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A Life in Movies
"Much, much more than the reminiscences of a film director. It's a rich, beautifully detailed history of a time, a place, and a world gone by--the British film industry from the 1920s through the late 1940s, in which every remembrance . . . is filtered through [Powell's] poetic genius . . . as absorbing as any novel".--Martin Scorsese. 30 photos.
Michael Powell
This collection of interviews reveals the mind and the tactics of a master filmmaker who is woefully under-known, even as his films are widely celebrated throughout the world
Michael Powell
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Million Dollar Movie
The late director offers a behind-the-scenes look at the film industry, detailing clashes with studio bosses and critics, the destruction of his career, and the greats with whom he worked
Arrows of Desire
Michael Powell and Emeric Pressburger formed one of the greatest creative partnerships in the history of British cinema - The Archers. Their films were often controversial - Churchill tried to suppress the release of The Life and Death of Colonel Blimp. Later, The Red Shoes and The Tales of Hoffman startled and enchanted cinema audiences with their use of colour, form amd music. However, in the last ten years the magic, poetry and passion of their work has been acknowledged around the world and they are firmly in the pantheon of film masters. This book is a comprehensive analysis of their films and is a useful guide to their work.
Michael Powell
The films of Michael Powell (1905-90) and Emeric Pressburger (1902-88), among them I Know Where I'm Going! (1945), A Matter of Life and Death (1947) and The Red Shoes (1948), are landmarks in British cinema, standing apart from the realist and comic mainstream with their highly stylised aesthetic and their themes of romantic longing and spiritual crisis. Powell and Pressburger are revered by film lovers and film-makers (Martin Scorsese has called them 'the most successful experimental film-makers in the world'). In this first-ever collection of essays on Powell, an international group of critics and scholars map out his film-making skills, providing new readings of individual films, analysing recurrent techniques and themes, and relating them to contemporary debates about gender, sexuality, nationality and cinematic spectacle. Powell, with and without Pressburger, emerges as a film-maker of lasting originality and significance.
A Little Book of Dumb Questions
This title is an amusing collection of silliness. It won't provide any answers, but will provide questions readers may have wondered about themselves: Why did kamikaze pilots wear helmets? and If swimming is such good exercise, why are whales so fat?
Powell and Pressburger
The film-making partnership of Michael Powell and Emeric Pressburger was one of the most remarkable and visionary in cinema. They made an extraordinary range of films, from The Spy in Black and The Life and Death of Colonel Blimp to A Canterbury Tale and The Red Shoes. With champions like Martin Scorsese and Francis Ford Coppola, and revived critical interest worldwide, they now find new generations of admirers. This illuminating new book looks closely at these classic films to explore their complex relationship to national identity, and their interest in exile, borderlands, utopias, escapism, art and fantasy. Moor reveals for example how the visual imagery of the films of the Second World War question current cinematic styles and how post war films like The Red Shoes and The Tales of Hoffman are in their highly expressive use of design, music and dance utterly international in character.
The Cinema of Michael Powell
The films of Michael Powell (1905-90) and Emeric Pressburger (1902-88), among them I Know Where I'm Going! (1945), A Matter of Life and Death (1947) and The Red Shoes (1948), are landmarks in British cinema, standing apart from the realist and comic mainstream with their highly stylised aesthetic and their themes of romantic longing and spiritual crisis. Powell and Pressburger are revered by film lovers and film-makers (Martin Scorsese has called them 'the most successful experimental film-makers in the world'). In this first-ever collection of essays on Powell, an international group of critics and scholars map out his film-making skills, providing new readings of individual films, analysing recurrent techniques and themes, and relating them to contemporary debates about gender, sexuality, nationality and cinematic spectacle. Powell, with and without Pressburger, emerges as a film-maker of lasting originality and significance.
