite Luis Bunuel films is “Los Olvidados” (1950), starring Alfonso Meja & Roberto Cobo as juvenile delinquents in a Mexico Citythese slum.  A lot of posters have been made to market the film, here are my favorites.

In a row, the countries where these posters were made are: Germany – Germany – Argentina – Japan.

I am not the author of these images. All rights belong to the authors.

Let’s watch “Antichrist” (2009) or: Namelessness & Trauma in Lacanian enunciation.

Lars von Trier’s Antichrist (2009) raised many an eyebrow in terms of imagery and analysis.  I will attempt to comprehend it from a Lacanian perspective, NOT because this is the truth or the reality of the film, but because art is open to (elaborately justified) interpretation. It could or could not have been intended as such by the director but there are many lenses through which we can view it. I choose Lacanian theory. Once again, this is not the final word about the work, this is a mere proposition(PS – Basic knowledge of Lacan’s writing and the film itself are required). In case you’re not into reviews, do check out the selection of film posters.

Antichrist can be seen from a vivid Lacanian perspective revolving around the acute process of symbolization of trauma by the Subject. Let’s examine this process through the overlapping dimensions of Lacanian theory and Biblical notions throughout the film.

“Antichrist” (2009)- American poster.

To put it very briefly, traumas belong to the real of the Real (the raw force which refuses to be assigned signification, which is not (yet) associated to language, which cannot be articulated by words). In order for us to live with them in our conscious life, we go through the process of the Imaginary, a distancing mirror phase in which we recognize that ” I am not the Other, the Other is not Me” by means of language. Language, lives up to  its socializing force in the realm of the Symbolic, the realm in which all traumas are inserted, for us to be able to go about our daily lives. But not everything can be integrated into our waking realm. Gainsbourg’s (She) relationship to the world has 2 facets: Firstly, her rapport to Nature (the forest, the cabin etc.), which later becomes the scene of the massacre. Secondly, her rapport to Dafoe (He) and her access into his inner world. This intimacy, in Lacanian theory, is identified as the Real,  the Real being the realm of no language, the lack of names in the film becomes particularly revealing.

Antichrist (2009)- French poster

Women, in the Lacanian model, maintain a privileged relationship to this Real (desire, trauma, intuition etc.) since they do not fully exchange this internal power for the Phallus (and its attributes), unlike Man whose desire and existence is completely dependent on the Phallus as Master-Signifier in the socio-symbolic order. Women get to keep this force. Language finds its strength in the dimension of the Symbolic. “Nic”, their son is the only character with a name, therefore completely symbolized. After his death, Gainsbourg and Dafoe, remaining nameless, revert back to a world where no symbolization is to take place; the Real in full throttle because now, Nic is gone. What is interesting here is that children are not considered such “agents of the Symbolic order” because, they too, have a privileged relationship to the Real up to the moment of their insertion through language. But the film, disregards or intentionally subverts this.

Antichrist (2009)- Danish poster

In Biblical tradition, Adam recognizes animals in the Kingdom of Heaven by means of language, through naming them. Eve mediates Adam’s relationship to the world and to God,  she incites him to eat the apple, to internalize it and thus corrupts everything. She, because of this act and according to the title of the film, is a form of Antichrist: The opponent of Christ, the Other who resembles him but who will eventually lead mankind astray.

The Real is presented as a form of Deleuzian Encompasser, an independent and overwhelming space (the cabin in the wood) that antagonistically forces the subject to change the situation. Therefore, the namelessness of the characters is accounted for in this form of Biblical Real.

Antichrist (2009)- Australian poster

Next, the process of the Imaginary in the film, begins when She starts to refuse the treatment imposed by her husband, thus separating herself from him, his symbolization, language, status as a therapist, the social recognition he receives etc., basically all attributes of the Symbolic and social power. She reverts, once more, back to her Real, shying away from the society and its order.

The outcome of this Imaginary phase is the evacuation of “Jouissance”, rudimentary pleasure (which is part of the Real and which cannot be allowed in the socio-symbolic order). Jouissance in the film is exploited by the juxtaposition of the moment of sexual climax with the death of her child. It is both a physical Jouissance, the physical pleasure which she refuses to let go of, not even to save her son, and another kind of Jouissance that relates to our fantasies.

Antichrist (2009)– Italian poster

According to Lacan, the death of the Father is a fantasy, not at all the physical parent but the Name-Of-The-Father, the interdiction, the prohibition, the “No” of the symbolic order, you can call it the “Super-Ego” in parental form. The film transgresses this idea by inverting it, the fantasy here is now the death of the Son. Maybe because the Son also represents a kind of sexual interdiction, the difficulty of parental coitus for e.g. This interdiction, the attribute of the Symbolic, is once again clear through the Nic’s name in this realm of namelessness, his insertion into the Symbolic in the midst of the Real.

Ergo, to achieve the point of fully integrating such a trauma with the aforementioned order, the acceptance of the Master-Signifier is needed. And what is the Master-Signifier of the socio-symbolic order I hear you say? It’s the Phallus. The phallus as opposed to Jouissance.

Antichrist (2009)- South Korea poster

She uses sex as leverage a way to get around this and maintain her relationship to the Real where she doesn’t have to deny or let go of the death of her son, she doesn’t want to integrate it in the Symbolic, nor integrate herself. Her symbolic and not so symbolic castration of her husband (when she throws the log on his genitals) is a way of denial of the Phallus as Master-Signifier. Her attempt at giving him an orgasm right afterwards reinforces the importance of Jouissance to her.

However, although the film seems to go in the direction of the Real, She’ self-mutilation only reinserts her back into the order whilst she cuts off whatever direct link she has to her body, pleasure and nature. Her death at the end is the ultimate assertion of symbolic order not necessarily via the Phallus, but through the denial of the Real.

Now that you’ve had enough of the word “Symbolic”, I would like to state that this text is a bigger elaboration on a comment I posted on another blog a year or so ago. Once again, I am not AT ALL claiming that Antichrist is Lacanian in any way or that von Trier intended as such, it is a mere interpretation, as erroneous, ambiguous and false as it could be.

Written by Haneen H aka Kinofrau
I am the author of this text.
I am not the author of these images. All rights reserved.

A french adaptation of The Talented Mr. Ripley starring Alain Delon

To all you Alain Delon fans (and yes, I am one of you), maybe you have rediscovered some of his work as of late, thanks to his recent Dior ads and if you did, I hope you didn’t miss out on “Purple Noon/Plein Soleil” (1960) : the French adaptation of Patricia Highsmith novel “The Talented Mr. Ripley”. Rene Clement is the director. Other films to his credit are “Gervaise” (1956) & “Forbidden Games” (1952).
The film threw him into the spotlight and was then closely followed by his work on Visconti’s “Rocco & His Brothers” (1961). I honestly think it was one of the best performances of career, both playful and intense.  It received the seal of approval of the writer herself and enjoyed a pretty strong cult following.
Check out the film posters that sprang out from that era, all over Europe and…enjoy.

NB- Check out Alain Delon & Alain Verneuil, on the set of Le Clan des Siciliens (1969) here.

 

Plein Soleil (Purple Noon), UK poster, unknown artist

In Pieno Sole, Italian poster, unknown artist.

Plein Soleil, French poster, unknown artist

Purple Noon, USA poster, unknown artist

Plein Soleil, French poster, unknown artist

V Plenem Slunci, Czech Republic, unknown artist

Plein Soleil, Polish poster, artist: Bohdan Butenko

Nur die Sonne war Zeuge, German poster, unknown artist

 

Last Year in Marienbad (1961) : My top 5 posters

Alain Resnais’ masterpiece “Last Year at Marienbad” (1961) is indeed one of many great works he delivered throughout the years. Along with “Hiroshima mon Amour” (1959), it is surely one of the director’s most known work.

Let us check out how the film got presented, through its posters, in France, Germany, Japan and Poland…

This first image is a poster painted by Ercole Brini (1913-1989), born in Rome, whose work ranges from Rear Window to The Bycicle Thief. His work is characterized by strong brush strokes together with a very distinct water-color style.

This Last Year in Marienbad is one of his distinguished works.

German poster: Letztes Jahr in Marienbad. Illustrated by Hans Hillmann 

German poster: Letztes Jahr in Marienbad. Illustrated by Tostmann (no mention of first name)

Japanese poster: Last Year at Marienbad (unknown illustrator)

Polish poster: Last Year at Marienbad. Illustrated by Wiktor Sadowski in 1992. 

NB- I am not the author of these images. All rights go to the artists.

Check out Alain Resnais’ concentration camp documentary, shot in 1955 in Poland, “Night & Fog”, here.