“All this filming isn’t healthy,” says blind but perceptive Mrs. Stephens (Maxine Audley) late in Michael Powell’s resolutely disturbing Peeping Tom, and every aspect of the film’s rigorously self-reflexive construction seems to bear her out. From the opening shot of an opening eye, to the final shot of a blank screen swathed in black and blood-red gel lighting, Peeping Tom obsessively examines the social and psychological ramifications of overactive cinephilia. This situates Powell’s film as a direct precursor to later 1960s autocritiques along the lines of Federico Fellini’s 8½, Michelangelo Antonioni’s Blow-Up, and Haskell Wexler’s Medium Cool.
Powell and screenwriter Leo Marks originally wanted to make a film about Sigmund Freud and his theories, but word of John Huston’s upcoming Freud biopic put the kibosh on those plans. So instead they came up with the story of Mark Lewis (Carl Boehm), who works...
Powell and screenwriter Leo Marks originally wanted to make a film about Sigmund Freud and his theories, but word of John Huston’s upcoming Freud biopic put the kibosh on those plans. So instead they came up with the story of Mark Lewis (Carl Boehm), who works...
- 5/24/2024
- by Budd Wilkins
- Slant Magazine
Paramount+ has given the green light to a new British thriller series called Curfew, which sees all men kept indoors in the evenings. More on it below.
Not to be confused with 2019’s dystopian action series of the same name, which aired on Sky, a new British series titled Curfew is heading to Paramount+.
As reported by Deadline, the streaming service has just greenlit the new British series, which explores a society in which all men are bound by a curfew from 7pm to 7am as laid out in the Women’s Safety Act.
However, when a woman is found brutally murdered at night and left at a Women’s Safety Centre, police officer Pamela Green is convinced it’s the work of a man. But with the curfew in place and ankle monitors tracking the movements of every male in the country, how could this be?
Sarah Parish is set to play Pamela,...
Not to be confused with 2019’s dystopian action series of the same name, which aired on Sky, a new British series titled Curfew is heading to Paramount+.
As reported by Deadline, the streaming service has just greenlit the new British series, which explores a society in which all men are bound by a curfew from 7pm to 7am as laid out in the Women’s Safety Act.
However, when a woman is found brutally murdered at night and left at a Women’s Safety Centre, police officer Pamela Green is convinced it’s the work of a man. But with the curfew in place and ankle monitors tracking the movements of every male in the country, how could this be?
Sarah Parish is set to play Pamela,...
- 2/27/2024
- by Maria Lattila
- Film Stories
Paramount+ may have culled a wealth of international originals in the past couple of weeks but that hasn’t stopped it committing to a UK thriller series set in a world where men live under a strict nightly curfew.
Starring Sarah Parish, Doctor Who’s Mandip Gill, Mitchell Robertson and singer Alexandra Burke, Curfew is set in a society where all men live under ‘The Women’s Safety Act’, meaning they are bound by a strict curfew from 7Pm to 7Am every night, with their movements tracked by an ankle tag 24 hours a day. When a woman’s body is discovered, brutally murdered during curfew hours and left on the steps of the Women’s Safety Centre, veteran Police officer Pamela Green believes that a man is responsible. But in a world where men are bound by the curfew system, her theory is rejected.
Parish (Stay Close) plays lead investigator Pamela,...
Starring Sarah Parish, Doctor Who’s Mandip Gill, Mitchell Robertson and singer Alexandra Burke, Curfew is set in a society where all men live under ‘The Women’s Safety Act’, meaning they are bound by a strict curfew from 7Pm to 7Am every night, with their movements tracked by an ankle tag 24 hours a day. When a woman’s body is discovered, brutally murdered during curfew hours and left on the steps of the Women’s Safety Centre, veteran Police officer Pamela Green believes that a man is responsible. But in a world where men are bound by the curfew system, her theory is rejected.
Parish (Stay Close) plays lead investigator Pamela,...
- 2/27/2024
- by Max Goldbart
- Deadline Film + TV
Courtesy of Studiocanal
by James Cameron-wilson
1960 was a year that sent shockwaves throughout the film industry. Alfred Hitchcock, who was to direct Anna Massey twelve years later in his lurid thriller Frenzy – about a serial killer in central London – opened a movie called Psycho. Psycho was significant in several regards. Hitchcock refused to show the film to critics and barred his two leads, Anthony Perkins and Janet Leigh, from doing any promotional interviews as he wanted total control over the film’s publicity and its content. This was in June of 1960. Two months earlier another celebrated filmmaker had released an equally shocking film called Peeping Tom and whose critical reception ruined both the movie and the reputation of its director, Michael Powell. Hitchcock wanted audiences to judge Psycho for themselves. Most audiences never got a chance to evaluate Peeping Tom.
Both films were about serial killers and both showed the murderer as a self-effacing,...
by James Cameron-wilson
1960 was a year that sent shockwaves throughout the film industry. Alfred Hitchcock, who was to direct Anna Massey twelve years later in his lurid thriller Frenzy – about a serial killer in central London – opened a movie called Psycho. Psycho was significant in several regards. Hitchcock refused to show the film to critics and barred his two leads, Anthony Perkins and Janet Leigh, from doing any promotional interviews as he wanted total control over the film’s publicity and its content. This was in June of 1960. Two months earlier another celebrated filmmaker had released an equally shocking film called Peeping Tom and whose critical reception ruined both the movie and the reputation of its director, Michael Powell. Hitchcock wanted audiences to judge Psycho for themselves. Most audiences never got a chance to evaluate Peeping Tom.
Both films were about serial killers and both showed the murderer as a self-effacing,...
- 2/15/2024
- by James Cameron-Wilson
- Film Review Daily
This is a story about two people and about love. No, not that kind of story.
One of the people writes that kind of story, though. Pamela Green is a romance novelist, reasonably successful writing as Leonie Hart, with a fan club and what seems to be solid but unspectacular sales. But she’s in a bad patch of writer’s block, and has possibly soured on the entire idea of romantic love. Personally, she’s deep into her middle years, and alone: we don’t know exactly why and how when the book opens, but we will learn.
The other person is a young man: we actually meet him first. We don’t know his name. He travels to London from wherever, hitching rides and exchanging sex for money. He ends up on the street, with another young man. Things go bad.
Room for Love is the story of...
One of the people writes that kind of story, though. Pamela Green is a romance novelist, reasonably successful writing as Leonie Hart, with a fan club and what seems to be solid but unspectacular sales. But she’s in a bad patch of writer’s block, and has possibly soured on the entire idea of romantic love. Personally, she’s deep into her middle years, and alone: we don’t know exactly why and how when the book opens, but we will learn.
The other person is a young man: we actually meet him first. We don’t know his name. He travels to London from wherever, hitching rides and exchanging sex for money. He ends up on the street, with another young man. Things go bad.
Room for Love is the story of...
- 8/11/2021
- by Andrew Wheeler
- Comicmix.com
What’s the best Ecological Thriller of all time? Finally available in a good Region A disc is Val Guest and Wolf Mankowitz’s thrilling, realistic account of our world turned topsy-turvy, and perhaps plunging into a fiery oblivion. The violent shifts of climate and weather patterns echo today’s global warming chaos. Newspapermen Edward Judd and Leo McKern track down a frightening government secret; Janet Munro is the confidential clerk that leaks the truth. One of the top all-time British Science Fiction films is also a great newspaper story about the importance of a free press. Extras include a new Richard Harland Smith commentary.
The Day the Earth Caught Fire
Blu-ray
Kl Studio Classics
1961 / B&w / 2:35 widescreen / 99 min. / Street Date July 7, 2020 / available through Kino Lorber / 29.95
Starring: Janet Munro, Leo McKern, Edward Judd, Michael Goodliffe, Bernard Braden, Reginald Beckwith, Renée Asherson, Arthur Christiansen, Pamela Green, Robin Hawdon.
Cinematography: Harry Waxman...
The Day the Earth Caught Fire
Blu-ray
Kl Studio Classics
1961 / B&w / 2:35 widescreen / 99 min. / Street Date July 7, 2020 / available through Kino Lorber / 29.95
Starring: Janet Munro, Leo McKern, Edward Judd, Michael Goodliffe, Bernard Braden, Reginald Beckwith, Renée Asherson, Arthur Christiansen, Pamela Green, Robin Hawdon.
Cinematography: Harry Waxman...
- 7/11/2020
- by Glenn Erickson
- Trailers from Hell
What’s the best Ecological Thriller of all time? Finally available in a good Region A disc is Val Guest and Wolf Mankowitz’s thrilling, realistic account of a world turned topsy-turvy, and perhaps plunging into a fiery oblivion. The violent climate/weather pattern shifts predict today’s global warming chaos. Newspapermen Edward Judd and Leo McKern track down a frightening government secret; Janet Munro is the confidential clerk that leaks the truth. One of the top all-time British Science Fiction films is also a great newspaper story about the importance of a free press. Extras include a new Richard Harland Smith commentary.
The Day the Earth Caught Fire
Blu-ray
Kl Studio Classics
1961 / B&w / 2:35 widescreen / 99 min. / Street Date July 7, 2020 / available through Kino Lorber / 29.95
Starring: Janet Munro, Leo McKern, Edward Judd, Michael Goodliffe, Bernard Braden, Reginald Beckwith, Renée Asherson, Arthur Christiansen, Pamela Green, Robin Hawdon.
Cinematography: Harry Waxman
Art...
The Day the Earth Caught Fire
Blu-ray
Kl Studio Classics
1961 / B&w / 2:35 widescreen / 99 min. / Street Date July 7, 2020 / available through Kino Lorber / 29.95
Starring: Janet Munro, Leo McKern, Edward Judd, Michael Goodliffe, Bernard Braden, Reginald Beckwith, Renée Asherson, Arthur Christiansen, Pamela Green, Robin Hawdon.
Cinematography: Harry Waxman
Art...
- 7/9/2020
- by Glenn Erickson
- Trailers from Hell
Exclusive: U.S. art house distributor Kino Lorber is launching film and TV VOD streaming platform Kino Now, we can reveal. The service, which includes options to rent and buy, currently hosts 600 titles from the company’s catalog and includes early access to new releases. The number of titles is set to double by the end of the year.
Kino Lorber, which will unveil the platform at a stateside event this evening, tells us the service will be annually refreshed with more than 50 new theatrical releases from Kino Lorber’s first-run and repertory divisions and more than 500 yearly additional titles as “festival direct” exclusives and indie art house digital premieres.
Movies will be generally available around 30-90 days after their theatrical release but some will also get day-and-date releases. Most titles will be $9.99 or less. New releases and certain films that are considered premium will be $14.99 or $19.99 if they are day-and-date releases.
Kino Lorber, which will unveil the platform at a stateside event this evening, tells us the service will be annually refreshed with more than 50 new theatrical releases from Kino Lorber’s first-run and repertory divisions and more than 500 yearly additional titles as “festival direct” exclusives and indie art house digital premieres.
Movies will be generally available around 30-90 days after their theatrical release but some will also get day-and-date releases. Most titles will be $9.99 or less. New releases and certain films that are considered premium will be $14.99 or $19.99 if they are day-and-date releases.
- 9/30/2019
- by Andreas Wiseman
- Deadline Film + TV
Cinema Retro issue #44 is now shipping to subscribers worldwide.
We present out first regular edition with a consistent theme throughout: "Girl Power!", as we celebrate female stars and films of the 1960s.
Diane A. Rodgers examines two of the first female action heroes of the big screen: Monica Vitti as Modesty Blaise and Raquel Welch as super spy Fathom.
Mike Siegel provides a rare interview with Marianne Koch, who recalls filming A Fistful of Dollars with Sergio Leone and Clint Eastwood.
Lee Pfeiffer presents an exclusive interview with Stefanie Powers about starring in The Girl from U.N.C.L.E.
Dawn Dabell explores the exotic world of the Emmanuelle films, the first attempt to present erotica from a female perspective.
Actress Pamela Green talks to Tim Greaves about the challenge of appearing in Michael Powell's notorious Peeping Tom.
Lee Pfeiffer analyzes the British comedy/drama Take a Girl Like You...
We present out first regular edition with a consistent theme throughout: "Girl Power!", as we celebrate female stars and films of the 1960s.
Diane A. Rodgers examines two of the first female action heroes of the big screen: Monica Vitti as Modesty Blaise and Raquel Welch as super spy Fathom.
Mike Siegel provides a rare interview with Marianne Koch, who recalls filming A Fistful of Dollars with Sergio Leone and Clint Eastwood.
Lee Pfeiffer presents an exclusive interview with Stefanie Powers about starring in The Girl from U.N.C.L.E.
Dawn Dabell explores the exotic world of the Emmanuelle films, the first attempt to present erotica from a female perspective.
Actress Pamela Green talks to Tim Greaves about the challenge of appearing in Michael Powell's notorious Peeping Tom.
Lee Pfeiffer analyzes the British comedy/drama Take a Girl Like You...
- 5/27/2019
- by nospam@example.com (Cinema Retro)
- Cinemaretro.com
You may be asking: Why is a man reviewing a documentary about gender inequality in Hollywood? But then you may as well ask: Why did a man direct such a film in the first place?
Representation is an issue that affects all of us, on-screen and off, and while it’s inspirational to see women directors such as Natalie Portman and Maria Giese on the front lines of the 2017 Women’s March — as we do in Tom Donahue’s “This Changes Everything” — there’s something to be said for solidarity shown by those who have nothing to gain from their support beyond the advancement of the greater good. So, like white people at a Black Lives Matter rally or straight folks at a Gay Pride parade, Donahue deserves credit for proactively going out of his way to make a movie that tells it like it is — and paints it as it could be.
Representation is an issue that affects all of us, on-screen and off, and while it’s inspirational to see women directors such as Natalie Portman and Maria Giese on the front lines of the 2017 Women’s March — as we do in Tom Donahue’s “This Changes Everything” — there’s something to be said for solidarity shown by those who have nothing to gain from their support beyond the advancement of the greater good. So, like white people at a Black Lives Matter rally or straight folks at a Gay Pride parade, Donahue deserves credit for proactively going out of his way to make a movie that tells it like it is — and paints it as it could be.
- 9/9/2018
- by Peter Debruge
- Variety Film + TV
By Howard Hughes
(The following review is of the UK release of the film on Region 2 format.)
In Roy Ward Baker’s 1960s comedy-drama Two Left Feet, Michael Crawford plays Alan Crabbe, a clumsy and unlucky-in-love 19-year-old who begins dating ‘Eileen, the Teacup Queen’, a waitress at his local cafe. She lives in Camden Town and there are rumours that she’s married, but that doesn’t seem to alter her behavior. Alan and Eileen travel into London’s ‘Floride Club’, where the Storyville Jazzmen play trad for the groovers and shakers. Eileen turns out to be a ‘right little madam’, who is really just stringing Alan along. She’s the kind of girl who only dates to get into places and then starts chatting to randoms once inside. She takes up with ruffian Ronnie, while Alan meets a nice girl, Beth Crowley. But Eileen holds a strange hold over...
(The following review is of the UK release of the film on Region 2 format.)
In Roy Ward Baker’s 1960s comedy-drama Two Left Feet, Michael Crawford plays Alan Crabbe, a clumsy and unlucky-in-love 19-year-old who begins dating ‘Eileen, the Teacup Queen’, a waitress at his local cafe. She lives in Camden Town and there are rumours that she’s married, but that doesn’t seem to alter her behavior. Alan and Eileen travel into London’s ‘Floride Club’, where the Storyville Jazzmen play trad for the groovers and shakers. Eileen turns out to be a ‘right little madam’, who is really just stringing Alan along. She’s the kind of girl who only dates to get into places and then starts chatting to randoms once inside. She takes up with ruffian Ronnie, while Alan meets a nice girl, Beth Crowley. But Eileen holds a strange hold over...
- 10/5/2014
- by nospam@example.com (Cinema Retro)
- Cinemaretro.com
With its rancid atmosphere and scabrous eye on the movies, Paul Schrader's Kickstarter-funded project isn't as bad as reported
Paul Schrader's The Canyons has had a bad rap. This is the erotic thriller he shot with $250,000 (£150,000) raised through Kickstarter – making every cent count. It features a sulphurous script by Bret Easton Ellis, and stars the extravagantly unreliable and difficult Lindsay Lohan, with whom Schrader has now fallen out. Or perhaps it is rather that Lohan never regarded herself as having fallen in with him. The film is a pulp provocation with an eerily rancid atmosphere; it has been widely winced at by reviewers who wanted more of substance from this director. Casting porn-star James Deen in the leading role – the Patrick Bateman role, in point of fact – is perhaps a satirical in-joke at everyone's expense. The same might go for Lohan. She is pampered La princess Tara, who...
Paul Schrader's The Canyons has had a bad rap. This is the erotic thriller he shot with $250,000 (£150,000) raised through Kickstarter – making every cent count. It features a sulphurous script by Bret Easton Ellis, and stars the extravagantly unreliable and difficult Lindsay Lohan, with whom Schrader has now fallen out. Or perhaps it is rather that Lohan never regarded herself as having fallen in with him. The film is a pulp provocation with an eerily rancid atmosphere; it has been widely winced at by reviewers who wanted more of substance from this director. Casting porn-star James Deen in the leading role – the Patrick Bateman role, in point of fact – is perhaps a satirical in-joke at everyone's expense. The same might go for Lohan. She is pampered La princess Tara, who...
- 5/8/2014
- by Peter Bradshaw
- The Guardian - Film News
With its rancid atmosphere and scabrous eye on the movies, Paul Schrader's Kickstarter-funded project isn't as bad as reported
Paul Schrader's The Canyons has had a bad rap. This is the erotic thriller he shot with $250,000 (£150,000) raised through Kickstarter making every cent count. It features a sulphurous script by Bret Easton Ellis, and stars the extravagantly unreliable and difficult Lindsay Lohan, with whom Schrader has now fallen out. Or perhaps it is rather that Lohan never regarded herself as having fallen in with him. The film is a pulp provocation with an eerily rancid atmosphere; it has been widely winced at by reviewers who wanted more of substance from this director. Casting porn-star James Deen in the leading role the Patrick Bateman role, in point of fact is perhaps a satirical in-joke at everyone's expense. The same might go for Lohan. She is pampered La princess Tara, who...
Paul Schrader's The Canyons has had a bad rap. This is the erotic thriller he shot with $250,000 (£150,000) raised through Kickstarter making every cent count. It features a sulphurous script by Bret Easton Ellis, and stars the extravagantly unreliable and difficult Lindsay Lohan, with whom Schrader has now fallen out. Or perhaps it is rather that Lohan never regarded herself as having fallen in with him. The film is a pulp provocation with an eerily rancid atmosphere; it has been widely winced at by reviewers who wanted more of substance from this director. Casting porn-star James Deen in the leading role the Patrick Bateman role, in point of fact is perhaps a satirical in-joke at everyone's expense. The same might go for Lohan. She is pampered La princess Tara, who...
- 5/8/2014
- by Peter Bradshaw
- The Guardian - Film News
By Harris Lentz, III
British model Pamela Green was a blonde bombshell who appeared in little to nothing in magazines and short films from the mid-1950s. She is most notable for her role as a scantily-clad victim of a homicidal photographer in the controversial 1960 thriller Peeping Tom. Director Michael Powell cast her as the ill-fated Milly, a model for psychopath Karl Boehm, who used his camera tripod as a murder weapon to capture his subjects terror as he impaled them.
Green was born in Kingston-upon-Thames, Surrey, England, on March 28, 1929. She began posing as a model while in her teens, and performed as a chorus dancer in West End show. She met theatrical photographer George Harrison Marks while working as a model in 1953. They soon teamed professionally and personally, producing provocative postcards for sale in shops in Soho. They published the racy magazine Kamera, which usually featured Green in various stages of undress.
British model Pamela Green was a blonde bombshell who appeared in little to nothing in magazines and short films from the mid-1950s. She is most notable for her role as a scantily-clad victim of a homicidal photographer in the controversial 1960 thriller Peeping Tom. Director Michael Powell cast her as the ill-fated Milly, a model for psychopath Karl Boehm, who used his camera tripod as a murder weapon to capture his subjects terror as he impaled them.
Green was born in Kingston-upon-Thames, Surrey, England, on March 28, 1929. She began posing as a model while in her teens, and performed as a chorus dancer in West End show. She met theatrical photographer George Harrison Marks while working as a model in 1953. They soon teamed professionally and personally, producing provocative postcards for sale in shops in Soho. They published the racy magazine Kamera, which usually featured Green in various stages of undress.
- 5/20/2010
- by Harris Lentz
- FamousMonsters of Filmland
Pin-up of the 1950s best known for her cameo role in the film Peeping Tom
Although best-known for her cameo appearance in Peeping Tom, Michael Powell's classic 1959 film, Pamela Green, who has died aged 81, was the leading British pin-up of that period. For a generation of young men, her lithe figure, long blonde hair and photogenic features represented an unattainable ideal of feminine allure. Her role in Peeping Tom was the first appearance of a naked woman in a British feature film.
The only child of an English architect and his Dutch wife, Green spent her first decade in the Netherlands. On the eve of the second world war, she and her parents decamped to England. Always keen on painting and drawing, in 1947 she was accepted on to the fine art course at St Martin's, one of London's leading art schools. Between sessions in the painting studio and the life room,...
Although best-known for her cameo appearance in Peeping Tom, Michael Powell's classic 1959 film, Pamela Green, who has died aged 81, was the leading British pin-up of that period. For a generation of young men, her lithe figure, long blonde hair and photogenic features represented an unattainable ideal of feminine allure. Her role in Peeping Tom was the first appearance of a naked woman in a British feature film.
The only child of an English architect and his Dutch wife, Green spent her first decade in the Netherlands. On the eve of the second world war, she and her parents decamped to England. Always keen on painting and drawing, in 1947 she was accepted on to the fine art course at St Martin's, one of London's leading art schools. Between sessions in the painting studio and the life room,...
- 5/19/2010
- The Guardian - Film News
British actress, and Criterion alum, Pamela Green passed away on May 7th, at the age of 81, due to complications from a long running battle with Leukemia.
Green is best known for her roles in films like Krull and Perfect Friday, but her most famous role may be her turn in Michael Powell’s brilliant thriller, Peeping Tom.
She began her career as a model to pay her way through art school, and began acting in the early 1960’s. The actress also broke ground for women and sexuality on screen, as she became the first nude woman in a British film release, with the aforementioned Peeping Tom. Powell actually fell so in love with her sets and costumes that she had created for her photo shoots, that he later decided to add many of the actresses designs into his film, and much of what is shown in Green’s scenes, are...
Green is best known for her roles in films like Krull and Perfect Friday, but her most famous role may be her turn in Michael Powell’s brilliant thriller, Peeping Tom.
She began her career as a model to pay her way through art school, and began acting in the early 1960’s. The actress also broke ground for women and sexuality on screen, as she became the first nude woman in a British film release, with the aforementioned Peeping Tom. Powell actually fell so in love with her sets and costumes that she had created for her photo shoots, that he later decided to add many of the actresses designs into his film, and much of what is shown in Green’s scenes, are...
- 5/16/2010
- by Joshua Brunsting
- CriterionCast
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