I find it impossible to believe anyone called Hobart Henley could ever be a great film director, but on the other hand, I also find it impossible to dislike a film director called Hobart Henley. It's too much fun reading his name in a credits sequence.Henley had been an actor, which seems to account for his preposterous, alliterative name, except it seems that really was his name, not a stage contrivance. He directed numerous silent films from the teens on, all of them obscure, but his late-career outpouring of a few cute pre-Codes is better remembered. Night World (1932) is enjoyable, and Roadhouse Nights (1930) is remarkable for being the only official adaptation of Dashiell Hammett's Red Harvest (unofficial source material for Yojimbo, A Fistful of Dollars, Last Man Standing...), only you wouldn't know it because it reached the screen as a Jimmy Durante musical. The only thing it has...
- 4/14/2016
- by David Cairns
- MUBI
We at Mubi think that celebrating the films of 2010 should be a celebration of film viewing in 2010. Since all film and video is "old" one way or another, we present Out of a Past, a small (re-) collection of some of our favorite of 2010's retrospective viewings.
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Always on Sunday (Ken Russell, 1965), pictured above
Always on Sunday is one of Ken Russell's early British television films, most of which were portraits of artists. It was customary for years for Russell's haters to praise these unavailable films and bemoan the director's decline into heavy-handed vulgarity. It turns out that they were half right: the TV work is excellent, and tends to be more muted than the gaudy features that followed, no doubt in part due to BBC censorship. But the critics were wrong to miss the nuances, and genius, of Russell's blockbuster marathons of bad taste and joyous camp, and...
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Always on Sunday (Ken Russell, 1965), pictured above
Always on Sunday is one of Ken Russell's early British television films, most of which were portraits of artists. It was customary for years for Russell's haters to praise these unavailable films and bemoan the director's decline into heavy-handed vulgarity. It turns out that they were half right: the TV work is excellent, and tends to be more muted than the gaudy features that followed, no doubt in part due to BBC censorship. But the critics were wrong to miss the nuances, and genius, of Russell's blockbuster marathons of bad taste and joyous camp, and...
- 1/10/2011
- MUBI
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