Ian Holm

The cinema has always done hostility better than history. Perhaps that is a characteristic it shares with most of us. So, 33 years ago, the spaceship Nostromo was a beaten-up heap ready to be retired, but the engine of its story and the stealthy uncovering of its ultimate confrontation of raw hostility and Sigourney Weaver in her underwear might have been handled by a trio of Einstein, Heisenberg, and Ben Hecht (the latter a pro screenwriter, the first two theorists on larger matters of story).

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Two Prisoners

Monsieur N (Empire) The Woodsman (Newmarket)  When the stars fade, when the cosmos darkens, there will still be one spot of light on planet Earth. That light will be a film studio where they are shooting another picture about Napoleon. Napoleon's effect on the world's publishing industry is unnerving: the number of books about him is beyond fantasy. His effect on the film world is certainly not comparable; still it looms. This country made nine films about him before sound arrived; since then he has been played by Charles Boyer and Marlon Brando. Just two years ago Britain sent us The Emperor'

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