Hollywood screenwriting is a big business. It’s practically a law that anyone with opposable thumbs who lives in Southern California write a screenplay, lured in by the knowledge that even uncommissioned spec scripts used to make between six and seven figures just a few short years ago. With so many people chasing the dream, it was only natural that another cottage industry sprung up alongside it: one filled with screenwriting “gurus." John Truby, Syd Field, Lew Hunter, Robert McKee – all guys who have written books and hosted seminars designed to show aspiring Shane Black wannabes how to craft their story so studio bosses (or, more accurately, lowly secretaries and freelance readers) get excited about the project and pass it up the line. The ideas behind...
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- 7/20/2013
- by Mike Bracken
- Movies.com
During the First World War two French air force members, played by Jean Gabin and Pierre Fresnay, are shot down by German aristocrat Rittmeister von Rauffenstein (Eric von Stroheim). Despite the animosity between France and Germany, the three men break bread together and find that they have a lot in common, particularly Rittmeister von Rauffenstein and Captain de Boeldieu (Fresnay). Marechal (Gabin) and Boeldieu are then taken to a Pow camp where they get ensconced in a plot with the other prisoners to escape through a tunnel. Fate conspires against them though and they end up transferred to another camp, one run by Rittmeister von Rauffenstein.
Renoir’s prison masterpiece’s greatest scenes are perhaps those that focus on the differences between men, notably those of class and race. The duality in sequences involving von Rauffenstein and Boeldieu, for instance, is central to the depth that makes La Grande Illusion...
Renoir’s prison masterpiece’s greatest scenes are perhaps those that focus on the differences between men, notably those of class and race. The duality in sequences involving von Rauffenstein and Boeldieu, for instance, is central to the depth that makes La Grande Illusion...
- 4/26/2012
- by Craig Skinner
- HeyUGuys.co.uk
Hollywood Film Festival
PJM Prods.
"All-American Boy" is an odd bird, the autobiographical tale of a son who, growing up in 1960s America, emulates then challenges the values of a father he adores. "Boy" questions the Vietnam War as a way to contemplate a more personal and perennial crisis -- what happens to the relationship between fathers and sons when an irrevocable split in values occurs. Writer-director John Truby takes a hard yet loving look at this eternal drama and makes it personal, intelligent and consistently engaging.
Not only are we in a historical time warp but a cultural one as well. The values Truby takes on seem almost ancient history. "Boy"'s script is serious and sometimes hokey and just avoids the sentimental by a few inches. But as the story un-folds, it's easy to get caught up in that seriousness and sentiment. The film is sure of itself and detailed enough to draw us in.
The son is an Army brat whose father has instilled in him an unquestioning love of country and good old American competition. But as the boy reaches college age (here played by Jason Magnotti), he revolts against the strict group mentality his father has promoted. This makes for chaos and ultimately heartbreaking reflection.
Visually, "Boy" has the feel of home video, a nice effect that makes it seem all the more personal. The script is intelligent enough to take cultural about fathers and sons and break them apart to find the kernel of truth within.
PJM Prods.
"All-American Boy" is an odd bird, the autobiographical tale of a son who, growing up in 1960s America, emulates then challenges the values of a father he adores. "Boy" questions the Vietnam War as a way to contemplate a more personal and perennial crisis -- what happens to the relationship between fathers and sons when an irrevocable split in values occurs. Writer-director John Truby takes a hard yet loving look at this eternal drama and makes it personal, intelligent and consistently engaging.
Not only are we in a historical time warp but a cultural one as well. The values Truby takes on seem almost ancient history. "Boy"'s script is serious and sometimes hokey and just avoids the sentimental by a few inches. But as the story un-folds, it's easy to get caught up in that seriousness and sentiment. The film is sure of itself and detailed enough to draw us in.
The son is an Army brat whose father has instilled in him an unquestioning love of country and good old American competition. But as the boy reaches college age (here played by Jason Magnotti), he revolts against the strict group mentality his father has promoted. This makes for chaos and ultimately heartbreaking reflection.
Visually, "Boy" has the feel of home video, a nice effect that makes it seem all the more personal. The script is intelligent enough to take cultural about fathers and sons and break them apart to find the kernel of truth within.
- 10/9/2002
- The Hollywood Reporter - Movie News
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