is the ultimate fan. Tracing his all-around movie obsession to his first viewing of the U.K.-based pair’s 1948 tour de force,, he leads us through a dozen of their features and a few of Powell’s solo efforts, connecting key sequences to memorable scenes in his own work.
The documentary ignites a longing to see the movies, whether for the first time or the umpteenth . Hinton sets the story in motion with a few brief and trenchant elements of Scorsese’s early biography: the childhood asthma that kept him off the playground and led to lots of movie-watching on TV, particularly on that formative touchstone for New Yorkers of a certain age,. He became fascinated with the movies of The Archers, as Powell and Pressburger called their production company.
In their collaborations, Pressburger crafted the scripts, together they wrote the dialogue and produced, and Powell directed. The result was an especially influential run of features in the ’40s and early ’50s, movies with a bold sensibility and an emotional core that made an impression on Scorsese and his contemporaries in the New Hollywood, Coppola and De Palma among them.
In the postwar era of hard-bitten noir, they bucked the trend to focus on the idea of renewal. But asconvincingly argues, there’s nothing Pollyannaish about this kind of optimism, and the psychology can be at least as troubled and complex as that of overtly darker fare. Their 1949 film, the black-and-white film includes the astonishing sight, not excerpted in the documentary, of a fictional weapon test conducted amid the stones of Stonehenge.
His friendship with Powell notwithstanding, Scorsese doesn’t sugarcoat the features that didn’t work for the filmmaking duo in their last years of partnership — “confused,” “conventional,” “uninspired” are some of the conclusions he draws. But he stands by Powell’s daring 1960 solo effort, the story of a serial killer and a film that, Scorsese says, shows “how close moviemaking can come to madness.
Source: Entertainment Trends (entertainmenttrends.net)
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