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For this week’s movies, entertainment critic Robin Holabird takes a look at a nostalgic new movie.
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The word “fun” best describes the sounds of the 60s rocking out in the Last Night in Soho music playlist. The songs add a light and heady feel to the film, though it quickly transitions from an opening dance number to a story that eventually reveals ghosts and a knife-wielding psychopath.
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The story’s creative force, Edgar Wright, earned his reputation from projects like the zombie comedy Shaun of the Dead, so he knows how to juxtapose disparate genres. Taking its title from a 1960s song with the lyrics, “Last night in Soho I let my life go,” Wright and co-writer Krysty Wilson-Cairns take inspiration from playful music with a midnight Paris love for nostalgia.
The main character, Eloise – yes, the name of a song from the 60s – hopes to make it big in the fashion world, and one night in Soho, she finds herself transported back fifty years in a dream that seems to come true. She sees herself in an alter ego, a young woman named Sandie, who also wants to be successful in the city. Or, downtown, as she belts out a version of Petula Clark’s hit. Real or just a dream? Eloise has no idea, but she loves the exciting adventure.
Wright’s directorial eye captures the magic of the past, with full skirts, bright colors and attention to accessories that defined much of the era. He adds another treat: some of the top stars of the 1960s, such as Rita Tushingham from A Taste of Honey, Terence Stamp from The Collector and Diana Rigg from the TV series The Avengers. They add spark to the two main protagonists, Thomasin McKenzie and Anya Taylor-Joy, young up-and-comers recognized from Jojo Rabbit and The Queen’s Gambit. The two play off each other well, mimicking each other’s moves while hitting emotional and musical notes.
The visuals and music keep the story afloat, even as it veers into ridiculous territory with the appearance of a darker 60s side. anything serious and turns out to be surprisingly fun.
Splash (1984) Original One Sheet Movie Poster
Robin Holabird is an entertainment critic, author, and former film commissioner for the Nevada Film Office. A full archive of their reviews can be found here.
Robin Holabird reviews movies for , and her reviews have been on the air for over 30 years. During that time, she had a high profile in the Nevada film community. Movie lovers can hardly help but love movie posters. They were the first messages that introduced us to what became our favorite movies; and like old photos in a photo album, they remind us of these movies long after we’ve seen them maybe the umpteenth time. Genuine posters that once sat in a glass case outside a movie theater sell for premium prices as collectibles, and many are college dorms (this writer, for example) whose walls feature movie posters as their main decor. . British journalist and film critic Ian Haydn Smith has assembled hundreds of these posters, from the iconic to the obscure, each printed in color, for FILM SELLING: THE ART OF THE MOVIE POSTER.
On one level, it’s a film lover’s table book, but by its structure, Smith has stealthily crafted it as a study of film history since the late 1919s.
The century through the year 2017 told entirely through posters. It makes perfect sense: feature films have always been intended primarily for mass consumption. Looking at how movie studios marketed movies through posters is a way to quickly see the essence of each movie and how it might have appealed to audiences in its time.
Movie Review: Turning Red Poster By Blackevil915 On Deviantart
After a brief introduction covering the origins of lithographic printing, general entertainment posters and film posters from the late 1890s and early 1900s; Smith begins his research in earnest in the 1910s. FILM SALES is organized by decade, with a section for each 10-year segment of the 20s.
Century, from the 1910s to the 1990s, and ending with a section he calls “The 2000s” that spans from 2000 to 2017. Each of these sections opens with an “Overview” of the decade and concludes with a summary of the “Posters”. of the Decade”. Between these bookends of each section, the author dives into reflective sub-topics of the decade, such as popular genres (eg horror, disaster, Italian neorealism), profiles of poster designers (ie Saul Bass, John Alvin, the Spanish Juan Gotti) and reflections. about the work of major directors (ie Robert Altman, Stanley Kubrick, Ingmar Bergman, Steven Spielberg, Spike Lee). Each of these subsections includes a page or two of narrative text on the topic at hand, along with several featured posters, additional poster thumbnails, and brief comments about each poster.
In the chronological framework he has assembled, Smith comments on trends in poster design that have become popular throughout film history. One of the first subsections is entitled “The Influence of Art” and looks at how techniques from movements such as German Expressionism, Soviet Constructivism, Bauhaus and Art Nouveau were adopted in the film posters of their eras. Smith explains how the rise of movie stardom in the 1910s and 20s with the likes of Charlie Chaplin, Douglas Fairbanks and Mary Pickford led to the depiction of actors’ faces on posters. Later, the scenes from the movies became the visual elements of the posters. In the late 1950s and 1960s, a more iconic style of imagery that suggested the mood and tension of stories began to emerge, heralded by Saul Bass’s work on films such as VERTIGO and WEST SIDE STORY. Although Smith fulfills the promise of this book’s title by offering these observations, he is more focused on the historical and analytical discussion of the feature film he provides in the book than on the principles of poster design. Furthermore, he makes no effort to suggest which techniques might have been more successful in his time or to suggest best practices for today.
Smith’s poster selection for the book includes nearly every poster one would expect to see in such a collection, along with many we wouldn’t even think to look for. Iconic posters range from METROPOLIS to WEST SIDE STORY, REBEL WITHOUT A CAUSE, THE STING, E.T. THE ALIEN and BREAKFAST AT TIFFANY—and may leave the reader wanting to return to these beloved films. It also includes posters we don’t remember about the movie classics we know. It’s encouraging to see, for example, how CITIZEN KANE was marketed in its initial release. It should also be noted that SELL THIS FILM is not English-centric. Smith includes many posters and discussions of cinema from other countries (Italian neorealism, the French New Wave, India’s Bollywood, Spain’s Pedro Almodóvar, Poland, the Czech Republic) and provides examples of foreign language posters of English-language films.
Joker Movie Poster 2019
At the very least, the selection of posters may be, paradoxically, in this writer’s opinion, too exhaustive for a volume of this size (285 pages) and too limited. It is sometimes frustrating not to be able to read the copy in the small thumbnails of some of the reproductions and one may wish for more pages to be able to reproduce at larger sizes. Additionally, Smith occasionally comments on posters that are not reproduced in the book, making it difficult to fully understand his points about these posters. All in all, though, this movie-loving writer found MOVIE SELLING a must-read and has already purchased a copy as a gift for a movie-loving friend.
John Olson is an artsy carnivore who loves music, theater and film. He studied piano, trombone and double bass during his college years, playing in bands and orchestras in high school and college at the University of Wisconsin-Madison. While working as an account manager for an advertising agency, he began a second career as an arts journalist and is now a principal at John Olson Communications, a marketing and public relations firm serving arts and entertainment clients.
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