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Emeric Pressburger
A Hungarian Jew who lived and worked in half a dozen European countries before arriving in Britain in 1935, Pressburger's reputation rests on the series of strikingly original films he made in collaboration with Michael Powell under the banner of The Archers.
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.
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.
Arrows of Desire
Comprehensive analysis of the Powell and Pressburger films.
Powell and Pressburger
Michael Powell (1905 - 1990) and Emeric Pressburger (1902 - 1988), under the umbrella of their production company The Archers, created some of the most innovative and creatively original films of the 1940s and 50s. This partnership, between the quintessentially English Powell and the Hungarian-born Pressburger who made Britain his homeland, made at first predominantly lyrical and visually arresting black-and-white films (including A Canterbury Tale in 1944 and I Know Where I'm Going! in 1945) but are perhaps most celebrated for their work making the very best use of the highly saturated hues and sumptuous nature of Technicolor (Black Narcissus, 1947 and The Red Shoes, 1948). Arguably their b...
The Glass Pearls (Faber Editions)
For fans of The Passenger, this thrilling tale of an ex-Nazi surgeon hiding in plain sight in 1960s London by the celebrated filmmaker is a lost noir gem, introduced by Anthony Quinn and narrated on audio by Mark Gatiss, as chosen by Ian Rankin on BBC Radio 4's A Good Read. 'Stunning: incredibly good, thought-provoking and tense.' Ian Rankin 'This extraordinary novel had me hooked from start to finish.' Sarah Waters 'An outstanding novel: gripping, tense and darkly unsettling.' Jonathan Freedland 'A wonderfully compelling noir thriller and audacious and challenging act of imagination.' William Boyd 'One of the best London novels of the 20th century.' Benjamin Myers Nothing is more inviting t...
Powell and Pressburger
The filmmaking 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 developing interest in exile, borderlands, utopias, escapism, art and fantasy. Moor reveals how the visual imagery of the films of World War II question current cinematic styles and how post-war films like The Red Shoes and The Tales of Hoffman--in their highly expressive use of design, music and dance--are international in character.
I Know Where I'm Going!
I Know Where I'm Going! (1945) is widely regarded as one of Michael Powell and Emeric Pressburger's most remarkable achievements and a cinematic tour de force. A simple moral tale set in the wild Scottish Highlands, it follows the journey of a headstrong young woman forced by her encounter with this magical, mythic world and its exotic customs to revise her materialistic priorities. Pam Cook traces the film's production history, exploring its place in Powell and Pressburger's canon and showing how it wove into its narrative the memories and aspirations of an international group of film-makers working in 1940s Britain. Focusing on the extensive use of special effects, she reveals a technologically ambitious masterpiece. I Know Where I'm Going! is, for Cook, a multilayered work rich in allusions whose emotional power reaches beyond boundaries of time and place to touch profound human desires. In her foreword to this new edition, Cook argues that I Know Where I'm Going!'s ability to be both of its time and timeless is what ensures that it continues to captivate successive generations of viewers.
The Life and Death of Colonel Blimp
Winston Churchill hated The Life and Death of Colonel Blimp, and tried to have it banned when it was released in 1943. But Martin Scorsese, a champion of directors Michael Powell and Emeric Pressburger, considers it a masterpiece. It's a film about desires repressed in favour of worthless and unsatisfying ideals. And it's a film about how England dreamt of itself as a nation and how this dream disguised inadequacy and brutality in the clothes of honour. A. L. Kennedy, writing as a Scot, is fascinated by the nationalism which The Life and Death of Colonel Blimp explores. She finds human worth in the film and the pathos of stifled emotions and unfulfilled lives. 'If he is unaware of his passions, ' she writes of Clive Candy, the film's central figure, 'this is because his pains have become habitual, a part of personality, and because he was never taught a language that could speak of emotions like pain.'. This edition includes a foreword by the author exploring the film's continuing relevance in an age of Brexit, when English and British national identity are deeply contested concepts.
